FMP Start
A deconstructive approach to artwork involves discovering, recognising and understanding the underlying and unspoken and implicit assumptions, ideas and frameworks of cultural forms such as works of art.
https://www.tate.org.uk/art/art-terms/d/deconstruction
Arman
His use of broken spaces
Reclaimed objects
Harsh materials and industrialised feel
References and political commentary
Influenced my wallpaper and tile wall in the way objects became part of a background
Arman, made sculptures inspired by the concept of readymade
Readymade - a genre of art where objects from everyday life are re-positioned as works of art, removing their original significance and meaning
He was interested in exploring the consequences of mass production and deconstruction
‘ At his best, Arman delivered a powerful and chilling rejection of modernization and the culture of mass consumption. Later, he developed an aesthetic based on the act of destruction, his pieces commemorating the obliteration objects in various ways’
Obliteration objects
Links to Yayoi Kusama's ‘obliteration rooms’ and
the way in which both artots de-constrict space
through objects
I like his principles of beaking, re making and altering the state of a material or object. Interested in how the harshness of the concrete makes the tanks seem delicate when they are weapons of war.
Image Descripyion: "Hope for Peace" by Arman (Armand Fernandez, November 17, 1928 – October 22, 2005) which was specially commissioned by the Lebanese government to commemorate 50 years of the Lebanese military's service. Standing in once war-torn Beirut, the 32-meter (105-ft.) monument consists of 83 tanks and military vehicles."
Arman
Armans sculpture features a female torso filled with shaving brushes creating a contradiction, the female torso is also a form of classical sculpture as well as suggesting fashion mannequins creating another contradiction.
Within my own work I have applied this idea to my balloon canister creating a contradiction between a functioning object and a artwork, using old images of artwork to collage the canister the finished product is made from many other art works.
Raised surfaces and varying depths alter the perception of Mapes work, this is an idea I have carried into my own FMP, my tiled wallpaper which has varying depths and creates a similar illusion. There is a business to his work and a familiarity through his use of found objects as well as references to popular culture.
I like how these are all fragmented and made up of smaller items collaged together each item carries history/ meaning
Creating designs for screen print require my images to have a posterized quality and specifically altering B&W balances
What I like from posterized image styles
Immediacy
Visible from afar - possibility for protest signs ect
directness , images like these seem direct and targeted at an audience
palatable , pop art style images
Warhol
I have found an interest in Warhols repeats and the way in which he edits his portrait images for screen print,selecting areas of the phase to emphasise.
I am interested in the use of B&W in direct contrast to very colourful works and the juxtaposition that this creates.
Creating images for my own portrait screen printing, Ross/Amelie/Devon/Poppy
Sheer curtain using edits of screen print portraits using negatives as well as original images. The curtain allows the faces to be distorted and deconstructed of meaning as they blend and change shape as the curtain moves.
Yves Klein
Fire
Initially I believed my work would take on more literal exploration of destruction through physical methods similar to Kleins scorched works. The serendipity in natural forms of deconstruction of image through uncontrollable processes such as burning is of interest to me. As the project progressed I saw that I wanted to combine natural deconstruction through manual processes. This has been realised in my poster pieces, using a range of materials to deconstruct space as well as using oil pastel and oil to create natural forms.
Gerhard Richter's work has informed my use of photographs and found images. The way the intervention of paint changes the time and context of the image. I have drawn influence of this intervention and the notion of a ‘moment in time’ into my works. Using found images from national geographic magazines provided a context and a nostalgia for my works. The fun within these works derives from the intervention to the image and the interactive nature of image as object.
There is also a sensitivity in using my own images with personal significance to myself which Richter explores.
There is something in using a real photograph where only one copy exists and experimenting with the image, the photograph becomes more of an object.
lazo moholy nagy work in conversation with influences I have been looking at with pop art - idea of deconstruction through image alteration, through screen print i am abstracting shapes and using contrast to deconstruct image.
The use of halftone images and layering shape over photograph is an interesting process to deconstruct images of which I have applied to my own work through digital editing.
Beginning extending the ideas of ‘deconstruction’, gathering images and breaking down context of objects. Deconstructing the properties of the objects by layering them. This is to begin creating media to work with and translate into print, further de-constructing the images and the objects as individuals. I was inspired by Arman for this set of work, and his principles for deconstruction: re making, altering the state of a material or object.
"readymade," a genre in which artists chose ordinary found objects from everyday life, and repositioned them as works of art so that their original significance disappeared in light of sparking new points of view
Using old photographs from home I feel am de-constructing the context of the images, by using them in current works I am merging the history of the images and re imagining meaning.
The image of the police officers is particularly
striking and adds a
potential for a political emphasis within my
work. I am drawn to images of movement and ambiguity and the connotations of the text documents.
This layered image suggest motion and action, I feel these colleges have an immediacy.
Manual experimentations in layering using light box, suig acetate transfers I was able to deconstruct the images further isolating certain marks and lettering
Manual manipulation - using light box, deconstructing all properties of the images to create very abstract images. These lose most of their context.
Screen Print
Created screens using acate transfers, to print fabric and also layer over original objects and pictures. I like that the images layered over are the original copies and the way in which the addition of the print further takes them from their purests forms, continuing the idea of perpetual deconstruction.
Digital print fabric design
digital design for printed fabric for sofa upholstery
Sofa upholstery- enjoyed the process and the interaction of my print to the sofa creates something quite contemporary as well as having a humorous element with such a graphic modern print on a classic sofa shape
further artist research
Her works use projection and sit between the boundaries of sculpture and installation, which is where I see my work for this project sitting
The way she considers the shadows of her work as equally important as the text fabric is particularly interesting
Gtswachtner, war time knitting
Photographs made by knit
Camouflage, 2012. - use of objects such as film negatives to create a patchwork piece
by Gtswachtner
Hashimoto Kansetsu Garden and Museum, Kyoto, Japan
This inspired my sheer curtain, the delicacy and light interaction
Daisy Paris, I have been inspired by the honesty in her work and the rawness to her paintings. The energy and chaoticness of her work has been something I have applied to my pieces.
Installation Rooms - Yayoi Kusama
The way in which her work entirely engulfs the space is something I have been very inspired by, it is not that the viewer is walking around an exhibition they are a part of the exhibition having to add a gerbera daisy to the room. I think I have been inspired by this connectivity by Kasuma and Allan Kaprow's ‘Happenings’ and in my own installation I have interactions such as my sofa and chair and a curtain veil, while not directly being assigned a task the audience is still an active participant in my exhibition.
Kitsch
“kitsch” was first used in the 1860s and 1870s to refer to “cheap artistic stuff” (234). This “cheap artistic stuff” consisted of low-quality knickknacks to be sold to gullible tourists with the sole objective of commercial gain—think cheap paintings and garish miniatures. Thus, from its earliest usage, the word “kitsch” has signified “fake” art.
I believe this term applies to my work in the way it holds a humours element through colour, references to popular culture and nicheness.
(https://confluence.gallatin.nyu.edu/context/first-year-writing-seminar/the-problem-of-kitsch)
Rauschenberg
Created the technique - collage and montage paintings called ‘combine painting’ using real objects such as photographs and ‘found’ objects which he attached to the painting’s surface
I have been inspired by this process and have found my own interest in in using found objects such as a tyre to create a tyre print that running down wallpaper
Rauschenberg's bed
- This is not one of my favourite of his works but i like the concept that despite how much he worked into the piece he oculd not escape that it was a bed. Feel like I have applied this artistic intuition within my own work , using my judgement on how best to display my work.
Installation of television monitors displaying video footage from countries visited during the ROCI tour at ROCI USSR, Central House of Artists. Work shown in background is Colonnade (Salvage) 1984.
"Robert Rauschenberg was rather a political artist. Don't forget that he became a well-known name in the Sixties, with America changing around him. So his work often contains - quite literally - images from news magazines. They might be of Martin Luther King or an Army helicopter but they're redolent of the America he knew."
This political aspect to his work is something I feel I have focused on in my repeat practice project and something I would like to contine to university, I find an interest in artworks that are political but also without context are beautiful works of art in their own right
“I think a picture is more like the real world when it’s made out of the real world.”
So much of this project has been inspired by rauschenberg, a particular focus of mine has been on his layering and image blending, i feel his works have an energy and a relation to the everyday life. Use of people and recognizable objects places his art work in a mundane context and brings art into the everyday. The collaged layering and multi medias
Screen print designs made from found object photography and digital edits
Dale Chihuly glass sculpture at Kew gardens
I find his work interesting through the way his sculptures react with the environment they are placed in. His fascination with light and space become an extension of his work as well as his environmentalist ideas, by using his environment to portray his message.
I have used this idea of light and space affecting my work through my chandelier piece, the light from the window interacts with the transparent shells as well as hanging the object like a chandelier giving it a homelike quality and a personal effect.
Kaprow
Allan Kaprow's happenings aimed to blur the boundaries between life and art, I have interpreted this idea through my making of objects that serve as everyday objects as well as being artforms in their own right.
Roth, Moira. “Allan Kaprow's ‘Tree’: A Happening.” Archives of American Art Journal, vol. 47, no. 1/2, 2008, pp. 44–49. JSTOR, www.jstor.org/stable/25435147. Accessed 17 June 2021.
Marcel Duchamp
I have been very influenced by Duchamp's ‘ Readymades’
His choice to use ordinary and functional objects has inspired my own creation of the collaged canister, using a used object that functioned as a helium container, the collaged effect creates an artwork and deconstructs the purpose of the can.
‘…based on a reaction of visual indifference, with at the same time a total absence of good or bad taste…’ - Duchamp as quoted in The Art of Assemblage: A Symposium, The Museum of Modern Art, New York, October 19, 19
This idea of good and bad taste is prevalent in all my works of this project
Nesbit, Molly. “Ready-Made Originals: The Duchamp Model.” October, vol. 37, 1986, pp. 53–64. JSTOR, www.jstor.org/stable/778518. Accessed 17 June 2021.
Process led project
I have had a continual making process for this project following the steps of gathering information images and stimuli then creating works from this. creating the idea of deconstruction through reimagining original contexts for stimuli and using multiple medias to alter images.The use of digital editing has enabled me to make interesting stand alone images as well as manipulate images for print.
Halftone images- andy warhol and pop art style use of b&w for direct contrast to wallpaper and chataignes of the room
Tiles - separated out onto wall to deconstruct time and space bringing old nat geographic images to present environments, use of mirror to put into real time contexts and see some of ourselves right now in histricoal works
Street art is a little bit like Asbestos. Asbestos is all around us (in the walls and in the fabric of many buildings), but it often goes unnoticed. When we realize that it’s there it really gets our attention, it gets under our skin and we question it, it gets discussed. When I started putting work on the streets that what I wanted my work to do, to become part of the fabric of the city and to cause a reaction that makes people aware of their environment. So hence the name Asbestos.
– from Artasty interview
Interested in these pieces as street art as well as being made of found objects
Retreat of Reason – 140x190cm (55 inches x 75 inches), mixed media painted onto 5 separate pieces that are built from nearly 40 smaller triangles of wood found on streets and beaches in Dublin, Belfast, Kerry and London.
This project has been led through material processes and finding authenticity between artist and art.
Following ideas and influences I have created works that involve viewers within an installation space blending ideas between art and experience. Mirrored tiles allow viewers to be seen within my artwork and effectively become one of the pisces, interactive markings such as seats and chairs create interaction and a sense that my work is art as well as functioning.
Objects such as my light hanging and sheer curtain bring alternative perspective when interacted with by viewing the works from different angles revealing different views of my work. There is a humorous element to my work, use of mock pop art design and my exploration of kitsch, my use of overwhelming colour and busyness and movement within my print work also shows this. This humor art is authentic to me and my ideas as a creative. In addition there are nods to deeper meaning and ideas of which I have layered over suggesting the idea that my work is rooted in a contemporary context with modern events socially and politically influencing my designs. This project has seen much deviation from its origins however the running theme of deconstruction is string throughout, in less direct terms i have ultimately deconstructed a studio space into an installation of idea colour and thought.
FMP INSTALLATION SPACE
Rauschenberg inspired poster
Screen print stool chair
Shell Chandelier
Collaged canister
Collage and screen print tiles
Pop art style curtain
Chaise lounge upholstered with digitally printed fabric
Tiles on screen print wallpaper
Close up images of wallpaper
Poppy Renton
Final Evaluation
Deconstruction through textiles to reveal the underlying and unspoken.
This project was materially led which has allowed my project freedom to develop. However when planning for this project I envisioned one final outcome such as a wall hanging or a stand alone piece, this idea has changed in favour of a cohesive environment like space and my exhibition is now an installation. I changed this as I created a lot of work during the project and found that I had been influenced by the concept of Yayoi Kusama’s Installation spaces and Rauschenberg's combine works. I enjoyed how each individual piece of art I created complimented the rest of my works.
Within previous projects such as repeat practice I had found using a political or societal context for my work was beneficial in creating connection to the project so started with a feminst concept for my FMP. I could not find the same connection with this subject and was not enjoying creating works despite wanting to have a contextual basis.
To continue this project I would continue the idea of deconstruction through creating a ‘room’ like space exploring additions of furniture, I would be especially interested in creating a rug or floor artwork as I feel this would continue the idea of Kitsch that my work borders on and would be an interesting addition to a room. I would further extend the idea of my installation being a ‘happening’ like the work of Kaprow, and include a more interactive element than just my sofa and curtain.
This whole project was subject to huge changes inspired by peers, tuition and myself. In particular the idea to create a room and fully install my work into it by wallpapering started the process of turning my exhibition space into a installation and really helped my imagine what each piece of art would attribute to my space.
The hanging my work within my space greatly improved my project, the installation room gave each piece context and referenced each other, I moved into and started working in my space after the mid-point assessment which benefited me as I began imagining how my works would affect the space and how this would deconstruct the original space I was given. Without hanging my work and working into the space itself my work would look weak and there would be no deconstruction of a space which was integral to my project.
This project has a weakness in the way that it was mostly led by my own ideas in an exploratory way. In previous projects I have relied heavily on influence and research to guide my artworks which has led my work to lack a context which I prefer my work to have. There is no clear category ,my work is more an accumulation of artists I have been influenced by, I feel I could have created a stronger connection to artists and border research would have led me to explore the boundaries of textile fine art.
Through the completion of this project I have found that I can create a lot of work to a time schedule. Most interestingly I find that my best work comes through pure exploration and it is the joy of finding new techniques that comes through my work and makes it agnaging. I have learnt to listen to my intuition and change things I do not like early on, finding that change to project is a very good thing and deviating from initial ideas can be beneficial if they no longer serve the project purpose.
In September I will continue my art education to study Textile Design at Central Saint Martins. I have thoroughly enjoyed my time completing my Art Foundation and feel equipped to be a Textile student.
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