Reflective Statement

  

Universal Wound

The artwork that I have chosen to reinterpret from the Art Gallery of South Australia is Thomas Hirschhorn’s Twin-Subjecter. From researching more of his work I chose to recreate several elements which I found to be particularly successful. My piece explores consumerism which is also a strong theme in Hirschhorn’s work. I like many others struggle with personal battles against consumerism my artwork gives a view of the bigger picture, the inducement of the consumer, greed of corporations and venerable who suffer.  

The title of my work Universal Wound denotes that we are responsible for the injury that we produce to others. When we give into consumerism we are responsible for the effect that this might have on others, regardless of whether we see it or not. The documentary Fashion Victims recounts the horrific collapse of the Rana Plaza, a garment factory in Bangladesh. The thing that struck was the lack of responsibility taken by the multi-million dollar clothing brands. On my mannequin I made a collage of words and imagery relating to consumerism, this acts as an ethereal skin which my mannequin is trapped in. I included some of the brands that were connected to the sweat shops; this is my way of shaming them. These brands had no regards for the safety and well being of the sweat shop workers, it always comes down to the money.  I suspended the United States one-hundred dollar bill to rest on the mannequin. My research uncovered that the idea of consumerism first developed in the United States, I wanted to make reference to this.  Greed is an environment which causes suffering; this explains the condition that my mannequin is in. In Hirschhorn’s installations he is able to create environments for his subjects to become a part of and I wanted to recreate this in my work. I used metal triangles to create a garment which had the same enticing nature that attracted me to Twin-Subjecters. The depressions on my dress are also a note of caution to consumer, not to get sucked in.

I think that the strength of my piece is that it’s a strong visual and the symbology in my work allows the viewer to engage in it. Through the process of creating my artwork I found it challenging to create something that would capture the essence of consumerism in a meaningful way. By reflect on Hirschhorn’s work and what I found to be successful, I was able reinterpret this into my own. The main purpose of my piece is to ask the viewer to think about consumerism and to reflect on the injury that it causes and the role that they may play in it. My piece largely relies on the response of a viewer, as to whether or not I have successfully fulfilled this.   

Requiem for a dream

The film Requiem for a dream shows how four people  have been effected by addiction. The pain that they feel is emphasised through the use of repetitive imagery and sound which confront the viewer. This film is relate able to with Thomas Hirschhorn's Twin-Subjecter. At one point in the film The pain that they feel is so strong that it consumes their whole body, like nails piercing the flesh. The camera flashes from one character to the other as they go through pain, the root cause is the same but they experience it in different ways. Similarly in Hirschhorn's piece the nails and screws are clustered in certain parts of the body. I have felt pain before but on viewing Hirschhorn's piece I found it difficult to sympathize or relate to the figures. I think that by viewing this film it gave me a different perspective on  his piece.

Thomas Hirschhorn - Twin-Subjecter

     Twin-Subjecter, 2011, mannequins, nails, screws, plastic base, wood, 

225 x 155 x 56 cm, Art Gallery of South Australia

  

The  artwork from the Art Gallery of South Australia which I have chosen to reinterpret  is Thomas Hirschhorn's  Twin-Subjecter.  This piece was completed in Paris, France 2011 and later that year acquired through the Art Gallery of South Australia's donor foundation. My initial reaction when I saw this piece from a distance was one of awe. They looked like humans that had been mummified in crystalline forms, it’s not until you get closer that you can see each screw & nail individually.  What immediately drew my attention to this piece was the play on light, which has growing importance in my own practice, working with metal. Going by the name of this piece I’m guessing that it might be about people who have been subject to some kind of brutality and as a result their bodies have been altered. Although the idea of nails being put into the body isn't very pleasant the sculptures themselves are beautiful. This piece has underlying themes of pain and discomfort however my overall reaction to its physical appearance was one of intrigue and admiration.  The mannequins represent the human body hence I began questioning why I didn't have a strong sympathetic response towards them. 

When I spoke to others about their reaction to the sculpture, many of them had mixed emotions of discomfort and fascination, while others were purely horrified. For some the piece made them reflect on their own pain and the pain of others.  Perhaps I view the mannequins only as objects or maybe it's because I have seen a lot of pain and violence in media which has somehow deactivated my ability to sympathise. One of the reasons why this piece is so successful is because it is left up to the viewer to interpret for themselves. It allows the viewer to reflect on society as well as their own life. This piece gives no indication of time or place, it could have relevance 40 years ago or 40 years into the future, this is what makes this piece suitable for the AGSA's  permanent collection. His sculpture discusses the human condition, which further gives it a universal relevance. 

His pieces often have a rough appearance because of his use of everyday materials, this piece is slightly more refined. Some of his work is extremely confrontational in both their imaginary and subject matter, in particular his collages. The one below combines two images which are complete opposites than one another, one of beauty and vanity and the other of brutality and destruction. The piece Twin-Subjecter is more suitable for public view  in an article it shows a 5 year old girl encountering the piece. 

Collage - Truth  n 21, 2012, paper, prints, plastic sheet, tape, 26.5 x 42cm

This quote gives a good account of the motivation behind his collages. “A collage is an interpretation. An interpretation that wants to create something new. Doing collages means to create a new world with existing elements of this world. Everyone has once in his life made a collage and everybody is included in a collage. Collages possess the power to implicate the other immediately. I like the capacity of non-exclusion of collages and I like the fact that they are always suspiscious and not taken seriously. Collages still resist consumption, even if­­ - like everything - they have to fight against glamorousness and fashionability. I want to put together what cannot be put together, I think that’s the aim of a collage and it’s my mission as an artist.”  

Reflective Statement

 Reflective Statement 

Action Stations

Tactile Transformations

I often choose to work with objects that I have made, opposed to found objects. In doing this I am able to approach the objects with greater sensitivity and inform the viewer through a stronger connection to the hand. Originally I began making these coiled baskets for a textiles exhibition that will be taking place at the Women’s and Children’s hospital in November. I wanted to create pieces that would have a positive engagement with the location and the people viewing it. These baskets are fun, playful & draw upon the therapeutic nature, which textiles are often associated with.  By creating these objects by hand I can ensure that each piece is unique. Different coiling methods, colours, shapes and sizes, have been used and they can form a group or stand on their own.  

The piece is presented as sculpture and installation, where the baskets become sculptural forms and the film becomes an installation.  These two pieces work in relationship with one another, to create two visual representations, one which is tangible and tactile and the other, which is visually engaging. My final piece developed quite organically, I started off by moving the objects by hand. I noticed little movements, which I found intriguing, for example when the basket was placed onto a flat surface it wobbled. I decided that the objects were more interesting when they weren't reliant on the maker and through careful editing I was able to remove any obvious relationship to the human hand. At the beginning of the film you can see the baskets coming into motion, this symbolises that they have broken free from their static and material state to become, living beings that have their own identity. I am drawn to slow and repetitive processes, which allow me to form a close relationship with each piece. The methodology behind this piece is that the effort I put into making each basket, allows them to transcend their own sense of energy. The subtle use of sound further animates them. You can hear them wobbling, scampering playing & communicating with one another.

I think that the main strength of this piece is the objects themselves and how they unexpectedly portray a sense of movement and energy. Prior to this assignment I had very limited knowledge of filming and video editing, so that was a big challenge for me. I also ran into countless technical issues, sometimes editing a video four times because the file was deleted, corrupted etc.  Had things progressed more smoothly, I think I would have been able to spend more time on the execution of the film. Despite these obstacles, I have gained many new skills which I hope to develop in the future. 

Action Stations - Part 3

Coiled Baskets - Projection
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Action Stations - Part 2

Impressions 

Metal has been pushed to create an imprint

 

 Snapshots taken from a video

I used pen create a more permanent documentation of these marks, I continued to draw until the marks were no longer visible.

Necklace - Interaction with light

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Contrasting metal shapes have been used to show the negative shapes

Falling Triangles

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Falling Triangles 2

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Absorbing water

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Expanding Ball

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Coiled Baskets

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This video was captured over a time frame of almost 2 hours

Interacting with coiled baskets

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Interacting with coiled baskets -2

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Additional research

The internet is extremely addictive and you can be lazy, all it takes is click and immediately you are rewarded with information or entertainment. Recently I was on Facebook looking through my news feed, I had stopped scrolling but  there was still a lot of movement. People were commenting on a video every couple of seconds. This was an unusual sensation because usually movement comes as a direct response of the person who is controlling the computer. There are many other people viewing and responding to what we see on-line, while we are aware that this is happening, it isn't often that we see such an obvious visual reminder.

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Fidgeting with ring
This is an action I make when I'm nervous or bored.

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Action Stations - Part 1

Impressions 

I was sitting on a chair with my hand under my thigh and the knitted cardigan I was wearing left an impression on my hand. This could be seen as a gradual movement, after around 20 minutes my skin returned back to normal.   

The act of making
These baskets are created using a slow and repetitive motion called coiling.

For my last assignment I made sculptural forms out of metal triangles, I would like to further explore the movement of light. 

Movement when water is absorbed by another material

Expanding and contracting ball

Rebecca Horn

Rebecca Horn was born on on March 23, 1944 in Germany, she is best known for her body modifications. Horn was fist taught to draw by her Romanian governess & quickly became obsessed. She loved the way that drawing allowed her to express herself, it was not restrictive unlike oral language. She lived with her family in Germany after the end of World War II. She had to learn French & English because at the time Germans were hated. When she drew it didn't have to be in German, French or English, she could just draw.


At 19 Horn rebelled against her parents plans for her to study economics & instead attended Hamburg Academy of Fine Arts. After her first year she contracted severe lung poisoning & was hospitalised. She worked in her apartment without a mask, she was unaware of the dangers of breathing in glass fiber. During Horn's recovery, both of her parents died, she felt totally isolated. Despite her loss & extreme isolation she continued to find comfort in her art. She used softer materials & drew whilst recovering in bed. She slowly began to break out of her isolation by creating sculptures & strange body extensions. Horn was able to communicate her loneliness through body forms.

Horn has produced a large body of work, in a range of mediums including film, performances, sculptures, installations, drawings & photographs. In her earlier performative pieces she explores the connection between the human body & space by creating marks using body extensions. Her later work substitutes the human body with animated sculptures that have a life of their own. The objects that she uses in her work have been freed from their material form & are transformed into metaphors, which touch on mythical, historical, literary and spiritual imagery. In these two performance pieces Horn has used body extensions to make marks.

Scratching both walls at once (1974)

Pencil Mask (1972)

Iris Van Herpen - Magnetic Motion

                        

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Iris Van Herpens launched her third ready to wear collection Magnetic Motions, as part of Paris fashion week. This collection explores an interplay of the magnetic forces; attraction and repulsion.

"I find beauty in the continual shaping of chaos which clearly embodies the primordial power of nature's performance." - Iris Van Herpen 

There was so much intricate details and experimentation with a range of different materials, however I think that by having no sound the movements of the fabric looked awkward and clunky. An example of a really strong use of music would be Van Herpen's Hybrid Holism collection. The use of sound allowed the models to carry a persona.  I think that the music plays a significant role in runway shows, it gives them a performative aspect rather than people simply walking down a runway.  

In my last assignment I explored the use of metal triangles to create sculptures that could move much like a fabric. I believe that these applications such as these can be used for the purpose of art as well as practical pieces. This is what we have seen Van Herpen achieve in her ready to wear collections. 

New Textiles

Recently I came across the text Beyond Craft: the art fabric by Mildred Constantine & Jack Larsen. The thing that has stuck with me, was the idea that textiles can no longer be catagorised by their traditional  methods. I think that a textile says more about the way in which something has been constructed. Through the incorporation of contemporary materials and modern technology, new textiles can be created.  Much of wearable technology has been created to have additional features to benefit the wearer however I'm more interested in their aesthetic and visual impact, particularly when they're placed on the human body in motion. 


My body of work for jewellery, last semester was largely influenced by the work of Iris Van Herpen. Her body sculptures incorporate new textiles, which have incredible visual impact. The materials that she uses move in unusual ways. I am usually drawn towards her sculptures that play with light. When I was introduced to titanium, I immediately fell in love with the intrinsic colours and its iridescent quality of the metal. I thought that by using this material I might be able to create a similar visual response than that in Van Herpen's work. 

Laurence Coffrant, 2014, Moments in transition, titanium, yarn, resin, seed beads

When I first documented my work, I photographed them as still objects. Eventually I placed them on the body and then the human body in motion. I believe that the bangle below was the most successful as it had the sense of movement, which I was originally trying to capture by using the titanium. 

When photographing my work I began to see three levels of engagement where a new dynamic could be brought to each. 

object  > object placed on the human body > object on the human body in motion

If I wanted to go beyond this I would also like to see how the movement of the  bangle could be captured through film or a sequence of photographs. 

Laurence Coffrant, 2014, Moments in transition, titanium, yarn, resin

Maiko Takeda

Maiko Takeda

         

This is a perfect example of how a picture, cannot adequately capture the tactile nature of an artwork. Through the careful use of sound the experience of seeing these two objects in movement is heightened. These pieces by Maiko Takeda, work as extensions of the human body. As the people in the film come into close contact, their head garments gently brush one another. Seeing this triggers a strong emotional response. It reminds me of the sensation one might feel, when unexpectedly brushing the hair on someone else's arm and getting goosebumps. I'm interested in seeing art objects on the human body as their site of specification and seeing how they move and interact with light. I think that this play with light is important as it gives the pieces their own sense of energy and shows how it engages with space and the person wearing it.

From seeing the work of Takeda and Iris Van Herpen, it sparked my interest in fashion film, I found a lot of inspiring films on showstudio.com/

The importance of sound can be clearly distinguished in these two videos, which display the same footage of Takeda's work. Video B leaves a much stronger impact. The high pitch of the music has a good relationship to the material qualities of the object.   

Video A seen at 0:00 - 1:20

Video B seen at 2:30 - 3 minutes

MAIKO TAKEDA for POSTmatter - 2014

More More More part 4

The metal triangles are able to engage with the environment, creating a landscape of their own, where organic and man-made are combined. This piece gives reference to the unusual way in which crystals are formed. The triangles have been connected using sticky tape to create a fabric like structure that represents the faces of a gemstone. 

Regina Schwarzer

Regine Schwarzer 

One thing that I really admire about Regina's work is the way she respects the materials being used. A lot of jewellers try to give the stones a dazzling effect but Regine accepts them for what they are.  Often leaving the stone raw or faceting them in a way, that traps their geological past. Regine also creates pieces that mimic the forms of gemstones and the natural environment surrounding them.