Having a studio is a gift for many people and is something that I will hopefully continue to have throughout my career when it begins. Throughout most of my education, I had always thought having a studio to do your work means that you’re a proper artist and a good one, however, taking a visit to Davida’s studio proved me wrong.
Davida studio is her house which is an interesting take on the idea of the studio. From engaging in conversations with Davida and the rest of my tutor group I realised that you don’t always need a separate building to be able to have a studio. I suppose as I have been lucky enough to be in institutions which supply me with a studio this might not be the case in the future.
Seeing the success Davida has had over the years and integrating her home life and her art life together, helped me come to the understanding that a studio is what you make it be, this being either at home or somewhere else. It is a place where you create work, where you develop your ideas.
This experience has taught me that I need to be able to adapt to work wherever as I may not be lucky enough to have a place to work permanently.
Rødland explores familiar situations through photograph however, he creates an underlying lyricism and poetic language. A situation like the one below would normally be seen as societies norm and erotic but, because one of the subjects is an older man it is seen as disturbing, and not normal.
This is to make the viewer feel slightly uncomfortable, but also see the reality of societies rules. By doing this it keeps the audiences engaged and as Rodland states it ‘keep you in the process of looking’ (Serpentine Gallery Website.)
Personally, I find the longer you look at one of his photographs the more you understand and the uncomfortable side soon becomes comfortable. This may be from an art students perspective, however, by looking at the image for a great length of time you begin to see elements that of a staged photograph. Reading the information leaflet from the Serpentine it does state that the majority of his work is staged and again it is to show the underlying problems with the rules of society.
Below are some more images from the exhibition that explore the concept in different ways.
Visual research began immediately once I had found Guyton’s work. I had chosen this particular piece from the collection:
The reason for choosing this particular image is because I found visually showed the techniques the Guyton has used. It has a playful element and demonstrates the space between us and the reality that Guyton has created.
In response to my chosen artwork, I decided to focus directly on depth and the use of mark-making, to begin with. This was done with acrylic with a mix of PVA glue on paper, to begin with. To create the drips water was applied which created a burst of mono colour.
Removing colour and uses a monochrome palette adds to the depth of field that is present in Guyton’s work and what I am aiming to create.
To take these further:
Continue using a mono palette
Use different types of surfaces
Use different materials
Layer more – this is to add to the depth
Continue to use thick materials to create a 3D effect
Wade Guyton’s Das New Yorker Atelier abridged version shows sensitivity to his surroundings and the inspection that takes place towards how the constant interaction between images, technologies, spaces and bodies are mutated and that this presents us with the portrait of the relationship between the digital world and us.
The collection of work shows the exploration of impact digital technologies has on image production and the artistic process in the 21st century. To create the work Guyton uses a process that is different to the traditional painting methods. He utilises computers, inkjet printers, scanners and iPhone cameras to create the large-scale paintings and also smaller pieces of work that are done on paper.
Purposely misusing the technology he explores the ‘anatomy of digital images’ by testing the abilities and limits of the tech. Sheets of material, mainly canvas, are folded and then run through the printers. The thickness of the materials and also the surfaces on which this all takes place work hand in hand with each other to create the technical glitches, distortions and smears and this creates the attention to the process.
The exhibit itself was seen as a single body of work and not a collection. This is an interesting factor as it is not a way of displaying that I have considered in the past. It makes sense as displaying the work as one it witnesses inception and fabrication.
One, Two, Three is a Superflex commission that is currently being displayed in the Turbine Hall. Exploring elements have fun and adventure one, two, three swing helped the public relax and enjoy themselves. Part of the information board for the exhibition says
“Swinging with two other people has greater potential than swinging alone and One, Two, Three, Swing! invites us to realise this potential together. Swinging as three, our collective energy resists gravity and challenges the laws of nature.”
This tells us that working and being part of a team can always make your stronger and achieve things that you wouldn’t normal alone.
Taking part in the activity that the installation provided really made me feel like I was a child again and it also showed how important interaction is that is with yourself and with others. This is where the inspiration for this piece comes into play. Like the interaction that is demonstrated between people and the installation, I want to create an interaction in my work that will demonstrate an understanding of materials and my audience and this will be done through many layers.
Looking at different site-specific art and ways of displaying your artwork is what was explored in this particular lecture. It has many influences such as Conceptualism, Minimalism, Arte Povera and much more. When it first originated it started off as a de-contextualisation of the museum space.
I learnt during this lecture that site art covers a wide range of areas this being architecture all the way to public demonstrations. It has made me consider how my practice can work in relation to the certain areas like architecture. Designing work that would be compatible with the exterior and/ or the interior. As Richard Serra stated: “The works become part of the site and restructure both conceptually and perceptually the organization of the site.”