‘LSTV’ and development of work from September – October

As an induction into my Second Year studio unit, in September we were given a project to respond to a piece of Art on display in London, in order to change our way of working whilst expanding our knowledge of artists. I was given Sigmar Polke’s ‘Untitled (Square 2)’, 2003, which is displayed at the Tate Modern in the room ‘Painting after technology’. Although I usually try to avoid looking at traditional methods of painting, within this composition I found an interest in the contrast between fluid and the static because of the layers of different painting technique. The free flowing paint caught under a systematically printed image, and the colour palette of this painting had a great affect on me, I found the metallic and yet dulled hues soothing and complimentary whilst simultaneously dark, generating a sense of mysticism.

Sigmar Polke, Untitled (Square 2) 2003

From my initial research I became interested in the philosophy of Metaphysics, as I found that in its theories it contains questions I have often asked myself. The basic questions of Metaphysics helped me form my first response to Polke’s work as they gave me a basic reason to make art. These questions are: 1. Ultimately what is there? 2. What is it like? To start generating work I tried to answer these questions visually. My initial response consisted of a black and white macro image of moss, enlarged onto 16 A4 pages. Onto this I projected colour footage of the moss and it’s surroundings. In this way I tried to answer the questions like this; 1. What is there? This piece of moss. 2. What is it like? It is green, growing in a wall, there are bushes growing above it etc. This idea of static and movement was clearly inspired by the layers in Polke’s painting, whilst still trying to visualize the merging of reality and then humans perception of reality. The projection onto the image made it difficult for either element can be understood at all but when they were separated they can both be seen clearly. I find this confusion caused by the layering of the objective and subjective over one another to be an interesting idea – is it impossible for human’s to objectively observe the world around us because we are a part of it?

Initial response to Polke and Metaphysics research
Initial response to Polke and Metaphysics research

I then went on to look at the works of Gustav Metzger, Stan Brakhage, Len Lye and Oskar Fishinger. The contrast between the technological and the organic is what drew me towards Metzger’s work, in particular ‘Liquid Crystal Environment’ (1965/2005). The way his work naturally transforms over the duration of it is display is something that I feel is central to my own way of making work. Not only is his work transformative, but also it is politically engaged and deals with the environmental whilst being extremely physical in its presence.

Gustav Metzger, Liquid Crystal Environments, 1965/2005

Research into Stan Brakhage led me to experiment with out of date film, making gifs with a Nishika camera, creating multiple still images into ‘moving moments’ of distorted colour. I also experimented with digitally manipulating photographs damaged by a broken camera, transforming the colours and visibility within the composition.

Stan Brakhage, Film from ‘Mothlight’, 1963
Nishika gif experiemnts with expired film
Nishika gif experiemnts with expired film

Play with colour and animation led me to look at Len Lye’s films. I was instantly immersed in Lye’s use of repetition and bright block colours. This interest then led me to ‘An Optical poem’ by Oskar Fishinger. The circular forms pulsating and transforming took me out of reality for a few minutes, absorbed me into the screen on which I watched it, creating a mental transgression into the bright and infinite technological world.

Photo manipulation from damaged film
Photo manipulation from damaged film

Len Lye, Rainbow Dance [still], 1936
The colour and forms in these animations and the influence of Polke led me to experiments with paintings. I generated these by making multiple backgrounds at once and then creating layers of varying colour palates and textures on top. After all the layers had dried I would attempt to make sense of the free flowing paint with ink drawings on top. From this I found a colour palette that I wanted to work with; Cyan, Magenta, Yellow and Black. This started off as a visual interest and then transformed into a conceptual process. Using the acrylic versions of the printer inks to talk about tensions between technology and painting.

Paint experiments with colour, composition and texture
Paint experiments with colour, composition and texture

I was then recommended to look into the MoMA’s 2015 exhibition ‘Forever Now’. This introduced me to the term ‘Atemporal’ which describes ‘The strange state of the world where due to the Internet, all times now exist at once.’ This helped me think about the cross overs between the tradition of painting and the immediacy of digital/man made imagery. I then looked at different ways of painting and began experimenting contrasting these highly artificial colours with natural marks. I would use the negative space of a burnt piece of paper as a template, transferring the paint onto the paper with a sponge to create delicate but sharp edged forms. I also experimented with layering paints to recreate the spectrum of colours that create images out of a digital printer.

Experiments with Yellow, Cyan and magenta using burnt paper as stencil
Experiments with Yellow, Cyan and magenta using burnt paper as stencil

This influence in our perception of colour and the spectrum bought me to Olafur Eliasson and his study of colour. From his work I became more interested in installation space and was reminded of my interest of audience’s participation as a key aspect of the work.

Olafur Eliasson, Your uncertain shadow (colour), 2010

To develop my work for the October Crit show I began painting in block colours focusing on the form of the circle as this allowed me to easily create patterns and illusions. Reading Aldous Huxley’s ‘Doors of perception’ was also a great influence in my work at this time, especially where he describes the effect of bright colour on our ‘antipodes’; “Bright pure colours are characteristic of the other world”. Despite this Huxley evaluates only a page later “by it’s amazing capacity to give us too much of the best things, modern technology has tended to devaluate the traditional vision-inducing materials.” I felt a real connection to this analysis of colour in the everyday as I have often thought about why we do not feel the complete awe at colour and composition that our ancestors would have done.

Pattern and form experimentation with circles of block colour.
Pattern and form experimentation with circles of block colour.

Through reflection of this research I decided to make a ergonomically scaled installation that explored painting, colour, technology, the kitsch and human experience of forced perception. This is where ‘LSTV’ was formed. This consisted of an interior and exterior made from Acrylic and pencil on Canvas, black out fabric, Wood, AstroTurf, TV monitor and a Glass mannequin head.

The exterior consisted of a pattern made from the colours Magenta, Cyan, Yellow and Black. This pattern of dot painting had to be strategically planned before it was painted, I first had to plan it digitally on photoshop before I could start physical work. This process echoes that of Michael Williams digital and handmade paintings, whom I found in the ‘Forever Now’ catalogue. I was particularly interested in Williams’ choice of always creating flat imagery because of “the fact that he usually encounters artworks on the Internet or in books, rather than in person.” I wanted to subvert this in my ideas as I wanted to be sure that the viewer was completely present to view my work and in this way it would be impossible to photograph the piece, I felt it was important that the work could only be experienced truly when you are in front of it.

Michael Williams, work from ‘Forever now’ Exhibition at MoMA, 2015
Surface of Canvas painted in Acrylic
Surface of Canvas painted in Acrylic

Again, this work was very physical, the 5×5 meter canvas was much bigger than me so had to be made in stages, using hand drawn grids to guide me to where I should print each individual circle (applied with 10x10cm sponge). These pencil marks on the canvas were not removed once the paint had dried as I felt they became part of the work, these artificial dots sit between man made and mass production and the pencil lines highlighted this tension along with the reality of human error. From afar the canvas still looks as though it may have been mechanically made, but as the viewer gets closer to see the interior of the installation this pretence is abolished.

Canvas detail
Canvas detail

The ideas of over exposure to technology dulling our minds to a point where the ‘other world’ that Huxley references throughout his Mescalin experience is no longer accessible, is where the assemblage formed for the interior of my installation. Here I combined a glass mannequin head, Plastic grass and an old TV monitor stuck on white noise. These objects are all man made but particularly unaesthetic. They are objects whose function is to be the backdrop for other man made aesthetics but when placed all together they create a very bleak assemblage manufactured from evolving technology. This interior installation could only be viewed from one hole cut out of the canvas disguised as one of the painted black circles. This forced the viewer to interact with the piece physically, circling the structure to search for the hole, and then bending down to look through the it. This was followed by a mental interaction in the viewer where the contrast between interior and exterior aimed to transport the viewer to a very different place than the room/time and place that they were viewing my piece in.

Initial experiment with 'technological' assemblage
Initial experiment with ‘technological’ assemblage

In the crit feedback the comments revolved around the effective contrast of the bright and positive exterior and dark and disturbing interior, and how this could symbolize the transformation from childhood to adult hood. The disguise of the hole within the painted canvas also created a real moment of realization within the piece, a realization that there is ‘more’ and that this piece is not static. I was also told that my piece reminded people of advertisement because of the bright colours and positivity of the exterior from far away in comparison to the point where first the hand drawn lines and the imperfections of the circles can be seen, followed by the dark and bleak interior.

I feel that this piece was more successful in its interaction with the audience than ‘ENJOY ME/DESTROY ME’ because of its much larger physical presence. Its height meant that viewers couldn’t see over it, making it obstructive and forcing the viewer to confront it. But I do feel it was also too confusing, there were a lot of things in this piece to try to pick apart, also the disguise of the viewing point made it a secret when the work is meant to be for the viewer, and many did not know that it was there. I am pleased with this idea of transformation that occurs in the work, transporting the viewer from reality to an interior of strangeness using installation and contrast. The change of physical perception is something that I am going to work with again due to the success of this piece, the hole in the canvas allowed me complete control over the physical perception that the viewer had of the piece. Ultimately I want my work to allow moments of realization and moments of change in my audience by giving them a physical space of reflection. I want work to talk about human experience, the fears of death, realizations of something ‘bigger than us’ and other overwhelming moments of realization we face in our lives. These transformative and scary moments can sometimes only be consoled with humour and the absurd, which I feel is also very present in my work. I feel I would be happier about this work if it talked more about the political and environmental and had more influence from the audience. The idea that the audience could physically change outcome of the work was what was more successful about ‘ENJOY ME/DESTROY ME’, it gives the work a sense of immediacy and ephemerality to it, whereas ‘LSTV’ forced the viewers to be more present but did not completely include them.

'LSTV' 2015
‘LSTV’ 2015
'LSTV' 2015
‘LSTV’ 2015
'LSTV' 2015
‘LSTV’ 2015

Show set up ideas

The original presentation for my final piece has changed a lot due to space restrictions. In my sketchbook I explored 3 different ways that my final piece could be presented, in the first I imagined that there were no restrictions to the space I could use, the second I imagined that there was very little space to present my work and in the third I found a way to incorporate both into a reasonable space. The third idea is the one I carried on to develop for the final show, and consisted of a small triangular space that would allow me to create a claustrophobic but comfortable space by placing it in darkness but setting up the installation space with homely furniture to lull the audience into a false sense of security by trying to create a universally familiar setting. Initially I had designed it so that it would be in complete darkness with the TV facing the corner of the room so that only one person could physically see my piece at once. Unfortunately the design of my final set up changed because of the space restrictions which forced me to turn my set design around so that the TV and cupboard where in the corner of the space, this means that more than one person is now able to view the piece at once, as any passer by that walks by will be able to see it easily.

 

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Current exhibition set up.

This was disappointing for me because I felt that by making the space so small it would control the foot fall and limit it to one person at a time, and I felt that by having only one person viewing the footage at once it would make for a more intimate experience for the viewer and would be more overwhelming than viewing it openly in the exhibition space. I also planned for there to be a curtain around my piece to cut it off from the exhibition, this was largely so that no light would creep into my installation space, but also because I wanted to have this contrast between the light of the rest of the exhibition and the darkness of my corner which is literally tucked away as I felt that this physically describes my day to day experience, where I am prepared to hide myself away in a dark corner than be apart of the class that I was in. Unfortunately my piece will no longer be in darkness, as instead of a curtain I will now have a single board separating my work from the rest of the exhibition. This means that the piece will be in the same amount of light as the rest of the show which is a shame because it weakens the comparison of my installation to the rest of the exhibition, which I think is one of my most successful ways of showing how mental illnesses work when in a social situation, as this is a physical representation of how people tend to lock themselves away into a dark, horrible space. In this sense the darkness is a metaphor for the effect that mental illness has on the brain and the TV is the effect that these feelings have on our mind, and is a representation of the horrible imagery that these feelings can create, in this sense the maggot footage is a metaphor to thoughts of suicide and self-harm. I chose to present all 5 versions of the kaleidoscope footage instead of only one because this shows how differently one single situation can be interpreted by different people. I felt it was important to include the original footage as well, not only to signify the fact that 1 in 5 adults suffer from depression at some point in their lives, but also as a comparison between the edited footage and the original, to concisely show the different perspectives. The original footage stands for the way that I perceive everyday situations, whereas the kaleidoscope versions not only show how differently something so simple can be perceived but show how anti depressants work and also show how I believe other people manage with everyday situations, as I believe that they do not see the horrible things I see, but instead manage to take these horrible things and perceive them as something beautiful and worth watching. Although these changes have been made to my exhibition space, I still think that this is an effective way of displaying my piece. Although it is no longer in complete darkness, I feel that the layout of my final piece will cause awkward encounters within my installation space as people will go into it and not realise that someone is already sitting in the seat and I also feel that people sitting in the seat will feel uncomfortable as they will be conscious of people being able to see them interacting with the art. The board cutting my piece off from the rest of the exhibition will be used to display other peoples work on so I feel that anyone in my exhibition space will be conscious of strangers standing behind them and talking too.I also considered putting some of my blind drawings around my installation as I felt that these tied all the ideas that I have about perspective and disabilities together. I found it hard to document my experimentation throughout the project as the most crucial development was done on computers so I had to take a lot of screen shots of my work to put in my sketchbook but felt that it did not look like traditional development and experimentation. This was also difficult when developing more complex techniques in the film editing software I was using as I found there was no way of showing the technical skills I had used apart from using screen shots on my computer to show what I had done, but I do not feel that this evidence of my development does justice to the work that I did. Ultimately I hope, despite the changes to my installation space that my final piece will cause the audience confusion at seeing something classically grotesque displayed in a way that makes it seem beautiful, and I hope that the final set up is well thought out enough to create feelings of anxiety and discomfort in the viewer as ultimately this will be them physically experiencing what I, along with many others, experience everyday. 

Martin Creed – What’s the point of it? Exhibition review.

This week I was fortunate enough to go to the Martin Creed exhibition at the Hayward Gallery in London. I have never known much about this artist previously but had been told to give it ago because his work was similar to the kind of thing I want to be doing in my final major project, I agree as I was surprised at how well this exhibition happened to fit in with my own project. It seems that Martin Creed too aims to create pieces of art which create extreme reactions in the viewer whether it be disgust, fear, anxiety or even relief. As soon as I entered the exhibition space I became completely overwhelmed, before being able to even look at any of the work my access to the gallery space was obstructed by a sofa which had been placed just in front of the entrance so that you had to focus on awkwardly getting around it before being able to think about the rest of the work. Once you get your bearings you are instantly disorientated again by a compulsive ticking noise, which you later find to be thirty-nine metronomes, and at the same time you are also aware that there is a large steel bar travelling towards you at a very threatening speed, the natural reaction is to duck, even through practically you know that there is no chance it could actually hit you. It takes a few minutes before you can truly begin to look at the work, it actually took me a while to notice that the big spinning piece of metal actually carried the word ‘MOTHERS’ in big neon lighting. The effect that this opening room had on me is exactly what I want to try and do to the audience of my work in this project, I also aim to completely disorientate those viewing my work to create a sense of anxiety and unease. 

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Opening room to Martin Creed’s exhibition at the Hayward Gallery ‘What’s the point of it?’

I was particularly intrigued at Creed’s use of audio throughout the exhibition as this is something that I have not seen used much and definitely something I had never considered using before, as I found it was a really effective way of confusing the senses of the audience. A perfect example of this was in the second room of the exhibition where there was a lone speaker sitting in the corner with no apparent visual work connected to it which was repetitively playing an audio of someone blowing a raspberry. This was seen by many of the spectators that I observed as quite amusing as it a sound that is usually associated with childish behaviour, but this got me thinking about how I could use taboo sounds in my own work to make people feel uncomfortable such as recordings of people having sex or blowing their nose or even farting. The other piece of audio used in this room was produced using a piano. Instructions are a big part of Creed’s work, and over the shoulder of the security guard turned musician instructions on how to play the piano that went as follows:

“Play all the notes on the keyboard – the full chromatic scale – going up from bottom to top.

Rest for the same amount of time that it took to play all the notes.

Play all the notes – the full chromatic scale – going down from top to bottom.

Rest again – as above.

Repeat endlessly.”

I find this idea of rules and regulations to create formulaic art really interesting even though it may not apply to my current work. This piece confused me, as it made me question, what part of the formula is the actual art product? Is it the piano, the audio, the instructions or the player? Or is Creed trying to highlight the fact that nowadays artists are not always the creators of their own art but set out instructions for other people to complete to create it after they have come up with the concept.

This concept was also displayed in his broccoli prints where Creed used the same process a thousand times but changed variables to the formula to create a thousand different results. From afar the result was repetitive but on closer inspection you notice that each print has produced a unique outcome. The combination of these prints shown side by side on one wall is rather overwhelming and I feel that this use of repetition on such a large scale is something I should consider experimenting with in my own work.

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‘Work No. 100 Broccoli prints’ Martin Creed (2009-2010)

Another process that Creed uses that I felt was of importance to my own work was his pieces where he has covered the whole piece of paper with markings from a felt tip or marker pen as I found that the results were so strange and unusual yet completely unexplainable as to why they are so interesting. I think it may be because of the way we traditionally expect a pen of such nature to be used, and the places where one line stops and overlaps half way through the page with another is visually confusing especially when this is repeated with all the lines on the page in different places. I found it even more visually confusing when the lines weren’t completely straight as it created obscured textures and shapes. I experimented with this technique but tried creating shapes and even images by changing the darkness of the line by going over it. This was quite an obscure process to use but I liked the outcome because it was a totally new way of making imagery with a marker pen than I would have ever thought of.

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Example of Martin Creed’s wok with marker pens from his 21 part series ‘Work No.944’ (2008)
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My own experimentation with Creed’s marker pen work

A large part of Creed’s concept behind his work is the idea of making decision but choosing all options instead of either, and the anxiety we face in making choices. As my current project is based around myself I think this is an important concept that I could consider working with as I am currently faced with the decision of what university I want to go to next year, but unfortunately choosing both is not actually an option for me. These pieces such as; ‘Work No. 990 Curtains’ And ‘Work No. 227 The lights going on and off’ where he uses automated signals to open and close the curtains and the lights to turn on for 30 seconds and then turn off. When I was in the gallery I interpreted this as the artist choosing what we did and did not see. These pieces also give the audience a sense of disorientation and then relief, as one does not appreciate the light until it is turned off or the view until the curtain is drawn, but once the light is turned on again or the curtain is open a sense of normality is restored but we are in a state of anxious anticipation for the cycle to repeat.

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‘Work No. 990 Curtains opening and closing.’ Martin Creed (2009)

A piece that the exact concept of my project I am working on currently was ‘Work No. 1820 – light bulbs and fixtures.’ This was situated at the top of the stairs so as a viewer you did not seeing coming before you were face to face with it because of the form of the staircase. This piece was too physically painful to look at directly as it had several light bulbs of all different forms all too bright to look at and the effect was so overwhelming that the viewers had to hold a hand in front of their faces to shield themselves from the intrusion of light to their senses. It is this that I want to create in my own work, something that is too visually distressing to look at straight away, an instant reaction is created, to look away and protect your vision.

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‘Work N0. 1820 – lights and fixtures’ Martin Creed

The exhibitions biggest selling point was ‘Work No. 200’ or more commonly known as ‘The Balloon room’ which consisted of a room with half the air filled with balloons. This was by far the most interactive piece of art I have ever experienced. Whether the viewer finds it humorous or overwhelmingly claustrophobic, each individual has to cope with how close the art is in proximity to them as the nature of this piece completely invades your personal space, therefore giving the viewer an experience whether they like it or not. Personally I really enjoyed being completely submerged in the balloons and wandering around with no knowledge of the shape or even the size of the room I was in, my perception of where I was and my bearings, was completely over thrown without a clue where the exit was and it is this confusion in the audience that I aim to create in my own work for this project.

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‘Work No. 200 – Half the air in a given space’ Martin Creed (1998)

Creed’s film work is also something that has given me a lot to reflect on. His films ‘Ships coming in’ were very relaxing to watch, a strange game of spot the difference where both screens are unbearably similar, showing the repetitive nature of life itself. The only reason I felt any unease at all was because I had to stand for an unknown duration of time as in theory both videos could have gone on for any duration of time, whereas in the last room of the exhibition scenes were being shown from Creed’s ‘Sick and Shit’ and there was a bench in front of the screen inviting me to sit down in front of the screen in comfort. I think this contrast is really interesting as it was almost embarrassing to be seen watching these videos of peoples bodily functions let alone be seen sitting down comfortably in front of them for an extended period of time. This has given me ideas for creating an installation film piece that is uncomfortable to watch and placing a comfortable chair in front of it and instructing that only one person should go in at a time to watch it, making it a much more intimate and intense experience for the viewer. I find the contents of these videos, as is hardly surprising, disgusting but interesting in their concept, as Creed uses them to visually show ‘horrible feelings’ which we can’t physically capture. As in my own work where I have tried to describe feelings of anxiety or depression there has been no way I have thought of to visually show these feelings visually but by creating videos of horrible things that everyone can relate to Creed has captured this perfectly. This piece especially caused huge reactions in the audience where viewers were both humoured and revolted, I myself felt nauseous when watching the videos of people throwing up but it is this kind of feeling that I hope to produce in my audience.

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‘Work No. 405 – Ships coming in’ Martin Creed (2005)
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‘Work No. 610 – sick film’ Martin Creed (2006)

Ultimately I found this to be a wonderful, interactive exhibition and I thoroughly enjoyed every experience that I took away from it and would encourage anyone and everyone to go along to see it. I hope I will be able to use this experience as inspiration in this project to create emotionally effective work.