15/2/2016 0 Comments To Engage or Not to EngageEssay on Social Engagement in Art with regards to my PracticeFrom early paintings such as Gustav Courbet’s ‘Stonebreakers’ 1849, to interactive works of Joseph Beuys (1921-1986) or the modern day graffiti of Banksy; creatives have been using art to give unappreciated sectors of society a public voice and sense of worth for a substantial share of art history. A theme that’s exponential growth can be proved simply by overviewing last year’s Venice Biennale (2015) which contributed it’s most socially engaged collection yet. Ascertaining that this genre in its many forms not only holds an important place in the current art world, but can be expected to continue expanding in the way that we view and value art. Many reasons can be connected to this increased production such as freedom of speech and equality or increased awareness of world-wide issues. Socially engaged art can do many things including fighting for essential political or social debates. However, it is this hope as seen in Courbet’s painting, caused by publicised support and instilled on an individual level that interests me the most.
“It is a kind of teasing rebellion; it is not a violent revolution.” –Grayson Perry
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11/2/2016 0 Comments Art Rotterdam
However, I wasn't here as a tourist. I had one thing in mind: Art Rotterdam. The sixteenth edition of one of the most famous art fairs in Europe and stated to be "the most important place to discover young art" by director of the show, Fons Hof. Not only does the fair hold a refreshing interest in up-coming artists with a section dedicated to 'New Art', it also houses a huge range of works from painting to photography to sculpture to projection. Supported by oversized sandwiches, wine and tasty muffins it was an entire days adventure with more left over to see. The art begins before you even enter the building with installations by Leonard van Munster (a golden hill rising from the waters of the lake) and Ryan Mendoza (an entire house uprooted and reassigned to guard the entrance of the event with eerie tones emerging from the video hidden inside). Not to mention the building itself: a surreal white factory that appears to be all windows with Dali-esque legs reaching across to join the neighbouring building. Couple that with a line of vintage buses hopping back and forth to other Art Week events and you have an anxious buzz of creativity hit you before you even set foot in the door. As for the Fair itself a day simply wasn't enough to see everything for a careful thinker like me. But I thoroughly enjoyed the mix of talents, colour, ideas, arguments and humour all thrown about in one place. If you are looking for traditional aesthetics you're in the wrong place but if you want a vibrant clash of skill and modern concept you'll feel at home. Despite the term 'Fair', Art Rotterdam did well to seem without bias despite the split between young artist and students (aka. The poor) and elderly enthusiasts (aka. The Rich). The clear line between ages and intentions were laughably blatant but all were welcomed equally by the fair, galleries and artists. The collection followed no single theme unlike the Venice Biennale of 2015 which received so much grief for its direct social and political content, but served something for everyone from traditional Japanese puppeteer work to a ball wrapped in a hose pipe, from skilful photography to a smashed mirror with a legal document to void the buyer of any bad luck.
The playful collection was segregated into gallery spaces which provided the visiting artist not only a factory of inspiration but an overview of a huge selection of both Dutch and International galleries - leaving me with a list of artists to research but also of galleries which could one day support my work - one can always hope. 6/2/2016 0 Comments The Philosophy of BeautyA research essay discussing 'beauty' with regards to philosophical theory, art movements and modern media in relation to my own artistic practice..I. ‘American Beauty’ 1999 film Disinterested beauty On discovering that Angela Hayes is a virgin, Lester Burnham illustrates a transition from the effect of Eros to a platonic love displaying disinterested satisfaction as theorised by philosopher Kant. Realising that Angela is pure and recognising her innocence, Lester reacts to the beauty of truth as discussed by the theories of Plato, relying on moral judgement to find ‘good’ the highest reality rather than the aesthetic judgement that had previously led to his lust. This is shown by him no longer wanting to have sex with Angela; still finding her beautiful but finding contentment without the need to use her for physical pleasure. Aesthetic Enjoyment Kant believed beauty to be reliant on feeling and imagination more than the geometric or scientific qualities sought during the Renaissance. Lester Burnham’s first sight of Angela Hayes during her cheerleading routine is a clear example of this theory. Without knowing her morally or understanding any scientific conclusion of beauty, Lester experiences a sudden emotion of ecstasy due to his aesthetic judgement of her. This leads him to imagine her in a sexual situation that shows his lust for physical pleasure from beauty. Extra Observation: Rick Grimes’ Beauty Rick Grimes follows an evident disinterested satisfaction for the beauty in life. He films moments with no intention of adapting or using the footage. However, his aesthetic judgement whilst also fulfilling ‘purposiveness without purpose (for example, finding beauty in a useless plastic bag) seems void of common sense as described by Kant. His ideals of beauty remain unaffected by the opinions of others despite often being harshly evident. Neither does he need or expect them to understand or agree with his interpretation of beauty.
These reasons make my idea of beauty relatable to others through both geometric theories and classical philosophies of beauty. However, whilst these are theoretically relatable, I believe our judgement of beauty is a friction between the inbuilt aesthetic ‘common sense’ that Kant believed to be universal and the nurture debate. For example, when comparing this tropical beach to the tree-lined road I would describe both as beautiful but my preference lies with the chosen image because it is relatable to landscapes I have witnessed. This leads me to trust the image, removing any sense of uncanny as I know the beauty is realistic from personal experience. A further example would be my reaction to this image of a new design for a BMW motorbike. Having owned my own motorbike and having friends in automotive design I have a learned appreciation for motorbikes and their aesthetics. Upon finding this model on the internet I gained pleasure simply from viewing it. To many others this would simply be a motorbike and lead to no emotional reaction as the interest relies on a specific interest. This supports the theory of Kant and David Hume that whilst there are inherent standards, ones subjective view of beauty is a trainable quality through experience.
On top of this the atmosphere and meaning of these photo's can vary widely depending on artistic decisions such as the format and exposure of the below window.
In England we see 1cm of snow and BAM - the schools are closed and the adults grumble about the dangers just in time for their children to race out of the door sledge (or heavy duty bin bag) in hand. The excitement is required due to the rarity of this short-lived event. The snow is slush within a few hours despite the continued enthusiasm of the children sliding down the now mud bank…
This year my dedication to "experiencing the Dutch festivities" was rewarded with not just the usual splattering of snow but four days of code red winter weather! I was amazed to see the Dutch continuing to cycle through the newly laid snow, fighting their way to work despite the freezing winds. However, then the ice set in and with a temperature of -5 recorded to feel like -10 we were granted three days in by safety of the fire. The roads became ice rinks and adults slip-slided past the skating youngsters to panic buy necessities at the local supermarket. I managed to take a few photos of this winter wonderland before retiring to the comfort of my heated apartment… “Not a blare or glare of being. Rather, more like the subtle shadows of a candle illuminating a space we might otherwise overlook.” – Carlo McCormick, ‘Swoon: Noted in Passing Simply titled ‘Swoon’ the book from which this quote is derived discusses the work of female contemporary street artist Swoon, through a collection of essays by those who know and work with her. Combined with extensive photographic documentation, this book creates an almost biographical account of Swoon’s artistic development from her first wheat-paste in 2002 - and the influence of her upbringing in “the cultural wasteland of Daytona Beach” - to the book’s publication in 2010. The essays include both technical and critical insights into Swoon’s practice alongside personal anecdotes that bring the artist alive for the reader. Including information stranded somewhere between analysis and interview, the texts introduce Swoon foremost as a person which promotes a refreshingly deeper understanding of her motives and practice when compared to the majority of more scholarly material. As described in this quote by New York critic and curator Carlo McCormick, Swoon’s practice involves finding unnoticed corners of the urban environment to breathe life into with her work. Her humble wheat-pastes fight weathering and vandalism along-side the walls they cover, becoming part of the location and giving each piece a visually aging history. Like her work, Swoon also becomes part of the community within her practicing technique. Over the years she has developed an entourage that follows and supports her practice. Whilst swoon designs and creates all wheat-pastes herself it is clear from the stories of the various authors within this book that the sheer mass and scale of swoons later projects would not be possible without help to organise, paste, perform and participation from her collective followers. This is especially prevalent in her move from street art to organised arts events such as ‘Swimming Cities of Serenissima’, homemade recycled rafts that travelled the Adriatic sea and arrived unannounced to the Venice Biennale in 2009 only to supply further entertainment with nightly performances by the artistic crew. More specifically, the New York artist is known for her figurative street-art, created as cut-outs and prints of a life-size scale or larger. These figures are often sketchy portraits of friends and family of Swoon herself that abstract into fantasy with the inclusion of urban structures, scenes and patterns. From this background her practice also includes gallery exhibitions, group performances such as ‘Serenissima’ and community-engaging events such as a large-scale public food fight (‘The Condiment War’, Toyshop Collective with the Madagascan institute, 2003) or pirate ambush (‘Pirates of the Staten Island Ferry’, Toyshop Collective, 2003). Through her work Swoon, on one hand, brings communities together to slow down and enjoy the fun and silliness of life. On the other, she pushes the boundaries between street art and traditional ‘fine’ art techniques, whilst spreading awareness of social causes, cultural differences and the innate beauty of humanity within the overlooked corners of the urban environment: “It’s a kind of social art that is inherently political without the need to express any ideology” (C. McCormick, Swoon: Noted in Passing). This social theory of Swoon’s practice is what most relates to and inspires my own work. Being a peaceful activist, strong optimist and dedicated believer in equality, my work shares similar aims with Swoon’s: I look to connect to the community through my work and bring people together through shared values and participation. To quote my own website, "The presence of art creates a unique opportunity for society. Forming dialogue between strangers, increasing cultural understanding and becoming a platform to fight taboo subjects out in the open; art is a societal power of monumental strength. All the while introducing colour and creativity to a world suffering from an exponential case of urban development.” (M. C. Downing, www.thenakedartistabroad/weebly.com). My most recent work has held a clear focus on noticing the ‘wonders of life’ through hand-lettering designs and ‘branding’; teaching viewers to search for the beauty of life by initiating them to question their own opinions on the topic. Whilst I direct more towards nature and inherent human qualities, Swoon’s use of the urban environment to highlight forgotten areas and bring beauty to them follows a similar aim. The fantasy element as well as the clear emotion in the subjects of her prints also connect to my encouragement towards seeing the beauty and ‘magic’ of living. Meanwhile, the public format of Swoon’s practice shows a resilience to the high-brow, invite-only party of the ‘fine art world’. Although, I am not brave enough to graffiti a wall or close a public street, I do put a lot of thought into the accessibility of my work. As, in simple terms, I aim to spread happiness to my viewers I feel there is no-one unworthy of involvement. The more people understand and gain from my work the more successful it is. So, in turn, this can be connected to all street and community art which displays work for all to witness and enjoy. This includes all variety of cultures that are displayed and shared on Swoon’s work and have been politically discussed in my own work in previous years. 31/12/2015 0 Comments New Year New Skills
PhotographyWith current technology anyone can take a reasonable photo but auto settings have become a crutch for most of us and sadly I must admit this very much includes myself. However, this week I spent one day with a friend from Minerva who is keen on analogue photography and therefore has a much more theoretical knowledge on the subject.
Moving universities was a fantastic way to meet and network with more people and whilst I have found amazing friends here it is also important to realise how useful this change of community is for learning new skills and gaining different feedback. This day was a good example of utilising the talents of those around you to exchange skills as I could also help him with his skills for teaching beginners in English whilst gaining a huge amount of knowledge myself. 17/12/2015 0 Comments Model DrawingLife is about opportunities, and art school takes this further requiring risks and experimentation. When I heard the first years had a drawing class with live models I was the first to volunteer to join in. To get the most out of these years it is important one is not restricted by set timetables and expectations but pushes further to squeeze a little extra knowledge and practice wherever possible. I know I have said it before about a previous course but taking extra life drawing courses is the best freedom, motivation and technical support I have found. Here you can see my work from this short course - most are just quick sketches, experiments with poses, materials and techniques but it is that loosening and playfulness that makes me gain so much from the classes. These specific classes had no set format just two different models each session with frequently changing poses - the rest is down to my own imagination and whatever materials I had on me that day. Class Interim ExhibitionMy hand-lettered cups soon developed into 3-dimensional pieces by creating hand-drawn labels for recycled bottles and paper cups. The messages remained the same 'wonders of the world' quotes but in this format they took on an atmosphere of celebration, as if they were the remnants of a party for the world. I liked this idea that the piece could not only inspire gratitude but be a celebration of all these wonderful things. When given an opportunity to exhibit these to the public, this time I made three shelves from old wood and scattered the pieces across them using metallic gold cups and even party straws. I kept the colours warm and neutral so as not to distract from the lettering and used warm spotlights to highlight the work and give a homely glow. This was aided by the darkness surrounding as all neighbouring artworks were projections that needed the low light. The location was actually outside the main exhibition hall, a conscious decision I made in order to set people at ease allowing the inviting warmth to have full effect with some visitors even picking up pieces to read them more closely. Erasmus Studies Exhibition
10/12/2015 0 Comments Artistic OptimismI just had to share this graffiti on the window of a Minerva classroom. For an optimist it is always good weather and now here in Minerva and over these beautiful dutch buildings - out of this window at least - it really always is.
The following is a critical analysis of my series 'Vogue' from The Pigeon Project, written by Safira Taylor (also a student of Minerva Art Academy). It is great to see her understanding of my work and ethics as well as being able to view the work from another's perspective. [This text has been published with consent from the author and all opinions are her own.] Research Assignment Safira Taylor 1. Visual Analysis (ca)= cause words (co)= comparison words (ef)= effect words When first confronted with this panel of Vogue covers, a reassuring feeling comes over me (ef). I immediately recognize the composition (ca) and the text; the famous Vogue magazine (co). The stylistic drawings of the pigeons are painted in unsaturated peachy colours (ca) that trigger thoughts of make up artist’s sketches and fashion illustration (co). The drawings are done is such a simple, and beautiful way (ca), the viewer must remind themselves that it is a slim and well proportioned pigeon gracing the cover (ef), rather than a slim and well proportioned model (co). The pigeon covers part of the Vogue title text, but the viewer is able to fill in the missing text themselves, as it is so famous (co). The text on the magazine cover is written as the usual magazine font type, size and colours (co) and reads usual magazine headlines, with a bird twist. ‘Pretty as a pigeon- taking the fashion world by a storm’, the fact that the artist takes the pigeon on the cover so seriously (ca) can be humorous to the viewer (ef). The hand illustrated covers (ca) link to special edition covers done by Vogue (co). They would use hand drawn covers for collector editions. Not only is this a Vogue magazine, but also a collectors edition, adding more worth, and making the pigeon models even more unusual and shocking to the viewer (ef). 2. Works Made Prior to the Analysed Work These works are all part of her series about the glorified pigeon. The first (from left) is in the style of a classical portrait. The pigeon appears to be posing for the artist. The colours are very traditional, and the style is realistic. The second is more-like a printed pattern, it has an all over composition but the pigeon stands out as it is the only bird not painted as a silhouette, this makes the pigeon look innocent and important. The third is a nest. It is made out of silk, and expensive looking materials; they look soft to touch and are royally coloured. Inside is an egg, we can assume it’s a pigeon egg. This work adds value to the idea of the pigeon nest. It shows the worth and importance of it’s home, as well as glorifying it’s birth and existence. Although visually these works are quite different to the Vogue covers, they all contain the pigeon as the central subject. The pigeon is taken out of its context and is made to look more superior. The Vogue covers make the statement more obvious as the juxtaposition between Vogue and a pigeon is more extreme than in the prior artworks. 3. What is the Framework?
Coral is an exchange student so these are works that she made at her art school in Coventry, England, where she is doing Fine Art and Illustration. They were made over a period of eight weeks. Before this series she had created works about aspects of Islamic culture and religion that are unappreciated and incorrectly perceived by the majority of the Western world, this was inspired by a trip volunteering in Jordan. These works were not widely appreciated by her English teachers and peers, so the she decided to work with a more approachable subject. There was no set assignment, but she did have guidance from a tutor. They were presented together as a final series of works. 4. Interview [Please see previous post for full interview] 5. Influence Art Style/Movement/ Artist After speaking with Coral, I thought a lot about what she was trying to achieve through her art. The interview really made me think. In her interview she mentions England a lot and I think her self-proclaimed English sarcasm is a big influence on her work. She is also trying to make her art accessible to everyone to open the eyes and create happiness within all of society. Another artist that also blurs the boundary between the art world and the general public is Banksy. Banksy is a street graffiti artist, also from England. His art is accessible to everyone and there is no monetary value to his art, anyone can view it. He also says a lot about society in humorous ways, which makes it accessible for all sorts of people. Like Coral he aims to create awareness within society, but he does it in ways that don’t necessarily bring happiness to the viewer. 6. Reconstruction Coral is a conceptual artist. She struggles to create work without a strong concept within it. Aesthetically pleasing the viewer comes second to the concept.. This creates a problem for her as she can be limited by her concept when producing art. (P) It is clear to me when I speak with Coral that she has a concept, a very clear one. She knows what she wants to create with her art. I think pigeons are a great metaphor for this concept. While speaking with her we realised that the English art schooling system revolves around a concept more so than at Minerva. Coral uses a lot of comparisons in this series of works. She compares works to Vogue and to a famous portraiture. These comparisons may make it difficult for her to develop her own artistic style. (P)
19/11/2015 0 Comments Engaged Art
17/11/2015 A written reflection on: Eat. Pray. Love.Swirls of colour and culture still dazzling my mind, I sit in a sense of awe at witnessing such a story. To any travel-intrigued individual (which is probably most modern-day westerners tired of the tedious nine-to-five of urban living) the locations and scenery involved in this film will be a source of newly enlightened inspiration.
However, for me the real importance was held not by the places, the colours, the artistic camera-use or the lively breadth of accompanying music. My interest lies with the bare truth and frantic realism of both story-line and character. There is no saviour appearing in all his perfection in time to save her from sadness. Rather, in truth, I have never seen so many tears in a single film (and cannot help but wonder at the effect this emotive performance had on Julia Roberts in her everyday life). It is refreshing to be allowed negativity: For popular culture to understand, and furthermore reassure, the presence of anxiety, guilt and loneliness within the process of personal growth. For once permission is given to accept all forms of emotion with open arms and present awareness. If any one thing should be taken from this film it is that happiness is never guaranteed, you can be lonely anywhere, doing anything. And this is one of life’s most beautiful truths; because it also means that happiness is within you. Happiness is carried like a torch, bright and proud, lighting the way and warming our souls. So whatever you are feeling, wherever you are, happiness is never much further than a quiet seat or a slice of pizza. [Further artistic note: I recently found myself in a discussion regarding the use of shock and awe in art and the repetitive fashions in art culture. Questioning: Is there anything genuinely ‘new’ left to discover? And can we really be shocked in today’s direct culture, where sex, money and aggression are used to attract and sell? I think with this film came an unexpected realisation: I was shocked by reality. Some would describe this storyline as slow or rambling and perhaps that is the beauty of it. Seeing a film with the frequent ups and downs of life, and the genuine problems of human emotion, left me surprised and what’s more with a feeling of being emptied out and rebuilt in a better order. How novel to think that what truly shocks us now is accepting reality with all its turbulent imperfections. And perhaps this attention to truthful reality could filter into the art world?.] You've completed your deadlines and enjoyed a relaxed sigh spanning a week off while assessments are carried out by the tutors. Now, just as you feel this studying lark might not be too tough after all, Project Week hits. An introduction to the next block that leaves no room for "I'm just getting back into the flow" excuses. This week engages Minerva students from both Art and Design courses in a full-time focussed study experience that creates an opportunity to delve into a set project with no less than hard-core commitment. The product of this you can see above: A bustling show of creative collaborations, artwork, designs and concepts all produced in a single week. This week has been an amazing experience and a fantastic way to kick start those creative cogs for the next block. I knackered, dirty and even my sneezes come out black with charcoal dust, but I've met fantastic people and learnt a lot not only about drawing but also about collaboration, teamwork, dedication and routine. My Project
My Finished WorkThe 3 Final WallsRESEARCH ANALYSIS -Safira Taylor, Sept. 2015 (2) Encountering the work of Safira Taylor brings foremost to mind one word: Oxymoron. Plain yet complex [CA], a simple technique creating an intricate design [CA] and a three-dimensional result still very much in touch with its two-dimensional beginning [CA]: It is an artwork heavy with playful [EF] contradiction. The papercuts feature geometric shapes cut from large pieces of white paper[CA]. A repetitive and seemingly instinctive process [CA] that could be seen as a frantic [EF] (further supported by the ripped edges and sharp angles) or therapeutic action [EF] (portrayed better by the organic curves and flowing process). Whilst papercuts are predominantly connected to oriental [CO] culture, the pattern use could also reflect the aboriginal [CO] artwork reminiscent of Taylor’s Australian upbringing. Abstract art has the unique quality of unveiling our human nature to search for the recognisable. In 1932, psychologist Bartlett conducted an experiment in which participants had to remember and retell a story from a foreign culture. He found that participants assimilated the story to their own culture, actively producing recognisable elements so that they could better interact and understand it. The same is happening here. One might see mystical [EF] faces or creatures [CO] appearing from within their white camouflage [CO]; becoming surreal skeletons dancing [CO] with the suggested movement of each fold and contortion of the paper [CA]. Further creating atmospheric [EF] shadows that play with our sense of depth and produce tonal variants within the pure white. In today’s hectic, flashy environment, where materials such as paper are overused and underappreciated, the work of Safira Taylor draws attention to its full potential and the potential of humanity to create and see beauty within the small and simplistic. Taylor’s practice has showed a clear and conscious development throughout the past year. Originating from bright, geometrical, figurative paintings, reminiscent of Picasso’s cubist portraiture, her work has transformed to a 3-dimensional manipulation of the painting style. With this development, the work seems to have become instinctively more abstract as she finds enjoyment in the new technique. However, the artist has gradually balanced this complex new form with reduced colour usage, eventually producing an entirely white form. With this piece [Sept. 2015 (1)] a minimum pallet has been achieved from which she has now returned with the use of outline in contrast to the previous block colours. However, whilst these works may all seem very different they all maintain the similar use of shapes and folds as even the 2-dimension work of March 2015 has folded sections within the patterns. This final piece [Sept. 2015 (1)] was created within the boundaries of an installation class that gave her one week to create and display something for her tutor, Suzanne, and her classmates to critique. This framework produced an open environment for Taylor to use her own style whilst encouraging experimentation. Being the fifth week of the class, Safira was aiming to develop her practice in order to fully utilise the opinions of her audience, hence leading her to minimise her colour pallet. Meanwhile the week time-frame still provided enough time to find a new way of achieving subtle outlines on the work. Interview with the Artist Coral: In this piece you painted blue paper white and ripped the edges to achieve coloured outlines. This is a clear development from your previous paper-cut technique but how did you come to use paper-cuts and how else has this developed for you over time? Safira Taylor: At the beginning of last year I was doing something completely different; I was putting banana skins through a press to make strange prints. I presented that after the first half but no-one was too excited about it as it was very brown. But then I always do these kind of drawings [gesturing to a flowing geometrical pattern doodled in her sketchbook] and one teacher said they were really nice and that maybe I should do something with them. So from that I thought I would do a painting of them but I found this quite boring so once I had painted I wanted to add more detail and that is when I painted the backside of the paper and cut and folded it so that the back colours were revealed. So that was the start of it [showing the painting from March 2015]. Initially these were glued down to keep it flat like a painting and then I just stopped and these 3-dimensional works [May 2015] came about - it really wasn’t planned. So it all really came from my doodles which I think are what I would imagine as generic feminine doodles, so I always thought they would never be anything in my art but they were the things I most enjoyed doing. C: You said where you started from was also printing on paper so what is so special about paper to you? Do you feel there is a cultural reason behind your interest in working with paper or is it purely from a technical or enjoyment point of view? ST: Well I think what I like about it is that I don’t have a plan; paper really allows you to just do it and make a mistake and recover from it easily. I think if I had to plan and prepare I wouldn’t be as interested because it started due to the ease of it and now it is where I am comfortable. I like how paper works and it also helps that it is cheap because then I can make loads and they are not precious things – I can change or throw them away and I don’t have to take five hours to feel ready to start. That planning stage was what I struggled with in the printing work I did before it. So it is probably down to paper being so disposable. C: That is interesting today with the prominent issues of recycling and so on, which perhaps as artists we think less about because it’s a largely used material, but do you feel it has any effect on you how other people view your material? ST: I don’t think it affects me but I guess there is something nice about just paper and acrylics in comparison to these artists that use such expensive materials that their art can be based on material worth rather than skill. I don’t appreciate those works so that might also have affected my choice. C: And the making-process, how does it make you feel using these techniques? ST: I really like it. Painting can get tedious but I often take a long time doing it in front of the TV or with music, it’s very relaxing because there is no thinking involved. C: So do you have any aim, for yourself or your viewers, when you are working or no specific intentions? ST: It is probably more for myself. I think I would rather create a work that I am really happy with than worry about what other people think but I do think because I use bright colours it is quite easy for anyone, whether or not they know a lot about art, to like it. I think if I worry too much about what other people think I wouldn’t do anything and I know that I really enjoy that moment when I fold a piece over and the effect is a complete surprise and I realise it looks good together – that moment is completely for me. C: So that leads me to ask what responses have you received from viewers and what is your reaction to them? That could be from viewers or tutors. ST: I think people generally like it because it is quite easy to look at and it is not about anything political which can put some people off because they don’t care about those things. With my work you don’t have to really think about them but I like to think that also if you want to think deeper maybe there is something behind it. But honestly I don’t know what that is. So in general people usually call them joyous, decorative and childish. C: And do you like or agree with those opinions? ST: Initially I was a bit offended when I presented of about 3 meters of this colourful style and people thought it was so decorative they were comparing it to birthday party decorations. But then I really thought about it and realised decorative art is really cool and and after researching it I now believe ‘decorative’ is a great quality for art to have. So I have come to terms with it all now. C: And from you mentioning a possible deeper meaning, whilst I assume you view your practice as purely abstract, do you find other people or even yourself sometimes find other things in it like it becomes an unintended image? ST: Yes, lots of people do. I have had someone call one of my works ‘the fish one’ and another said ‘oh yes I see the dragon there’ but it is all unintentional and I never see anything. But if someone wants to see something that is fine. I guess it could be compared to the psychology test with the ink spillages. C: Would you say your practice has any cultural links, perhaps to oriental papercuts or aboriginal designs? ST: Initially I would have said no and I wouldn’t have thought about it. I always said I did it in these ways just because I liked it but then I was talking to Bartolt and he compared it to the things I was wearing and how my style comes through in the technique. So then I really thought about it and realised there is definitely quite a lot of cultural influences. Growing up in Australia I saw a lot of aboriginal paintings and now my parents live in Indonesia where the patterns, for example on the ring I am wearing, and the Batik designs all relate to my interest in patterns. Also my mum is part Arabic and my grandfather lived in Zanzibar which is in Tanzania so I have had an Islamic and African influence too. I grew up using these things called Kangas which are like sheets of material with patterns on and I really want my mum to bring some over because they are actually really similar to the colours and shapes that I use. C: And lastly, do you have an artist, art style or art movement that inspires you creating your work? ST: There is a photographer called Lorenzo Vitturi who uses bright colours for example creating a sculpture with rotten fruit that contrasts say an orange with the green mould becoming really beautiful. So I guess he is a big influence on colour. I also really like the French impressionists. I am not a big fan of realistic work for example the common church scenes. In the above interview, Taylor stated that a key artist from whom she draws inspiration is Italian photographer, Lorenzo Vitturi. The most conspicuous similarity between the practices of these two artists is, as mentioned by Taylor, use of colour. Playing with bright, contrasting colours that grab the viewer’s attention and create a surreal and unexpected composition. Whilst Vitturi’s photographs display an intentional sculpture, Taylor’s work differs with her use of unplanned folds that juxtapose colours unexpected even to the artist herself. However, the piece discussed here can be more closely related to the process of Vitturi as, although her reduced palette visually opposes that of Vitturi’s fruit, her preparation of painting the blue paper and planning to cause the contrasted blue and white with ripped edges follows his planned, sourced and constructed sculptures. Meanwhile, despite being in photographic form, Vitturi’s seemingly balanced sculptures twist, curve and peel in a form not unlike Taylors manipulated paper. Safira Taylor’s practice began this year as a colourful depiction of the multicultural patterns [v] relating to her family and upbringing [c]. During the process of developing this technique she searched for a way to add interest as well as lively, unexpected compositions [p]; leading her to experiment with three-dimensional folds [v] and an unplanned, intuitive process. However, removing the planning stage that she had disliked in her previous printing work [p] creates opportunities for mistakes to be made and changes needed [p]. This confirmed for the artist her need for inexpensive materials considered disposable in today’s culture [c], invoking a material use purely focussed on paper [v]. This decision was further supported by her dislike for material worth amidst the art world [c], inspiring her to use acrylics and paper [v] as a display of skill and aesthetics above monetary value [p].
Because of this there is an element of irony in the artist’s decision to minimise her colour palette [v] in the works of September 2015. This decision was provoked from a need to experiment after maximising her colour use and so restricting her forward development in this area [p]. No doubt further induced by the educational framework and expected feedback that requires a continual effort to change and improve [c]. To succeed in this the artist here detracts colour [v], now taking inspiration away from her inherit cultures and focussing on reacting to the art world, or more particularly to the gallery setting of mainstream exhibition standards [c]. However, this sudden disregard of colour [v] could also be described as an experimental or even subconscious reaction to the feedback Taylor had struggled to come to terms with relating to ‘decorative’ art [c]. In the beginning, Taylor received this as an implication that her practice is not serious and so felt it was being undervalued [p]. This is a common misconception fuelled by ‘art-world values’ that discriminate between loose concepts such as: Good and bad, art and craft, serious and commercial [c]. This feedback further inspired a change in shape and size of the work [v]. Taylor recalls the feedback in connection to a large piece three meters in length. Since then she has reduced the size and experimented with more abstracted shapes creating less continual forms [v]. Perhaps the most unique, the chosen piece, seen by Taylor as a single piece that could form part of a similar installation, has been created in four parts [v]. Hence, breaking up the design and giving more focus to each form. This takes the perception away from the party banners and décor previously mentioned and instead introduces the paper as sculptures, twisted and manipulated in a visual fashion not unlike the work of her inspiration, Vitturi [c]. The weather has been crazy since arriving in the Netherlands - beautiful sunshine followed by harsh down-pours and now the mist has set in. Not quite brave enough to tackle the cold and damp I recorded the scene from the safety of my window ledge...
2/11/2015 0 Comments Hand LetteringInspiration: Mythology and PositivityOne of the reasons I was so interested in attending Minerva is its wide range of courses and in depth theory and philosophy classes. I sometimes feel my English Arts education forgets the importance of academic research and literary skills, as well as background philosophical inspiration which is rarely covered in the syllabus. However, here in Groningen we are consistently engaged in two theory courses and an extra choice of theory class. Last block I chose Mythology which was a fascinating course and intrigued me for its moralistic and imaginative qualities. Wanting to further this research I started reading about mythology in my own time and soon found a concept that connected to my beliefs and the passions that I like to spread in my work: The River Cocytus. One of the four rivers of the Underworld according to Roman Mythology it was "the river of lamentation; it was by drinking the waters of this river that souls fully realised the wonder of life and came to understand all that they had lost by dying" (Roberts, M. J. 1994, Myths and Legends of Ancient Greece and Rome). In this circumstance it is a torture, made to instil regret and dissatisfaction with the existence of the souls and it reminded me how important it is that we exercise gratitude every day and realise the beauty of this world before we leave it. Therefore, I took it upon myself to bring this opportunity for enlightenment into our lives. I started brainstorming ideas of how to visualise this experience of drinking and awakening from our inappreciative conscience. I soon updated the concept connecting it to the common philosophy "Is the glass half full or half empty?". And soon I was spreading the word on social media that I was in need of peoples opinions of what the wonders of the world are for them. It is important to me that rather than pushing my values on others I can remind people of their own values and stimulate gratitude and appreciation for these personal things. These opinions I have now been transforming into simple cup shapes, half-filled with artistic hand-lettering. Hand-lettering and typography is something I find beautiful and intriguing. Whilst I have no training in the area I have enjoyed experimenting by copying different fonts and making them my own. I find Pinterest a huge source of inspiration and also motivation as it is evident how appreciated hand-lettering is at the current time. The above image shows the process from choosing written quotes to planning and creating the base sketch whilst below you can see the stages and final result of my first piece in this style. I am pleased with the result but know that this is just the beginning... Making a StartPlaster and SymbolismMy course requires me to take a subject class each block that constitutes a project focussed around a particular material. Similar happens in the first year at my English University however, here the development of practical skills continues throughout your education giving continuous opportunities to develop interests or learn something new simultaneously with your personal practice. Having free range of materials in previous sculpture courses (and choosing to focus on metal, wire and paper) it was quite a shock to arrive at my first subject lesson in the Netherlands and be told the next eight weeks would be dedicated to plaster and chicken wire, a new and daunting quest for my practice. The brief didn’t make things any more homely. Our request was to create a self-portrait – not too bad huh? The setback was that it could be anything but figurative. That’s right – make a sculpture of yourself that doesn’t look like a person. To the more logical readers this may sound ridiculous and perhaps in essence it is as a few dropped out of the class after receiving this gem. However, I felt an anxious excitement build inside me as I realised how unique this concept was. And as an artist focussed on everyone but myself why shouldn’t I fully indulge in the artistic ego this project? Coming up with a plan took a fair bit of pencil tapping I will admit. This struggle led me to admit that I am no abstract artist but within this defeat I realised my passion for symbolism and its connection between social conditioning and hidden meanings. Eventually I drew resources from my childhood and my interests to symbolise my development over time:
We all have the opportunity to work hard and become more, those who deal with loss need hope and support, not lower goals. The Making ProcessHonestly, I believed the piece to be a disaster throughout the majority of the making process. The material was new and strange, the process was long with a variety of techniques to choose from and my aim for a ‘fragile-looking construction’ threw up multiple practical issues to be addressed.
However, I let myself enjoy the process, dealing with problems in a fun and experimental way and discovered some wonderful things. For example if you pour plaster repeatedly it forms puddle-like waves and if you splatter an extra layer whilst the second is still wet it resembles the effect of water dropped on sand. Plaster can also be left very rough and the process often produces interesting contrasts between rough edges, perfectly smooth surfaces and plaster stalactites that form whilst drying if you are generous with your plaster. All of these effects were used to form a more interesting final result. A brief explanation of my process is as follows:
24/10/2015 0 Comments An Interview with the Artist...Below is an interview between myself and Safira, also a student at Minerva, regarding 'The Pigeon Project' I completed as part of my studies last academic year. Having studied analysis techniques we have now been set the assignment to write an analysis of each others work which the following interview will become part of. If you are interested in art analysis expect more of this assignment to be published in the coming month. [The interview is as summarised by Safira and is published with her consent.] Interviewer: Safira Taylor Interviewee: Coral ST: Why did you decide to work with pigeons with your work? C: I had hit a block with my work, and my tutor tried to help me overcome this by saying ‘what do you want to do with your work/ what is the aim of your practice?’ and from that I realised, that although it’s a very broad concept, I want to make people happy. As simple and as complicated as that is. I started doing some typography work, writing different words and looking up the definition of peace and of happiness. My tutor then told me that my concept was too broad, and it would benefit me to minimize it as far as I can until I get a focused metaphor for my broader concept. Pigeons became my metaphor for viewing things in a positive light and therefore bringing happiness. ST: So you decided to use pigeons to bring happiness to viewers? C: Yes! I was trying to teach my viewers that you choose your own happiness. If you view things in a positive light, and choose to see the best and appreciate beauty in the little things you can achieve a higher happiness. The pigeons came about because they’re such a common subject; everybody in England has to deal with them everyday. They’re relatable to other cultures as well; we’re here in the Netherlands and we have exactly the same problem. Pigeons are unnoticed or physically hated in lots of places, people even kick them and get aggressive with them. They’ve introduced birds of prey in Trafalgar Square in London to kill and deter pigeons, despite it being renowned for pigeons, like the beautiful Mary Poppins scene! It is really becoming an active thing to kill off these birds. ST: Yes and they’re so close to Doves, which are seen as such a holy bird. C: Yes doves are seen completely differently and I think there’s a lot of irony in it. I’m quite an ironic, sarcastic person, I guess that’s quite an English thing, so I thought the fact that we hate pigeons was a really ironic statement. A lot of them are disabled with broken wings and damaged legs, and they’re dirty. But the thing is, originally pigeons were seaside animals, they would have lived in cliffs, and looked perfectly fine, the equivalent of a seagull. But because we turned our cities into high rise buildings and cathedrals we created a place for them to live inland, and because we drop so much litter, we made it easier for them to find food amidst our rubbish. Then we put out spikes to stop the pigeons from landing, which then damages their legs. So all of these things are caused by our negative development on nature, but we judge them. I saw it as this really sarcastic thing; we’re being so horrible to these animals, when we ruined their nature and their habitat. It made me think a lot about the way we treat the lesser fortunate in our own societies, the way that when people have to live on the streets, we judge them for being dirty, when our streets are dirty. So the pigeon became a very weighty metaphor for me, while still being fun, approachable and recognisable for everyone else. ST: Yes I agree, it’s also quite risky though because lots of people may look at your art and think ‘ew why does she have a pigeon there?’ How do you force them to think in your way? C: Even when I get those people that look at my art and think ‘why the hell have you painted a pigeon’ I feel like that is a result for me. I know that it’s making them slightly more aware of their own disgust for pigeons, and the next time they see a pigeon in the street, they will recall my visually aesthetic art and associate it with the creatures. So whether they notice it, or whether they intend it, they will always have a slightly more positive outlook on the birds. As soon as you manage it with one thing, it’s already the start of a better habit. It’s a subconscious link. The amount of feedback I got from people who didn’t like pigeons but still appreciating the colours in the panting, and I’m like ‘that’s what they look like! Have a closer look, they’re beautiful!’ I am a bit of an activist but I don’t want it to be in a confronting way. ST: I think that’s good, because then your work will appeal to the masses, do you agree this is very important with your type of art? C: Yes, you don’t want to intimidate people. ST: My next question was about goals within your art, I think you’ve covered most of them already? C: Yeah it’s mainly about happiness and improving lives in a fun and sarcastic way. Society is a massive influence for me, it’s also a personal interest, I like to read about philosophy of society, and that comes into my inspiration. ST: Which artists inspire you? Your Vogue covers reminded me of fashion designer’s sketches. C: My work varies so much, so it’s hard to say that any one style is relevant. I have a massive love for Marina Abramovic and Grason Perry. Mostly because of who they are as a person and their points of view. My work is very broad, but my viewpoint is getting people to view things differently, and I feel like Marina Abramovic and Grason Perry do this. Grason Perry makes something look beautiful then you get closer and it has reality on it; it has swear words, and ugly truths about the things that happen in the world. He is also very sarcastic and confident in his work. He is known as the transvestite potter from Essex, the fact that he can be so forward with who he is is a massive inspiration to me. Abramovic manages to have a dialogue with society without words, like in 512 hours and The Artist Is Present so this is also similar to my aim. ST: Why did you choose to make your work so accessible? C: I think it’s an issue with the art world today, that we see the art world and the public as separate. If my intention is to improve lives, why should only the people who are interested in the depths of the art world gain anything from that. I also appreciate multiculturalism and want my work to be accessible to everyone.
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