Almost ironically I found this exhibition to be a visually and intellectually overwhelming display of a genre of art that began by simplifying perspective into geometric forms. This notion of abstraction as a universal language felt absent in the curation here as I fought my way through a bombardment of imagery and descriptions in my own adventure of the black square.
Opening with Kazimir Malevich’s visual representation of utopian ideals through the compositional balance of ‘Black quadrilateral’ (circa. 1915) we witness the birth of abstraction, and with it the notion of revolutionary art. From here on the exhibition traces the development of artistic abstraction over the past centaury, observing its on going relationship with an ever-changing society. We are followed by Malevich’s paintings and those he closely influenced until we are introduced to Piet Mondrian’s painting; ‘Composition with Yellow, Red and Blue’ (1937-42). The exhibitions curation suggests the influence of Malevich’s black square in Mondrian’s foundations of neoplasticism. Yet here we see Mondrian’s visual practice of the dynamic equilibrium theory coming together with the abstraction of natural perspective into primal shapes that influenced a movement of aesthetic design.
This tangent of abstraction that talks about consumerism in the Western world was the easiest for me to follow due to my own reality. Following Mondrian’s composition I was struck by the lack of colour in both Dóra Maurer’s ‘Seven Rotations’ (1979) and Hassan Sharif’s ‘Drawing squares on the floor using a cube’ (1982) that seemed to continue Mondrian’s message. Both are similar in their process of squashing 3 dimensions into 2 dimensional representations but I think it is their suggestion of the endlessness of both art and abstraction where their strength lies. The presentation of Maurer’s photographs was worth the trip to the gallery itself. The transformation from the initial image to the last exploits the audience’s process of image reading. Demonstrated by the simplicity of the first image of Maurer holding the emptiness of the white square alongside the complexity of the final photograph, where the audience is asked to mentally deconstruct the image to understand it’s origins.
Upstairs this theme of materiality and disorientation in abstract art lead me to Gunilla Klingberg’s video piece ‘Spar Loop’ (2000) where I began to see evidence of contemporary abstractions perception and interaction with society. Klingberg’s kaleidoscopic animation of logos explores the abstract of the everyday in Western society by mimicking the spiritual capacity of consumerism. In some ways this piece echoes the realization that Roland Barthes had that; ‘the cultural work done in the past by gods and sagas is now done by laundry detergent commercials.” Spar Loop demonstrates the way that the general public is exploited by capitalist structures of society that allow advertisements to excite us in a way that was once done by transcendental powers.
This is not the only place in the exhibition where Barthes theories seemed relevant. For an exhibition that explores the liberation of abstract art I felt that too much emphasis was put on the authors. Alongside each piece was a lengthy description citing the authors past inspirations, although useful, this meant that it was easy to spend more time reading than looking. As Barthes points out ‘To give an Author to a text is to impose upon that text a stop clause, to furnish it with a final signification, to close the writing.” This is precisely what I felt happened here, although the artists exhibited used abstraction as a universal language to cover a variation of themes and mediums, the emphasis put on Malevich’s realization of the Black Square meant that all focus was on the fact that the work was abstract. In this space the works cannot individually grow or adapt to their audience as they have been forced into a curated timeline where there only purpose for display is the fact that they were in some way inspired by a black square, all other purposes are cut off within the walls of the White Chapel Gallery until the 6th of April.
After experimenting with my intaglio etching photocopies in a grid format I started thinking about how they would work as a video piece, as if each photocopy could be shown as a frame in its series, it could almost be an animation of the ice melting away. This inspiration also came from watching videos of John Cage’s print making processes, because his prints are so down to chance the videos of him making the pieces almost because more interesting than the work for me. I also found myself very interested in working with the audio that came out of documenting the ice being thrown to the ground.
My first experiment didn’t work as I only used the 6 photocopies that made up the left to right diagonal through the grid. This meant that the print didn’t really fade away but instead jumped from one photo copy to the next. I also experimented with slowing down the ice smashing audio here, this worked well I think as it gave the impact emphasis. I also liked how the audio softened as the photocopies got lighter, giving the impression of ice melting.
From this initial experiment I went on to scan in all 36 of the photocopies, so that the transition would be much smoother. This worked much better than I had anticipated, with 6 frames per second the black and white print fades smoothly away until the viewer is left with strange white and grey marks from the photocopier moving on the screen. I also decided to experiment with using the footage of me dropping the ice, as I liked the way that Dora Maurer’s piece ‘Throwing a plate from very high’ can be displayed alongside the photographs of her throwing the plate. As the video was much longer as it contained more photocopies this allowed me to play with the audio a little more. I decided to start the audio as I cut to the photocopies so that the audio and impact of the ice smashing can be experienced together, but the actual impact is still not seen conventionally.
I found the correlation between the audio and photocopies the most interesting part of this piece. The inclusion of me dropping the ice at the beginning made the piece too obvious, the audio with the photocopies on its own carries much more ambiguity and is much more exciting. So I then played around with only using the photocopies and manipulated audio, duplicating and flipping the sequence so that after the audio and visuals fade the process starts back up again.
I feel that this is the most successful out come of this combination of media as it for the way it visualises an impact through different ways, without ever letting the audience see this impact normally. Reversing the audio was really interesting, it completely changed the tone of the piece and I find the potential for this piece to be played on a loop very exciting. Ultimately this outcome successfully gives this sense of water freezing and ice melting I think, it explores natural cycles and changes whilst also thinking about the distortions that technology has on our society.
In the past week I was granted the opportunity to try out the intaglio printing process. In preparation for this I researched Dora Maurer’s work with printmaking as I had heard that she aimed to produce indeterminable outcomes from processes, which is what most interests myself. In my research I found her piece ‘Throwing the Plate from Very High” to be of most influence to my own approach to the intaglio print process, as I too wanted to catch something as fleeting as a moment of impact. My initial brainstorm in the workshop was thinking about how I could capture ice melting through this process, unfortunately this did not seem possible given that water softly shrinking would not mark the soft ground applied to the plate, but perhaps I may be able to do something with water, salt and vinegar that would arrive at a similar outcome once I have a better understanding of this process as a whole. In the end I decided that the best way for me to start using this process initially would be to mimic Maurer’s use of the process but instead of throwing the plate, drop a slab of ice onto it.
This made a much larger mark than both the technician and I had expected which was positive, but as a saw that there was still large pieces of ice intact I decided to continue smashing the remaining pieces onto the plate until there was none left. The spontaneous performance of this was quite exciting, being free to smash blocks of ice as an expression of nature felt liberating and almost therapeutic. The plate took around 40 minutes to get a good etch as I used steel with a very thin layer of soft ground. At first I found this process quite intimidating because of its complexity but once I had inked up the plate and created my first print I felt much more comfortable in the print workshop and I am eager to experiment with the boundaries that this process has to offer.
Despite having got a final outcome from the plate I didn’t quite feel that this piece was resolved yet. In my other studio work I had been experimenting with a more common process of printmaking; photocopying. Using an A3 photocopier I have been manipulating colourful images by moving them sporadically whilst being scanned and working repetitively from those scans rather than the original image in order to expose the colours. I decided to see what would happen if I did the same to this black and white image, but I didn’t feel that it would be right to add more movement to the print as it was being scanned as the ‘action’ had already happened within the image. Instead I decided to see what would happen if I continued to photocopy the previous photocopy of the print as I was hoping that this in some way could visually resemble the process of ice melting.
This is the result of photocopying photocopies of the print 36 times, although changes in the quality cannot be noticed when a photocopy of the previous photocopy are compared, the 6 diagonal copies in the middle show the disintegration of the process concisely. I am pleased with the development of this idea, what I was most interested in Maurer’s work was the way in which she exposed processes and I feel that I have achieved this to some extent here with the photocopies. The repetitive and tedious task of photocopying photocopies exposes the fact that this instant process of reproducing an image has its faults, every time a new photocopy is made the image is manipulated further away from the original and truthful image. For me this is important as I think it could be applied to the way in which society, especially western society, views itself within the natural world. Over the most recent period of history we have found ourselves progressively loosing touch with the natural world of which we are apart of, with the focus of our day to day lives slowly leaning toward technology and ridiculousness, instead of growing to understand ourselves and the world around us.