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.