A new academic years resolution I set myself is to take my blog and social media more seriously than I have in previous years. I need a fresh start where I can post all my thoughts, inspirations and work I create in third year. This is why I have a created a new blog! Please come visit me at:
Now I have the definite idea of hanging my sentimental jewellery with clear fishing line from the ceiling. I need to consider what I can I physically hang them from. This is not a piece from my installation that I want any focus on. I want to enforce the illusion of my jewellery “climbing” up from the pile below, because of this I need to create something I can hide or that blends in to the background and location. Here and my first thoughts and consideration on each frame idea I created.
- Easy to measure size and location of hanging jewellery
- Will it be stable?
- What size squares?
- Preferably smaller squares so can pieces can hang closer together and there are more squares to experiment with
- Will it need a frame?
Chicken Wire Grid
- Oval shaped holes- can help with placement of pieces
- Cheap and easy to get hold of
- Easy to mould into shapes
- Will it stay flat?
- Hard to shape into a square frame-would need an outside frame
- Matches frame work along walls and ceilings in un
- Matches metal grid
- Where to get hold of metal piping to create frame?
- Holds shape well/very presice
- How to shape frame?
- May attract attention to grid
- Holds shape of wire well
- Easy to get hold of
- Easy to build
- Wood doesn’t match wire/metal grid
- Stands out a lot, may distract from hanging piece.
Following these consideration, I went exploring around university to see what I could find and use for this idea. I was very lucky and found the perfect frame to create my grid. This squared metal wire, has small squares and can be easily moulded so, will be easy to flatten and measure in my grids size once decided. I will use this grid in my final piece, I couldn’t have found anything better.
On my journey, I also found a possible metal pole that could be used as an outer frame. This was left over from the builders when they art block was done over so it matches perfectly to the poling around the walls and ceiling of university.
Knowing nothing about how to mould metal, I then took my pole on a visit to Dallas in the metal workshop. He suggestion several ways I to mould my pole in my frame such as bending the metal and cutting it to size then welding it back together. I now need to consider if to use this pole as an outer frame and if so how I am going to mould it into shape.
I can now sketch up and idea of how and where I want to hang my jewellery as I know how I am hanging them.
As my tin was bursting with pieces, I took a close look and sieve through and chose my favourite pieces. These were pieces that caught my eye the most and ones I knew the background stories behind the most, after previous being told many from my grandmother.
Created little quick sketches of these, this helped me to get to know the shapes including throughout the pieces as well as how they hung and felt as I hung them in my fingers. Also, holding these pieces up to the sunlight, I could see how they caught they light and each reflected it differently.
I now feel a lot more confident in how these pieces of jewellery feel and properties they have and portray. My next step is to experiment with hanging them So I can get the shapes I want to create captured perfectly.
The second lecture we received yesterday, was based on the sites of an objects. The settings in which they lay. This can mean several things:
- Where it touches the world
- Is a paragon
- Determines objects relation to the world
An example of a paragon is a frame; we are there to look at the picture within the frame yet when we stand back and look at the picture from afar the frame becomes a part of the picture. Plinths serve a similar function for a sculpture. A plinth is crucial to the affect a sculpture has on the world.
My favourite example that was shown was Ron Mueck’s Dead Dad (1997).This big plinth forces the viewer to stand back and brackets off this pieces connection with the world.
Lighting is a part of an objects setting to consider and affects how it touches the world. The best lighting is not always the brightest.
Location is also a big aspect and how the object determines a relationship with the world. Paragons can also change in regards to the location.
Overall, I found this lecture the more useful of the two as it taught me a variety of different aspect to consider which I first didn’t think about. The lecture also should us several very different examples in each aspect. I now want to experiment with my object by places it in different locations; some where my tin and jewellery belong, some places where they do not belong. I want to experiment with different lighting and how they affect my objects and the affect different paragons will have on my object e.g. displaying they in a frame. This day has given me so much to think about and so many questions to consider, I am now going to think about what questions mean the most to me and narrow them down to what’s most important to consider in regards to my objects.
Object field lectured by Jonathan Clarkson was the first of two lectures he presented to us yesterday. To begin this lecture he proposed three points:
- An object is not me
- An object is unknowable
- I am an object (in a world of objects)
I was confused at first as point 1 and 2 are contradictory, he explained his points with the back-ups of artists work which was very interesting.
An object is not me
It was explained this point suggested that objects can be something that are beyond our control. Some will not always do what we intend them to do and this can annoy us and act as a resist. This was portrayed through David Nash’s Cracking Box (1990).
It was then explained that this point can actually be a relief to us, for example amongst fantasy art. The thought that something can turn into anything. This was portrayed through Salvador Dali’s Premonition of Civil War (1936).
An object is unknowable
The thought that was raised is that perception is always partial. We never perceive the whole object and we never perceive the same object in quite the same way as someone else. This was portrayed by these two pieces completed at the same time by different artists Pierre-Auguste Renoir, La Grenouillere, 1869 (on the left) and Claude Monet, La Grenouillere, 1869 (on the right)
This gave me an idea that it may be a good idea if me and another person within my group draw my object at the same time. This would show me the different perceptions that exist amongst my object and how it is portrayed to different people.
Another thought that was raised under this section was that we never complete understand an object as we cannot physically see all of it. Even the dullest of objects such as a rock is a mystery. We cannot completely see inside it, or underneath it below the ground.
I am an object (in a world of objects)
This point raises the question of what actually identifies an object as an object. Sometime a person can feel like they are being looked at or watched which gives the sense that we are an object. Is it possible to distinguish between an object and the place where it is?
Overall, I learned a lot from this lecture, it also gave me a lot more to consider in regards to my object display. I never realised so much thought could go into one object, it has pushed me to get to know my object a lot more and what it means to me and the World, even though I will never fully understand my object. I now need to consider which way I want to portray my objects story is throughout a display.
After a number on mind maps and a lot of consideration, I’ve decided to use a completely new object for this project. My favourite object from last week was my metal travel mug. This item had a lot of sentimental value to me, I found this was getting in the way of my creative thoughts as I was reluctant to take criticism and other thoughts on my object. My ability to think from another person’s aspect was blurred by this. I still wanted to use an object that I knew the story of and had some sentimental value to someone as I thought I could portray a stronger story and message from an object by knowing its background. This meant even more rummaging around my house. Until I came across this interesting tin, that I had completely forgot about until discovering it from under my bed. A beautiful tin full of my Grandmother’s old costume jewellery from the late 1950’s. So many beautiful colours run within this time, all slightly worn away, some even broken. I thought this was the perfect objects to use to tell a story.
My and my tin made our way to the next session of this project. Yesterday morning, as a big group we all sat around and discussed the objects we had chosen. Taking it in turns we gave each other our views, thoughts and ideas on our object. I found this extremely helpful because it was nice to compare and contrast the range of things we had all brought it. It was also a confidence boost to see how others reacted to my objects and how they also found them interesting. This discussion raised a massive list of thoughts to consider that I wrote down. These were;
- Other people’s points of view
- What my intentions are
- What is acceptable and what isn’t in displays (touch, smell, looking)
- Lighting effects
- Past and present combined
- Objects in places they shouldn’t be
- Taking objects apart
- Re-imagine an object
- Interactive objects
Moving forward from this discussion, I am going to take into considering and answer a lot of these questions that were raised in relation to my object to help decided a solid path for my project. I can then run with the idea and created sketches, drawing and displays within this idea.
As this is quite a short project to complete, I knew I had to be organised and concise with everything I was completing. I sat down and created a page in my sketch book on things I need to consider. This placed my head in the right thought track and put in to perspective how much I had to complete in such a short space of time (5 weeks). These are all questions I’ve gathered from previous discussion within my field group and what I felt I needed to consider in my personal project.
What is my message/story?
- Everything has a story and can be sentimental to someone in some way
- Even objects that are thrown away/broken down hold memories and have value to someone.
- We should consider preserving items and memories.
What are my intentions?
- Lay a pile of broken/worn/smashed costume jewellery (bough from charity shops/thrown away) on the floor/table area
- Hang my sentimental pieces “climbing’ out of the pile of broken jewellery, unbroken and hanging from fishing wire
What will be acceptable and why?
- I’d like to experiment with touch (moving around and picking up of broken pieces)
- Sharpness/small pieces through people fingers.
- Somewhere I can hang from inside
- All white area – stands out more and captures more attention
- Next to rubbish bins- represent story more- make people think more
- Industrial area- big contrast with dainty jewellery and adds an eerie atmosphere
- Maybe a low plinth/floor – people have to kneel down to feel objects, more connection, relates to rubbish but still separates from it, greater length to hang objects from
- Possible higher plinth with hanging objects at eye level
- Experimentation needed
- Shining light through jewellery to reflect shapes
- Maybe spotlights shining down/from underneath
- Possible viewers creating light- torches/phone lights
Artists who inspire me?
- Louise Bourgeois – Suspension
- Yoyoi Kusama – Chandelier of greif
- Menashe Kadishman – Fallen leaves
- Antony Gormley
- Tim Walker
- Chiaru Shiata – The key to my hand.