day 40

Some points made/observations from critical feedback:

"own photograms of time"

"process of the work floating... contradictory to the weight seen in the images"

"corridor: gallery... studio: process"

"creates a dialogue with things that matter in life: discovery... discoveries in time and history"

" a layering of time... an implication of time... bringing the work into a new dimension"

"drawing out a characteristic and allowing memories to be formed"

"comes from something simple... there is the attraction"

"subconscious act... exerting the power of process"

"high element of control"

To conclude, this has proven to be an enormous learning curve of a project! I have thorughly enjoyed the experimenting and have relished the chance to follow my belief that work must hold a certain degree of aesthetic to cause intrigue and questioning.


So what was my brief? i don't know if I could really articulate a concise one... but the project has involved a number of points:

1. the generation of work through methodical process
2. analysis of the degradation and subsequent regeneration of objects
3. the capturing of memories of metal objects through superficial stripping of their ageing process: rust

day 38

Decided to return to the delicate fragile thoughts of the vinegar paper/rusting object process to make my final work. They seem to conjur up tangeable memories that remincse of a past superficial age:











































Small experiment using some left over gelatine... delicate translucent quality defining boundaries of the object... beginning of a new conversation?




Thinking of the interactions of the object on the paer as the rust is absorbed... the paper wrestles with its new identity. This must be made evident in thw work to retain notions of process and method. Foam board was used to allow the paper to feel the weight of the objects... giving experience and a residual effect to the work.


































Made 3 collections of 5 'portraits' for display. Did consider block multiples but felt the work didn't hold the same impact or carry the fragility of thought... lost amid the quantity?












FINAL PRESENTATION:




Pleased with the quality, composition and placement of the images. However, their attachment to the wall was not satisfactory. The masking tape detracted from the uniqueness of the object prints. Although it gave the work unity, pins would have been preferable.

day 22

Considering the aesthetics of the metal I am using in/to make the work. Feel it needs to be crafted and sculpted to my own design. Ultimately, I must retain control of the dispersal of the rust, therefore, ts positioning is crucial. Researched and found a synthetic misture to induce rust on steel... experimented and made this work. Particularly enjoy the stronge lighting that accentuates the physical texture of the piece. A transient nature to the surface is defined.






Attempting to relinquish the look of the science lab in my work... by taking photos at certain angles, I have the power to manipulate the viewer and allow the work to speak of a new dialogue. For example, this image: waterfall?


















Becoming increasingly interested in the delicate and tentative nature of the rusting process. A fluidity; an ambiguity; an intrusion into other media. Perhaps take the work back to the experimental prints of vinegar and object?

Had a few mini tutorials with paul this week. Progressing the idea of containment and process of the gelatine and the iron/rust trials to actual pieces of work. This way, I can begin to consider their make up and experiment with their context and not the objects themselves. It has definately been agreed that much has been gained from the project so far, as the primary research has been quite extensive. It is now about relinquishing the looks of science lab experiments and maturing the work to gallery pieces. Even just looking at other artisits like Anselm Kiefer and Joseph Beuys has greatly encouraged this transaction. Why? Because having explored archives of their work, I have been able to identify my thoughts, and what seemed 'basic' work, actually seems to retain the 'complex' and relevant thought behind them.

Although the notion of science work seems silly, im actually considering the potential of involving it in my work... but using its context through object representation than anything else. Things can appear large if 1) their actually physically large in space or 2) they are scrutinised in close proximity. My thinking was taking the work to a microscopic level and 'examining' the process i've been analysing under the miroscope? Possible relations to the interseting crystalline structures i've been 'growing' from the metal... juxtaposition with the seemingly organic grown out of the industrial.

Questions im now asking myself:

What can be done to make the work big?
What should the work discuss?
What materials/objects should be used?

Thinking more about the layering process that the rusty objects go through... its layers of oxidation, each one building on the last. So what if i was to emulate this through the gelatine by layering and cooling it, perhaps inside a piece of metal that seems to 'wrap' it? Could the final piece be the metal and the gelatine or the gelatine and the intriguing stains that the iron starts to deposit via its rust? not sure. Only way is try this all up.

day 18

This is the latest piece i've been working on. Encased the metal tubing in the gelatine, pouring vinegar into the central reservoir and finally adding iron rust filings. Thinking about containing potentials in spaces; degradation revealing a delicacy and highlighting a vulnerability within such a strong, crude substance like the metal.













































Analysis is allowed when the pace or process of something is slowed or captured at a particular moment. Where do we see this in life? What might people use this 'relationship' for? Preserving a moment... preserve... jam. Jam is a domestic example where nature's engagement ceases to have control and man takes on a leading role by encapsulating the fruit in gelatine. In doing so, we can observe a delay or ultimate break down of something.

Started exploring the logistics of this material as something to work with in my theme of degradation and the concept of natural environment meeting the man made.

day 15

In search of finding some kind of resolution with my concepts in the environment surrounding me, i looked at streetscapes: a common ground associated with pollutant fumes. The gradual erosion of the iron in these lamposts were visually interesting and gave me a launchpad for further research. They demonstrated an almost organic growth and detachment from their industrial routes... ground for exploration.

















Advanced Higher Chemistry is finally of use... Wanted to start 'culturing' some of my own growth, realising potential in dormant materials. Salt solutions were grown, forming crytalline structures. This idea of generation of the crystals from their origin in the solution: regression and degradation of which demonstrating that i was now in charge of an equilibrium of forms.
























Been having some difficulty in focusing/concentrating on a particular avenue in my work to follow at the moment. Enjoyed experimanting with materials and conducting methodical trials to see the way in which natural Vs industrial materials interact. My work space is bordering on looking like a science lab at the moment... but i think there is some potential with some of the works i've been producing, although identifying them at this point is proving 'difficult'.

Writing down my thoughts and thus establishing a train of thought has always been my way of working out of a situation like the one im facing just now. So here goes:

"fragments of past decoration"
Felt this was a strong statement to help explain my focus. Im interested in the byproducts of degradation and thus generation of substances meeting. Fusion creates conflict and ultimate breakdown. Products of such meetings could include rust, debris, rocks, crystals, etc. These organic products correlate well with the fine equilibrium that meets and challenges all substances everyday. My initial interest in the meeting of nature's clouds with man's industrial pollutants in the air might seem distance but its precisely the fragility of such a situation that im trying to contextualise in my work.



"could the world end in disintegration and dispersal?"

A quote from the work of George Onwin:
"... in an illiimitable extensity and compromised of marine and other natural fragments, it transcends the contingency of experience to engage with the vast, ineluctable continuum of space and time."

I've looked at the work of Joseph Beuys in my Site-Place-Context project and revisiting his work has helped. I particulary appreciated his use of multiples to act as vehicles for communication of what they are, their origins; confirming their identity and thus justifying their presence?

My interpretations of his works deem them as studies of phenomena. The concept of an allotropy, a definition im familiar with from studying chemistry, fits here. Basically, the same formula yet takes several different forms. So could it be said that "material allotropy" is tension found between idea and solidity.

It is this tension that i wish to introduce or converse with in the dialogue of my work. Physical tension brings about texture reminiscent of disintegration and perhaps will lead to regeneration?













Everything is part of a process. Understanding, arguably, can be found in allocating its position relevant to other elements of the sequence it's part of. Is presented work the beginning of a sequence?











The point of crystallisation, denoting the reaction of materials, has particulary interested me. It has this "air of decay" and yet it speaks of this newness... the realisation of an unknown potential. The insubstantial has become substantial through my intervention. To me, this brings forward connotations of death and rebirth, transformation and loss.











Experiments have evolved using salt solutions. This seemingly ordinary substance brings connotations of wealth, fertilisation and perservation. Perservation is maintaining a delicate balance and is usually found in giving longevity to nature's products. Interesting to explore the visual response in storing/preserving objects not requiring this. What would metal, for example, to respond to in this situation? Does it degrade rather than maintain?




















So... points of interest to continue with:

1. visuals of destruction and regeneration
2. visuals of texture through these processes
3. the addition of substances to possibly affect new superficial textures?
4. chemical change
5. revealing of unchanged layers of a material superficially tarnished by change

Ultimately, im seeking to anlayse and scrutinise patterns of natural phenomena.

day 12

Becoming interested in growth and the way chemistry can culture 'organic' growth from un-natural substances/objects. This has led to creating new surfaces, contrasting the man made with the natural.

day 10

I've been exploring the various textures/visuals that metals can produce. Zinc plate (from printing dept) is extremely maliable and has been creating delicate pools of material that i've been working into. Looking at the 'journey' of the rust 'film' that old metals take on... soaked sheets of tissue with vinegar and, as it diffuses through the paper, it take the rust with it. Interested at the patterns and delicacies made. Possible avenues to explore there.

Also been 'growing' salt solutions on sheets of steel... the marks/forms being made when subjected to a strong heat source are very organic... really like how this reinforces my interest in the way in which man and nature correspond.

Now looking at 3 additional artists to inform my experimentations:

Glen Onwin
(apologies being directed to the eca webpage... please just look at the photo of Onwin's work at the bottom of the page...)

Ilana Halperin
visied GOMA yesterday and connected with this image...this is what got me to research Halperin...


Bob Bingham
"Current work has shifted to focus on the expanded landscape within the cityscape: public parks, gardens and building grounds. This research explores the 'event' of entering and moving through the natural environment with an emphasis on boundaries, traffic paths and invented natural elements that unfold with time. The primary intention is to create a situation for an aesthetic experience; a place to contemplate the relationship between the natural and built environment."
This statement by Bingham really connected with me. Great inspiration found in his words and concepts... will definately progress with this now in mind.