The Australian National University
N a t i o n a l Institute o f the A r t s
School o f A r t
Bachelor o f A r t s (Visual) H o n o u r s
Helen Shelley
S T U D I O R E P O R T
P R E S E N T E D IN F U L F I L M E N T OF THE R E Q U I R E M E N T S O F T H E Bachelor o f Arts (Visual) Honours
CONTENTS
Page
3 A c k n o w l e d g e m e n t s
4 W o r k p r o p o s a l , s e m e s t e r o n e
5 W o r k p r o p o s a l , s e m e s t e r t w o 6 A b s t r a c t
7 I n t r o d u c t i o n
7 ' L a n d s c a p e painting"
II A b s t r a c t i n g tiie l a n d s c a p e
18 A c h a n g e in c o n s t r u c t i o n
22 C o n s i d e r i n g tiie pattern
28 T h e final p r o c e s s
30 C o n c l u s i o n
31 B i b l i o g r a p h y
33 List o f i m a g e s
I w o u l d like to acknowledge and gives thanks to the following people for their assistance and support:
Robert Boynes
Deborah Singleton
Peter Jordan
John, Barbara, Annette and Robert Shelley
M y fellow Eye Blockers
Glenn Taylor
Semester 1 W o r k Proposal
Aims/subject o f proposal
The subject o f my proposed work method is closely related to an area I began to explore during third year: pop up cities. A n idea that came about through viewing Canberra from a distance and noting h o w it appeared miniscule and toy-like. I had a realization that all that we create is in a state o f flux, regardless o f the permanence we attempt to achieve through structures.
Research/working process
I shall construct miniature cities from materials which may be easily erected and
dismantled (cardboard, matchsticks and paper), pertaining to the idea o f pop up, toy-like cities. The miniature landscapes will then become the source from which I paint.
Methods and Materials
I will be painting with acrylic paint on canvas. The small buildings will be painted in a representational fashion as I wish for them to be seen as things that exist, however the space in the work will be an ambiguous one as I want the viewer to be unsure o f the objects scale and their function.
Timeframe
Semester 2 W o r k P r o p o s a l
Aims/subject o f proposal
Through my proposed area o f study I aim to show familiar materials in a different context as a means o f questioning what is considered the norm. I shall use the object as an example o f h o w all that we create is subject to fashion and it's value changes accordingly, how all that we create is transitory, to detach myself somewhat from my current existence and view our human actions objectively, (often as a stimulus for humour), hence the title o f my body o f work Seeing the Object Objectively.
Research/working process
The process by which the works will be realized will be as follows. 1 will construct three dimensional abstract objects and environments from wallpapers. The photographs I take o f the scenes will become the source from which I paint. I will paint the images within the photographs in a representational fashion as I wish for them to viewed as
documentations o f an abstract thing rather than something that has been interpreted in an abstract fashion.
Methods and materials
I shall paint with diluted acrylics that have been mixed with whiting upon a heavily gessoed canvas as to achieve a chalky, matt appearance, similar to that o f wallpaper.
Timeframe
Seeing the Object Objectively
By constructing abstract objects out of familiar materials, I have aimed to abstract the
familiar, and therefore lead one to be intrigued and question that which is familiar.
Seeing the Object Objectively is a body of work in which 1 used the object as an example
of how odd and abstract our made environment can appear, when viewed in an objective
The body o f work that resulted from my honours year o f study is titled "Seeing the Object Objectively." I wanted to explore the idea that our recognition o f objects as familiar or normal is based on them being in their appropriate physical and historical context. B y manipulating familiar materials in such a way that they become abstract forms, I change the context in which such materials are usually viewed. M y research is aimed at m a k i n g the viewer be intrigued and question that which is familiar, to parallel m y o w n thoughts that m u c h o f what we create is really quite odd.
Artists w h o influenced and supported this way o f thinking and consequently the appearance o f m y work, were those w h o through various means aimed to make that which is familiar appear odd. I shall give example o f the work o f Alexander Rodchenko, Laszlo M a h o l y Nagy, Sarah Sze, Jessica Stockholder and Howard Arkley.
The research o f both contemporary and historical design supported and developed my idea on v i e w i n g objects out o f their usual context, as a means o f seeing contemporary objects in a more objective way.
Through this report I shall illustrate h o w my work developed and h o w this research informed m y final body o f work.
'Landscape painting'
absurd. From that perspective, I well,... gained some perspective. Harking back to
Robert and D e b o r a h ' s c o m m e n t s and agreeing with what they had said, gave me the idea
that if I did not enjoy painting the natural landscape 1 should build my own, and these
would be the source from which 1 would paint.
The way in which I approached the making of the three-dimensional environments
prompted m e to question what forms our aesthetic sensibility and what makes certain
things appeal to us? I remembered a game that my brother and I would play when young.
Little Creatures began in much the same way on each occasion. We would happen upon
the so called little creatures and then build appropriately small housing in trees out of
twigs, pine-needles, dirt and small toys. In retrospect I'm quite sure the book The
Borrowers encouraged this idea. I realized that Little Creatures is not so far removed
from my current work method. Should this make me feel disheartened that my work
method has not seemingly progressed a great deal from the age of six to twenty three?
Rather it supports previous thoughts I have had on aesthetic sensibility, that it is a
collection of thoughts and images collected throughout ones life. The book. Spray, which
focuses on the work of Howard Arkley, reinforced this idea. In the text Arkley discusses
his origins of suburbia, and consequently how this has influenced his aesthetic. " Most of
the population live in an urban environment. This environment affects us. our formative
years, so it is a very important element." '
In the making of landscapes that pertained to the notion of toy-like cities 1 employed the
use of found materials, such as Magic Trees, miniature cardboard trees that sprout
crystal foliage when a solution is poured on top, an instant environment! I also used
objects with imagery, which were in keeping with nature, firecrackers and biscuit tins
with flower imagery, a paper fan with tree and bird. This way of working relates to an
area I began to explore during my third year of study. Pop Up Cities. This idea was
I m a d e t w o reasonable paintings based on made environments. The space in tiie worlds is not literal. The size o f the work is 22x22cm and the objects painted within them almost
Abstracting the Landscape
I d e c i d e d to a b a n d o n w o r k i n g w i t h tiie m a t e r i a l s I iiad c h o s e n for m y initial t h r e e -d i m e n s i o n a l e n v i r o n m e n t s . I h a -d b e e n s e -d u c e -d by t h e t r e n -d y , kitsch, n o s t a l g i c f a s h i o n o f u s i n g q u i r k y f o u n d m a t e r i a l s . T h e e n v i r o n m e n t s w e r e t o o o b v i o u s , not particularly i n t r i g u i n g and w o u l d not p r o m p t t h e v i e w e r to q u e s t i o n w h a t t h e y w e r e l o o k i n g at. I w a s i n t r o d u c e d to t h e b o o k T h i n k i n g P h o t o g r a p h y and in p a r t i c u l a r t h e essay M a k i n g Strange: T h e S h a t t e r e d M i r r o r written by S i m o n Watney.^ T h e w r i t i n g d i s c u s s e s t h e c o n c e p t o f O s t r a n e n i e , o r t h e p r a c t i c e o f m a k i n g the o r d i n a r y a p p e a r s t r a n g e . " L e s s than at a n y t i m e d o e s a s i m p l e r e p r o d u c t i o n o f reality tell us a n y t h i n g a b o u t reality. Reality p r o p e r h a s s l i p p e d into t h e f u n c t i o n a l . T h e r e i f i c a t i o n o f h u m a n r e l a t i o n s h i p s , t h e factory lets say, n o l o n g e r r e v e a l s t h o s e r e l a t i o n s h i p s . T h e r e f o r e s o m e t h i n g a c t u a l l y h a s to be c o n s t r u c t e d , s o m e t h i n g artificial, s o m e t h i n g set u p . " ^ " A s early a s 1915 R o d c h e n k o had d e s c r i b e d h i s d e s i r e to s h o w f a m i l i a r o b j e c t s in u n f a m i l i a r w a y s , t h r o u g h such S w i f t i a n d e v i c e s as e x t r e m e c l o s e - u p , and so o n . " * A l e x a n d e r R o d c h e n k o ' s ( i m a g e 6) and L a s z l o M o h o l y N a g y ' s ( i m a g e ? ) a b s t r a c t e d t h e f a m i l i a r by p h o t o g r a p h i n g f a m i l i a r o b j e c t s out o f c o n t e x t . T h r o u g h m y p r a c t i c e I a l s o a i m to distort t h e f a m i l i a r as a m e a n s o f q u e s t i o n i n g it. H o w e v e r , rather t h a n d e p i c t i n g e v e r y d a y o b j e c t s in an a b s t r a c t f a s h i o n , I c h o s e to c o n s t r u c t a b s t r a c t o b j e c t s out o f f a m i l i a r m a t e r i a l s .
^ B u r g i n , Victor, (editor). Thinking Photography, T h e M a c m i l l a n Press L T D , L o n d o n and Basingstoke,
1982, 155.
' B u r g i n , Thinking Pholography.\66.
T h e w o r k o f t h e A m e r i c a n artist Sarah Sze and C a n a d i a n artist Jessica S t o c k h o l d e r interested m e in m y third y e a r o f study and 1 think u n w i t t i n g l y their w o r k w a s to i n f l u e n c e t h e a p p e a r a n c e o f t h e t h r e e d i m e n s i o n a l l a n d s c a p e s I w a s to c o n s t r u c t . B o t h artists u s e f o u n d m a t e r i a l s t h e n m a n i p u l a t e t h e m in s u c h a w a y that they b e c o m e abstract. T h e r e a s o n that I m a d e m y small l a n d s c a p e s a p p e a r a b s t r a c t w a s to portray t h e w a y t h e city a p p e a r s f r o m a d i s t a n c e . W h e n o n e v i e w s a city f r o m afar, the c l u e s that w o u l d u s u a l l y i n d i c a t e their p u r p o s e are not a p p a r e n t and their f u n c t i o n b e c o m e s abstract. T h r o u g h t h i s w e m a y attain an o b j e c t i v e v i e w o f the city. Lynn C o o k ' s essay F a b r i c a t i n g s i g h t / s i t e f o c u s e s on J e s s i c a S t o c k h o l d e r s installation Y o u r Skin in this W e a t h e r B o u r n e E y e - T h r e a d s & S w o l l e n P e r f u m e , " O n o c c a s i o n , the actualities o f t h e site are, like t h e c o m p o n e n t s i n t r o d u c e d into it, r e n d e r e d a b s t r a c t . . . . " ' By e m p l o y i n g t h e u s e o f , and then a b s t r a c t i n g f a m i l i a r m a t e r i a l s . S t o c k h o l d e r a l l o w s us to v i e w o u r e v e r y d a y s u r r o u n d s in a d i f f e r e n t w a y , a m o r e o b j e c t i v e w a y , a s w e d o art.
' C o o k , Lynne. Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume. Dia C e n t e r for the
of people. One e x a m p l e given was m o d e m m a n ' s use of the object, in particular shell
necklaces which were used for trade; the objects signified a change in thinking. The
objects we create reflect our thinking, as they are the tools by which we conduct our
lives. A plastic needle threader was one example of an object that I thought reflected
how odd our thinking can be (image 10). I could recognize what it was made of but was
not aware of its function which 1 found intriguing. It supported my thoughts about
viewing all that we create in an objective fashion, and when done so the norm can appear
I struggled with the concept o f activating the negative space. The wortcing methods 1 was then to employ in the m a k i n g o f image 15 seemed to move farther and farther away from
h o w 1 should be approaching the work. For example 1 painted the entire canvas with green wash, a colour I did not want to be evident on completion o f the painting, thinking that this w o u l d force me to address the space (and admittedly make the space less daunting). The palette that I intended to use for the negative space within this painting was again white, however throughout the arduous process it also became a yellow painting and then finally an undesirable green, that made the scene reminiscent o f a paddock. I did not want the viewer to recognize the space as a paddock, one reason being the viewer may interpret the scale o f the buildings as that o f real buildings, and then assume their function as being that o f a building, making them less enigmatic.
an instant camera, did not serve me well. The problem, (which is now embarrassingly, blatantly obvious) lay largely with the actual environment. Although 1 enlarged the objects in the painting the small scale of the objects themselves did not allow them to be a good source to work from.
A change in construction
A move to Eye Block allowed me to use a corner of the room as an installation site. As a response to the larger site I began making larger objects. The materials I was then to
employ were also used as a response to the new setting. As I was constructing the
environments directly in the corner of the room, (and not in a cardboard box as I had done the smaller landscapes), I began to feel as though I was performing some form of home decoration. So the materials used became those used in home decoration, wallpapers and contacts. A familiar problem arose when it came to the painting aspect of
the work, however. Although I had made larger objects, I stubbornly approached the
Larter wanted my paintings to "scream look at me", and for them to appear "meatier". A s a reaction to this comment I started to approach the paintings as close-ups with the object occupying most o f the picture plane. I started painting from the photographs only altering the scale and colour. I initially felt reluctant to work in such a manner as it lead me to question i f I should bother painting them at all. However I realized it would be valuable to paint from the photograph to achieve a balance between painting in a representational manner and a manner that does not give too many clues to the nature o f the objects. I wanted to paint the objects in a fashion that would lead people to view the work as a documentation, as a still life. Simultaneously, I wanted some alteration o f the image to occur, so the materiality o f the object is not so obvious as to render them less enigmatic. This work method is a means o f persuading the viewer that the works are paintings o f abstract things, rather than paintings o f something that I have interpreted in an abstract fashion.
C o n s i d e r i n g the p a t t e r n
I continued to question h o w one forms an aesthetic sensibility, because I consider this in
itself to be quite a fascinating thing, and used this to consider why we place such an emphasis on the aesthetic, in particular the domestic type. I questioned whether it could be attributed to an instinctive animal behaviour, a nesting instinct.
A s p r e v i o u s l y m e n t i o n e d . I b e g a n c o n s t r u c t i n g larger abstract o b j e c t s for practical r e a s o n s . T h e material used for t h e first o b j e c t s w a s a striped w a l l p a p e r , a u n i f o r m e d p a t t e r n w h i c h g a v e a s e n s e o f s p a c e , h o w e v e r an a m b i g u o u s o n e . T h e first p a i n t i n g w h i c h r e s u l t e d f r o m this m e t h o d o f w o r k i n g is p l e a s i n g a s it is an abstract f o r m , h o w e v e r not e n o u g h c o n s i d e r a t i o n w a s given to t h e f o r m m a d e for t h e s e c o n d w o r k . T h e o b j e c t is a l o o s e l y f o l d e d p i e c e o f p a p e r and this is o b v i o u s l y so, so its f u n c t i o n ( w h i c h is n o f u n c t i o n ) b e c o m e s a p p a r e n t .
/
21 22
I d e c i d e d to u s e potentially m o r e f a m i l i a r materials a f t e r v i e w i n g an o b j e c t in a gutter. T h e o b j e c t w a s s h a p e d like a finger or fat stick, b r o w n at o n e end and pink the other. 1 c o u l d r e c o g n i z e a s p e c t s o f it so it w a s not entirely abstract w h i c h I f o u n d intriguing. I t h o u g h t t h e u s e o f m o r e easily r e c o g n i z e d m a t e r i a l s w o u l d b e a n o t h e r reason w h y t h e w o r k s w o u l d not be c o n s i d e r e d p u r e abstraction a s it w o u l d r o u s e a s e n s e o f familiarity, p e o p l e w o u l d q u e s t i o n if t h e o b j e c t s exist and if so, w h a t is their f u n c t i o n .
The next materials used in the construction o f the object and environment brought about a desired response from my peers, one classmate in particular had the very same type o f patterned paper lining her childhood toy-box. Their recognition o f the patterns, but uncertainty as to what the objects were, created intrigue. I am using materials which spur a nostalgic response, and then place them in a different context as a means o f creating intrigue.
23
c o n j u r e s i m a g e s o f an e n t i r e i n t e r i o r o f a h o m e t h a t ' s b e e n p l a s t e r e d w i t h p l a s t i c h o u s e f a s h i o n w r a p , ( i f t h e i m a g i n a t i o n p e r m i t t e d , o f c o u r s e ) . All t h r e e o f t h e w a l l p a p e r s 1 u s e d w e r e o l d , d u s t y , b o t t o m o f t h e s h e l f e x a m p l e s o f h o w t h e t i m e in w h i c h w e v i e w a p a r t i c u l a r t h i n g a l t e r s o u r r e a d i n g o f it, a n d d e t e r m i n e s h o w w e v a l u e it, b o t h in a m o n e t a r y a n d a e s t h e t i c s e n s e .
S u p p o r t i n g m y v i e w t h a t t h e h i s t o r i c a l c o n t e x t in w h i c h w e s e e an o b j e c t m a y a f f e c t h o w w e p e r c e i v e it is t h e b o o k D e s i g n in C o n t e x t . ^ T h e t e x t d e s c r i b e s o b j e c t s a n d g i v e s i n s i g h t i n t o s o c i a l v i e w s o f t h e t i m e w h i c h s u p p o r t t h e m ( i m a g e 2 4 & 2 5 ) . H o w e v e r t o l o o k at t h e o b j e c t s w i t h o u t t h e t e x t , o u t o f c o n t e x t , r e n d e r e d s o m e o f t h e o b j e c t s q u i t e a b s t r a c t . T h e t e x t a l s o r e i n f o r c e s t h e n o t i o n t h a t o n e s a e s t h e t i c s e n s i b i l i t y is a f f e c t e d b y i s s u e s o t h e r t h a n j u s t t h e v i s u a l , a n d b r i n g s i n t o q u e s t i o n w h y w e d o t h e t h i n g s w e d o , a n d w h y w e p l a c e a n e m p h a s i s o n t h e a e s t h e t i c , u s i n g t h e h o m e a s an e x a m p l e .
T h e t e x t O b j e c t s o f D e s i r e a l s o p l a c e d o b j e c t s in an h i s t o r i c a l c o n t e x t . S o m e r s e t M o r g e n g i v e s e x a m p l e o f h o w o d d a n a e s t h e t i c o p i n i o n f r o m 1922 c a n s e e m w h e n v i e w e d f r o m a d i f f e r e n t e r a : " i n e a r l y t w e n t i e t h - c e n t u r y B r i t a i n , t h e p o s s e s s i o n o f a b a t h , in a b a t h r o o m w a s r e g a r d e d a s a m a j o r s i g n o f m i d d l e - c l a s s s t a t u s " , ' " t h e m a t u t i n a l t u b d i v i d e s t h e c l a s s e s m o r e e f f e c t i v e l y t h a n b i r t h , w e a l t h o r e d u c a t i o n . " * S u c h s o c i a l c o n d i t i o n i n g o f h o w t o v i e w a b a t h t u b s e e m s a b s u r d n o w , but o f c o u r s e s u c h v i e w s h a v e j u s t • p r o g r e s s e d " , t h e 2 0 0 3 e q u i v a l e n t b e i n g t h e s p a b a t h . R e s e a r c h i n g o f h i s t o r i c a l p r e c e d e n t s e n a b l e s o n e t o v i e w d e s i g n w i t h o u t an e m o t i v e s o c i a l r e s p o n s e a s w e d o c o n t e m p o r a r y d e s i g n a n d p u t s i n t o p e r s p e c t i v e o u r c o n t e m p o r a r y e x i s t e n c e . A s I had g a i n e d p e r s p e c t i v e o f m y c o n t e m p o r a r y e x i s t e n c e f r o m a d i s t a n c e d v i e w o f C a n b e r r a , r e s e a r c h i n g t h e h i s t o r y o f t h e o b j e c t p r o v e d t o s e r v e a s i m i l a r p u r p o s e . It a l l o w e d m e t o s e e h o w s o m e t i m e s o d d h i s t o r i c a l f a s h i o n s a p p e a r w h e n s e e n o u t o f c o n t e x t , a n d a r e a l i z a t i o n t h a t o u r c u r r e n t e x i s t e n c e will b e ( i f n o t a l r e a d y ) v i e w e d s i m i l a r l y .
Sparke, Penny. Design in Context. Bloomsberry Publishing Ltd. London, 199L 8-249.
' Forty, Adrian. Objects of Desire. Design and Society. 1750-1980. Thames & Hudson, Great Brittain. London, 1986, 167.
24 25
S e e i n g m y e n v i r o n m e n t d i f f e r e n t l y m o t i v a t e d m y initial w o r k p r a c t i c e . A r k l e y s w o r k m e t h o d w a s a l s o m o t i v a t e d by v i e w i n g h i s i m m e d i a t e e n v i r o n m e n t in a d i f f e r e n t w a y , w h i c h in h i s c a s e w a s i n s t i g a t e d by o v e r s e a s t r a v e l l e a d i n g " t o a r e - e v a l u a t i o n o f h i s s e n s e o f b e i n g A u s t r a l i a n a n d . u l t i m a t e l y , t o a r e a s s e s s m e n t o f h i s s u b j e c t m a t t e r . " '
H o w a r d A r k l e y a l s o c o n s i d e r s t h e s i g n i f i c a n c e o f t h e p a t t e r n . T h e m o s t o b v i o u s c o r r e l a t i o n b e t w e e n m y w o r k a n d t h e w o r k o f A r k l e y is t h e u s e o f p a t t e r n and o u r r e a s o n s f o r d o i n g s o a r e a l s o s i m i l a r . A r k l e y said h e u s e d p a t t e r n in " an a t t e m p t t o g i v e an o p e n e n d e d m e a n i n g . S o t h a t it l o o k s a b s t r a c t , b u t w o u l d a l s o l o o k f a m i l i a r . " ' " T h r o u g h m y o w n p r a c t i c e I i n t e r p r e t t h i s a s m e a n i n g t h e r e s p o n s e o f t h e o b s e r v e r will b e a f f e c t e d by p r e v i o u s e x p e r i e n c e s w i t h t h e p a t t e r n . T h e w a y in w h i c h o u r u s e o f p a t t e r n d i f f e r s
however is how we use it to describe space and form. Arkleys method of translating the
pattern onto canvas with stencils" has a flattening effect, as the scale of the pattern is
uniform, he then describes form by superimposing black spray painted drawing over the
pattern. I had considered a more systematic way of reproducing the pattern, however as I
wanted the form to be seen as one that potentially exists I wanted the pattern to further
describe its shape, and for it not to flatten and abstract the space. Translating the pattern
with hand and brush only allowed me to vary the scale of pattern, and in some areas
where the form was particularly foreshortened I would only give brief description of the
pattern, so the pattern in itself became quite abstract. Unlike Arkley who wants pattern to
be recognized as being derived from a home interior, 1 want some uncertainty as to the
nature of materiality to occur.
L i k e A r k l e y I a m u s i n g t h e f a m i l i a r in a d i f f e r e n t c o n t e x t , a s a m e a n s o f d r a w i n g a t t e n t i o n to tiie f a m i l i a r . It is a w a y o f m a k i n g o n e o b s e r v e that w h i c h they m a y h a v e g r o w n c o m p l a c e n t w i t h , a c o m m e n t that t h e status q u o is not necessarily n o r m a l . A r k l e y h a s a m p l i f i e d t h e c o l o u r and s i m p l i f i e d t h e d e s i g n o f t h e h o u s e s a s a w a y o f i n f o r m i n g t h e v i e w e r that t h e w o r k s a r e not to b e s i m p l y read a s p a i n t i n g s o f h o u s e s . In the b o o k S p r a y , A s h l e y C r a w f o r d and R a y E d g a r d e s c r i b e A r k l e y s w o r k : " T h e r e a s s u r i n g s t e r e o t y p e s o f c o m f o r t a b l e m i d d l e - c l a s s style are e x a g g e r a t e d into a s t r a n g e w o r l d o f f a n t a s t i c c o l o u r s a n d v i b r a t i n g s h a p e s . N o r m a l i t y is e n l a r g e d until it a p p e a r s q u i t e b i z a r r e . " ' ^ I h a v e c o n s t r u c t e d a b s t r a c t o b j e c t s f r o m t h e patterned material so they a r e not read as h o m e interiors, and will b e a tool that p r o m o t e s i m a g i n a t i o n , rather t h a n a r e s p o n s e o f r e c o g n i t i o n that d o e s not r e q u i r e m u c h c o n s i d e r a t i o n .
T h e final process
1 s u c c u m b e d to t h e c h a r m s o f t h e E p i d i a s c o p e for the d r a w i n g o f p h o t o g r a p h o n t o c a n v a s and it p r o v e d to b e a m u c h m o r e e f f i c i e n t w a y o f w o r k i n g . It also h e l p e d m e a c h i e v e an a c c u r a t e portrayal o f s p a c e and o b j e c t , a g a i n , leading o n e to v i e w the painting as a d o c u m e n t a t i o n o f an e x i s t i n g s c e n e , not an abstract interpretation.
U s i n g s h a d o w s in t h e w o r k is a n o t h e r m e t h o d I h a v e e m p l o y e d to p e r s u a d e t h e v i e w e r that p e r h a p s t h e s e o b j e c t s are real, in that a s h a d o w a l l u d e s to there b e i n g an e x i s t i n g light s o u r c e . T h e s h a d o w g r o u n d s t h e o b j e c t s and i n f o r m s t h e v i e w e r that the o b j e c t is indeed sitting in t h e s p a c e in w h i c h it h a s been p l a c e d .
T h e s u r f a c e o f m y p a i n t i n g s is p r e p a r e d w i t h f o u r layers o f gesso and w h i t i n g is m i x e d into d i l u t e d paint to e m u l a t e the chalky, matt a p p e a r a n c e o f w a l l p a p e r . A g a i n I d o this a s I w i s h to r o u s e a f e e l i n g o f familiarity w i t h i n t h e v i e w e r . It is n e c e s s a r y to paint o v e r t h e e n t i r e s u r f a c e o f t h e p a i n t i n g a p p r o x i m a t e l y three to ten t i m e s o t h e r w i s e t h e matt n a t u r e o f t h e p a i n t s i m p l y m a k e s t h e p a i n t i n g s a p p e a r dull.
I h a v e c h o s e n t o vary t h e size o f t h e w o r k s , a s it a l l o w s m e to vary t h e scale o f t h e s p a c e w i t h i n t h e p i c t u r e and the o b j e c t s t h e m s e l v e s . T h r o u g h this m e t h o d I aim to intrigue t h e
viewer, m a k i n g them again question what they are iooicing at. Are all the objects o f similar size? Is one particular painting a true documentation o f the scene (including scale) and the other paintings a close up or distanced view o f the scene? This way o f working will ideally lead the viewer to question how their body relates to the image. The perspective from which each work is approached also varies, reiterating this idea.
C o n c l u s i o n
By c o n s t r u c t i n g seemingly abstract o b j e c t s out of familiar materials I have aimed to abstract t h e familiar and therefore lead o n e to question and be intrigued by that w h i c h is familiar. I have w o r k e d in this fashion to illustrate that that which is considered the norm can also be v i e w e d as being quite odd if viewed objectively. 1 have aimed to use the familiar as a tool that will d r a w attention to the w o r k and in turn d r a w attention to the f a m i l i a r in its usual context.
I use the o b j e c t as a m e a n s of viewing h u m a n behaviour in an objective fashion, as they are the tools by w h i c h people conduct their lives and can be an indicator to our thinking.
R e s e a r c h i n g the w o r k of Sarah Sze, Jessica Stockholder, Howard Arkley and the practioners o f Oestranenie, m a d e o b v i o u s that this w a y of thinking, (a questioning of o n e s i m m e d i a t e e n v i r o n m e n t and that w h i c h is considered the norm), w a s not particularly n e w . H o w e v e r , the practice is of perpetual relevance as the e n v i r o n m e n t in which h u m a n s live is constantly changing, and through this research it has b e c o m e apparent that people c o n t i n u e to be fascinated by their immediate e n v i r o n m e n t .
B I B L I O G R A P H Y
Borer. Alain. The EssentialJoseph Beuys,. MIT Press, USA, 1997, 7-239. Bonami. Francesco. Boris Staci. Sarah Sze. Museum of Contemporary Art, Chicago USA. 1999. 6-33.
Burgin. Victor, (editor). Thinking Photography, The Macmillan Press LTD. London and Basingstoke. 1982, 154-176.
DiNoto. Andrea. An Plastic, Designed for Living. Cross River Press, Japan, 1984, 42-208. Cook. Lynne.Schwabsy, Barry. Tillman. Lynn. Jessica Stockholder, Phaidon Press Limited, USA. 1995.8-146.
Cook, Lynne. Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume, Dia Center for the Arts, N e w York. 1996, 23-37.
Couture, Lisa Anne. Rashid. Hani. Flux. Phaidon Press Limited. London and New York, 2002, 12-49. 68-190.
Crawford, Ashley. Edgar. Ray. Spray, Craftsman House. Australia, 6-129.
Edwards, Deborah. Robert Klippel, Art Gallery of New South Wales, Australia, 2002, 58-223.
Livingstone, Marco. Morreli, Timothy. R a d f o r d . Ron. HowardArkley/The Home Show. Australian C o u n c i l . 1999. 14-16.
Miller, R.Craig. U.S Design 1975-2000. Prestal Verlag. Munich, Londen and N e w York, 2 0 0 1 , 16-228.
Papanek, Victor. Design for the Real World. Butler and Tanner LTD, Great Brittain, 1985. 3-27.
Sarah Sze. T h a m e s and Hudson Ltd, London and N e w York, 2000,
1-101.
Image list
Image I
Photograph with acrylic paint, 16x10cm.
2
Photograph, 16x10cm
3
Photograph,8x 10cm
4
Acrylic paint on canvas, untitled, 15xl5cm
5
Acrylic paint on canvas, untitled, 22x22cm
6
Alexander Rodchenko,
The Driver,
1933. Thinking Photography, Victor Burgin, The
Macmillan Press LTD, London and Basingstoke, 1982, 165.
7
Laszlo Moholy Nagy,
Paris Drain,
1929. Thinking Photography, Victor Burgin, The
Macmtllan Press LTD, London and Basingstoke, 1982, 168.
Sarah Sze, Untitled (St. James), mixed media,I998, Institute of Contemporary Arts,
London. Sarah Sze, Staci Boris and Francesco Bonami, Museum of Contemporary art,
Chigago, 33.
9
Jessica Stockholder,
Your Skin In This Weather Bourne Eye-Threads & Swollen Perfume,
1996, Dia Center for the Arts, New York. Your Skin In This Weather Bourne
Eye-Threads & Swollen Perfume, Lynne Cook, Dia Center for the Arts, New York, 33.
10
Needle Threader, 3x5cm
11
Installation, mixed media, 50x30x50cm, 2002
12
Acrylic on canvas, untitled, 22x22cm, 2002
13
Acrylic on canvas, untitled, 65x65cm, 2002
15
Acrylic on canvas, untitled, 65x80cm, 2002
16
Acrylic on canvas, untitled, 22x22cm, 2002
17
Installation, mixed media, 2002
18
Acrylic on canvas, untitled, 25x35cm, 2002
19
Acrylic on canvas, untitled, 85x55cm, 2002
20
Robert Klippel, Untitled, pen, ink, and watercolour on paper, 53.9x41.9cm, August 1949.
Robert Klippel, Deborah Edwards, Art Gallery of New South Wales, 2002, 61
21
Photograph, 25.5x20.5cm, 2002
22
