CONTEXTUAL STATEMENT:

 ‘One man's trash is another man's treasure’- Idiom.

Using discarded materials I am able to transform an everyday space into a new way of experiencing inspired by trace and architecture.

Transforming the old into the new. Giving new forms of life to old discarded materials. I scavenge far and wide to find materials wherever I can. I give these forgotten and thrown away materials a new identity through mark making, construction and colour placement.

Conversations between textures, colours and shapes are what drive my making process. The immediacy of this conversation makes the physical process of making a first hand experience that is subjective to ones own personal interpretation. I react to the subjective experience I have with the materials by adding new elements whilst still retaining the previous marks made.

I’m interested in the process of illustrating a new form of interaction and a new form of identity. There’s a complete contrast between the gallery space and my own practice, between ‘The Permanent and The Temporary’.  

Jessica Langley

MY WORK: FINAL!!!!

No Name,

2012,

Wood, Tape, Paint, Wire, Wall Filler, Metal

This is my final installation. I choose this set up because it encourages the viewer to walk in and around the art, viewing it from all angles.

The materials are all recycled from construction sites, the 3D labs and from other students.

I choose to use only this blue colour as it doesn't distract from the work as a whole and it resembles the colour you get when metal rusts.

There is a strong layered quality in this work as I've been working with the marks already made on the materials previous to me changing them. There is a constant conversation between old mark makings and the new, Which in turn highlights my ideas about working on and with traces but not erasing them. All of the marks I have made on my materials look very crisp and sharp, creating a constant rhythm between the objects chosen. This conversation leads to reactions to textures, colour and forms that are purely a physical experience. The immediacy of this conversation makes the making process a first hand experience that is subjective to ones own personal interpretation.

I'm using the tape and wire not only as material to wrap around my work but also as another form of painting. This then produces that idea of the temporary that has had a constant play in my work.
The balancing of boards and the use of materials to wrap or hold up other elements gives the work this reconstructed ideal, if for only a moment. Nothing seems set in stone and looks moveable and easily re-arrangeable. 

This works also have a strong conversation with architecture as all of my materials are or could be used within a house or building site. I then construct a new object that uses a sculptural quality, blurring the lines between painting and sculpture.

There’s a complete contrast between the gallery space and my own practice, between The Permanent and The Temporary.

The spectator’s role in interacting with my art piece is a very important part in this work. When I talk about experience I’m talking about the interaction and reaction between the viewer and what is being viewed. Without the spectators participation and interaction this art piece wouldn’t be able to provoke any type of experience or pass on any knowledge to the audience.

MY WORK: FINAL OPTION

Another installation idea, but with all pieces flat on the ground.

- Again this denies the view of the other side of the art pieces.

- Less interaction between the pieces as an architectural structure.

- Interesting view of the work, unseen yet in my practice.

MY WORK: FINAL OPTION

These are the final art pieces I have decided to put into my final work, I'm just looking at different option of installing them into my space.

-Restricted interaction against the wall.

-Denies the viewer the chance of seeing the other side of the work.

-Doesn't use the full potential of the space I've been given.

READING: The Everyday and Architecture

In this reading there are three different writings about different ideas to do with the everyday and architecture.

First Writing: Sarah Wigglesworth and Jeremy Till- The Everyday and Architecture.

"Aspects of the world overlooked or suppressed by high architecture are thus allowed to flourish in a manner which captures the redemptive and creative potential of any act of making." pg. 7.

With this writing it opens up my mind to think about the everyday and how it influences our experiences based on materials and architecture. 

I'm interested in using everyday materials but changing them individually and as a group, cohesive, crisp and having a constant rhythm between each piece. 

Second Writing: Phillip Hall-Patch- Breacking the Veil.

"- a material architecture of engagement and experience. In this context, the overriding concern must be that of time and/or ability to place materials and processes of construction within a time-frame: to read a building as one might read a palimpsest where the memory of previous construction and embodiments (although indistinct) have left their trace; traces which the weathering effects of time itself may be allowed to magnify or conceal, but which may never be erased." pg. 37.

This interest in traces has been very strong during the process of my practice. I react to the marks left from my last work and create a conversation between the old and the new. 

I'm also interested in the marks already made on the object i've collected. Not erasing them but adding to them and reacting to their colour, shape and texture.

Third Writing: Asmund Thorkildsen- Turning the Commonplace, sure... (A Potic Appreciation of Jessica Stockholder's Art).

"Jessica Stockholder's installations. One is taken by the unexpectedness of the obvious. The common objects she uses as building materials are woven into full-scale, three dimentional installations that invite direct participation. One moves easily in them; they offer suprises, shifts, obstacles." pg. 53.

I like the way Stockholder uses everyday materials and recreates them so they offer a new shift that evolves the participation between the art and the spectator. 

She makes statements between the materials she uses and the setting she places them in. There's a constant conversation between all elements in her work.   

READING: Jacques Ranciere

The Emancipated Spectator

“To be a spectator is to be separated from both the capacity to know and the power to act” (Ranciere, J, pg. 2) I’ve found Ranciere’s writing about ‘The Emancipated Spectator’ to be very helpful in understanding my own and other artists ideas. The spectator’s role in interacting with an art piece is very important as they create all the meaning without any prior knowledge of what they are looking at. The audience uses a combination of previous experiences to translate and interpret what they understand in the artwork. 

When Ranciere talks about the spectator being separated from the capacity to know and the power to act, I believe he’s talking about combining the act of looking and doing into one experience you have with an art piece. By looking you are doing some of the work for the artist in the sense that you are talking for them about their work.  

I want the viewer to interact with my art work. Walk around, in, out of different parts. This will give them the chance to view the work from all angles and notice that the work isn't one sided and i have created a whole new object out of these recycled materials.  

MY WORK:

For this work I was just testing other installation ideas I could do. 

I want the work to interact with the space more than how its is against the wall. I'm interested in adding an active quality where the audience and move in and around the art. 

Against the wall the interaction with the work becomes limited.