- Close up's of the textured grey painting on canvas. The unprimed canvas left room for texture to appear when the roller repeatedly covered the canvas.
- Hanging the painting on the wall and getting feedback, the peer group liked the unfinished look of the painting as you can still see the canvas underneath.
- These gaps in the painting are something quite unique, and a reoccurring theme within my work. They remind me of when I cut out the gaps in the aluminium metal, responding to Anish Kapoor's void concepts.
- Anish Kapoor talks a lot about the 'void' in the book 'Anish Kapoor: Making Emptiness' by Homi K. Bhabha.
- "... the presence of an object can render a space more empty than mere vacancy could ever envisage." p.12.
Responding to Andrews Feedback, Trying to Make the Aluminium Stand:
- Andrew stated that he liked the look of the aluminium with the holes cut out that I did previously, and whether I could make the sheet metal stand up. I decided to have more of a play with the material, and bent it around more. It was surprisingly easy to bend due to the thinness of the metal.
- The only way I could get it to stand was like this in a curved shape, which I think works quite well, but still not like a fully fledged sculpture in its own right.
- I like the shadow the sculpture leaves underneath on the floor, its a faded abstract line pattern - something I could do somethng with further.
Mixing Sculpture and Painting; In Conversation:
Reflections:
- Since the painting had 'voids' in it, and the sculpture had voids in it, and they both have an unfinished look, I thought about how they would look if they were in conversation with each other.
- They almost reflect each other and provoke an argument between painting, sculpture and form. They are two different mediums that are essentially projecting the same approach of abstraction, void, monochromatic tone... and their placement together works a lot stronger than separately.
- This collaboration of works made me think back to Chelsea School of Art's Undergraduate Summer Show, where there was a room with paintings on the wall, and metal steel sheet metal sculpture on the floor. It worked together in the show there as a curatorial decision to put two opposing mediums together, but it was because they shared a common ground of colour or tone.
Chelsea School of Art Summer show (sculpture on the floor, matching paintings on the walls)
Development for Sculpture + Painting
- Upon reflection, I want to maybe crush parts of the aluminium sculpture even more.
- And although this painting is finished, I may add some silver leaf in the 'voids', to bring it closer to the aluminium sculpture.
Overall Reflection:
- Seeing my work on the wall for once, I felt a sense of achievement and like I had finally created an art object after a year of what feels like experimentation pieces. This is why the framed approach to my art now is essential - the frame almost elevates art to become perceived as art.
- "The void slips sideways from the grasp of frame and figure; its visual apprehension as contained absence, made whole and present in the eye of the viewer, is attenuated." ('Anish Kapoor: Making Emptiness' by Homi K. Bhabha. p.13-14).
- I feel that my past work last term focused on the void conceptually through using a purely reflective material, but now it seems I am depicting the void physically.
- I feel like my work answers the following quote from the same book, speaking about Anish Kapoor's own concerns within his work:
- "Kapoor stays with the state of transitionally, allowing it time and space to develop its own affects - anxiety, unease, restlessness - so that viewing becomes part of the process of making the work itself. The spectator's relation to the object involves a process of questioning the underlying conditions through which the work becomes a visual experience in the first place: how can the conceptual void be made visable? how can the perceptual void be spoken?" (('Anish Kapoor: Making Emptiness' by Homi K. Bhabha. p.16).
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