From painting the canvases for ‘Loading…’ and ‘LSTV’ I had marked a table in my house and whilst scraping it off I began making patterns and working around the different textures that I had unknowingly made. The table was covered in paint quite thick and it was possible to see the imprint of the canvas between the table and the paint, creating a piece that documents the evidence of a performance. If I ever find myself painting another large scale canvas in this repetitive process I will paint a board white to use underneath to capture these accidental marks as I was upset that I could not keep the outcomes of this piece.
I used some of my close up photographs of this removal process and the textures left behind by the paintings as backgrounds for new paintings. I experimented with painting over these colourful compositions with white to create new spaces and forms, and to possibly use for the background for line drawings. As pieces on their own I think the use of white is quite interesting for disguising or neutralizing a space, I also experimented with painting AstroTurf white in an attempt at disguising it’s materiality.
Scraping the paint of became easier as lumps of it formed on the sponge I was using, this created very small formations of flaky dried paint. After seeing Tetsumi Kudo’s work at Hauser & Wirth I played around with using AstroTurf as a backdrop to these abstract forms. I noticed that close up they looked like moss or even lichen, and the AstroTurf composition encouraged this comparison.
Using a macro lens I photographed these forms, cropping them to look much larger than they really are. Blowing these up and printing them on A3 I arranged the images on the wall next to the paint forms. This felt quite resolved in some ways as the comparison between the 2D image that shows the details of the object in comparison to the very delicate form next to it demonstrates the objectivity of the camera. The photograph gives aesthetic insight into the object but does not give us the rational information about its size. I found this comparison visually quite successful here even though this feels rather too polite but still this piece too thinks about the natural and artificial in a new way.
I have noticed that in a lot of my work I tend to try and use all outcomes of a process, the marks that are made elsewhere as a by product of making something always seem to interest me, and I often cannot see them as separate from the intended piece of work.
On Thursday morning I was set the task of producing a piece of ‘exploratory developmental work’ focusing on an element of an already established artists practice in order to contextualise the materials and processes that I have recently been using in my work. As I have recently been working with the intaglio printing process I decided to look further into the work of John Cage, in particular his print works made at Crown Point press from 1978 – 1992. What interests me most about Cage’s work is the way in which he creates and then uses systems that leave the work up to chance occurrences. With each print Cage handed the decision making of scale, materials, composition and colour, to chance by generating numbers from the Chinese book of wisdom; ‘I Ching’.
This was the element of Cage’s work that I decided to incorporate into my own practice, but I realized that in the two hours that I had it would be far too ambitious to try and create a system as complex as Cage’s, so I started off by deciding that I would use A2 paper, ice and acrylic paint as my materials. I then generated co ordinates using an online random number generator, I had to repeat this 3 times, one to choose the pieces of ice and then twice more to find the co ordinates on the 420x594mm sheet of paper.
After marking up the co ordinates I chose pieces of smashed ice out of a bag at random and matched them up to their given co ordinates on the page. In the first set of randomly generated numbers I set it online so that only 20 numbers from 1-10 would come out so obviously there were repetitions which I had to ignore which did not feel entirely truthful to the whole process so maybe this is something I think about when refining my own system. It also meant that not all the pieces of ice were used because certain numbers didn’t come up. Once the pieces of ice were positioned I placed a small blob of black acrylic paint on top of each one. This decision of using black was also made by me and I’m not sure it was the best choice, it would have been better if I had been restricted to a certain colour as this could have been more visually interesting.
I tried to take photos of the ice melting every 5-10 minutes as first as the piece did transform much quicker as I had expected, as the pieces of ice were so small. I think the first photos where the acrylic paint first touches the ice are most interesting here as the way that the black seeps into the crevices of the small structures highlights the intricacy of each one. It may be interesting to see what would happen if the ice was put back into the freezer at this point.
This piece worked as I had expected it to, but I’m not sure if there is anything particularly exciting about it at this point, the fact that the ice has been placed on the page because of randomly generated numbers doesn’t have as much impact as Cage’s work because of the fact that everything else in the composition was chosen and controlled by me. I think for this to be a successful contextualized piece of work I would have to look more into making a system that allows everything in each experiment to be determined by chance. I do still think that combining ice and paint for mark making is an interesting technique that I want to continue with but because this pieces of ice where sat on a piece of paper the marks are not as interesting as on the canvas where the water spilled out and was able to mark it’s surroundings too.