Key Points & Reflection:
- "I started with wax painting because I felt that painting was all about surface and form, so the idea of a linear form creating a gesture was with me."
- Benglis's connection with the surface and form here is similar to my own thinking. Surface and form were the most integral part of my work, they provide the foundation of my practice.
- "The art in general that was happening at the time was Minimalism and Pop Art, so I think I was reacting to the material qualities of the pop artist and reacting also to the ides of a minimalist, because I was not interested in taking art to a final conclusion, a minimal conclusion, it was more a kind of closed deductive reaction as to what art might be, and I felt I wanted art to be much more excessive and it was about more, not less. I’ve made a whole series of these linear forms first in plaster and sparkles and then later the metal and the metalising."
- Benglis is talking about her work and how the art movements at the time influenced her materiality. Benglis wanted her art to be about more and not less, which is the direction that my work seems to be heading in now. After a minimalist term last term with my stainless steel works, the more I am exploring materials I realise that I wish to create and express details within materials.
- Themes of being excessive is also related to my newer work and designs, where I want to create a large piece of mild steel full of intricate details for the viewer.
- Benglis describes how metal allowed her to be more 'excessive' which is a running theme in my practice - the excess of consumption within society.
- "I’m not depicting something I’m making a feeling or I’m making a form, and the edges often create a kind of reading, the way we read into clouds or tree forms or landscape forms. I think form and texture create the mood and the magic of the work."
- Benglis' connection with the process is also evident in this quote. Making a 'feeling' or a 'form' is what I am doing in my work, and I agree that form and texture have a significant impact on how the work is perceived by the viewer.
Lynda Benglis, Pinto, 1971, Pigmented Beeswax, Damar Resin
- This piece by Benglis, created using pigmented Beeswax also shares a material with painter I saw at the Nottingham Castle exhibition, Antony Micallef. This texturising material creates a Gerhard Richter-esque approach here and Benglis' form is very unique as a painting.
- I really like the painting and sculpture collaboration here and wish to develop these two styles more within my work.
Reflection/ ideas:
- Materiality was an emerging theme in my work last term, but is now becoming the main focus on my practice.
- Her work makes me think back to my aluminium piece where I made the cut outs, but if only it was more manipulated or bent round itself. For example if I had a larger sheet of aluminium, cut it all out to create this material which could be folded in on itself to create knots.
- Painting and sculpture together. This is becoming the theme for my practice now, to see how these two mediums can be pushed and react together.
- Painting and sculpture are the most commercial art form - perhaps this is a subtle critique.
Further Research
- Materiality book reading.
Further Studio Work / Material Testing:
Photograph of close up of CD that has been heated with a heat gun.
- Photoshop Manipulation
- Printed out photograph and added paint rolling technique.
Reflection:
- This experiment worked to reveal the details within an ordinary material, which when undergone manipulation, appears to consume the viewer through its reflective qualities, and range of details and texture.
- The colours vary depending on what angle you look at it, and it's quite iridescent.
- I don't think I would take the CD any further just because it's not a material I could work with on a larger scale that would look slick or well made, however it works well as a digital representation and could be printed on fabrics or made into large prints.
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