Sol Lewitt scribblings

Whilst working out the possibilities for the extension lead system I realised my workings felt very similar to Sol Lewitt’s.

^Sol Lewitt’s

\/ Gordon Douglas’s

So yeah, I may try and make the scribblings an integral part to my work just as Lewitt’s was as I feel my scribblings look very aesthetically pleasing. Or I may leave wall drawing instructions like he did.. I need to look into Lewitt again.

Here’s a picture of one of his cubes:

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Sticks and Strings

Names will never hurt me

So these brooms represent the ability to quickly find something in the house to barricade a door witt. They hold between them a cat’s cradle (childs game AKA Aytori) the string will protect the citizens below from incoming asteroids.

stick leaning from wall to ceiling with string tied around hole in the stick dangling to a nearby wall with a nail holding the string to the wall.

Drawings of cat’s cradles.

Sticks painted red and white with hanging pole jeld by cat’s cradle.

North Pole Brush

Spin Drawings with felt tip pen

Red Spiral

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Surviving the Singularity

Right, so this video is getting dull to make, I’m losing interest in spending loads of time on an idea which I think isn’t the strongest.

Here is the work so far, I may use some of the imagery later on, maybe taking the project to a pamphlet outcome?

some of the images I enjoyed were:

(forgot to mention I made a little house out of cardboard, so that can maybe be taken into account too for how long the video took. However I’m glad I can use it as a prop for other ideas throughout the project)

The zones are listed as above to correspond with the coming black hole which will cause a doomsday scenario, in order to survive it, it is essential that people stay above their houses or in open spaces. This will make sure that the roof, shelter, or anything above them will not squash them. Allocated spaces are a possibility for openness.

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Contextual Site-specific XTREME

Francis Alys

In this piece Alys dragged a blog of ice through Mexico City until it melted. It is very similar to my dragging rock piece in the respects of practicalities and in concept. Alys’s efforts can be seen as completely ludicrous and futile just as my work can be seen as it. In a way they are similar in the drawing they create whilst dragged, in another they both erode away at the surface similar to my agassiz’s rock piece. I believe he is dabbling in the value of art as well, questioning us why we value his futile effort so much. The performance aspect is interesting as usually we expect something to be achieved through the performance; however it is completely pointless. In Dave Sherry’s work he plays with this idea:

This is an idea Sherry gives which enables the audience to come up and complain to him about anything in the gallery he is situated. None of the complaints are taken down and nothing is solved.

Gordon Matta-Clark works in the idea of interventions with the area he is exhibiting in. He likes to disturb the norm

Matta-Clark studied architecture so his work mainly revolves around buildings. This photo is of one of his works were he cut a building in half from the inside. I want my works to interrupt the scenery but in a subtle way, I want the viewer to feel rewarded when they find my piece.

Baldessari’s California word piece is something I found quite inspiring.

That’s a terrible picture, but basically Baldessari got a map of California and followed it to were the letters spelling “California” were in real life: once he got to the area, he made a letter out of local materials exactly were the letter was on the map as if mirroring the map in real life. Blending the virtual world with the real world. I have enjoyed playing with maps throughout my time on Blackford Hill and have used map references to create works such as in “messy” an upcoming blog piece were I utilise an orienteering map to create my own path for the audience to follow. This will take the form of a small slip of paper inserted into the orienteering maps already sold.

Richard Long’s walking pieces

I was really influenced by Richard Long’s way of working – he just went into the environment and started creating works. I was also interested in the marks you can make whilst walking, making large drawings through soil erosion.

Dennis Oppenheim’s site markers are some of his earliest works but they consist of an idea that I really think relates to my project and something I find interesting.

The work goes into finding these objects rather than the production of them. This works with the “messy” piece, you have to create the artwork yourself. Oppenheim’s devil’s Hole’s scale is something that has inspired my work throughout this project, the fact you can only see the whole piece from far off is an interesting idea. It heavily influenced the dragging rock piece.

so yeah. Those are some of the influences.

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Wall Drawings

Wall drawings are an interesting addition to art practice, they offer a different surface to work on.

The main reason I am choosing to use wall drawings as a way of conveying my art is to suggest it being impossible to sell them. Of course its not impossible, as we know with banksy, but it is very improbable.

This first piece is a cover version of damien hirst’s dot paintings. I have chosen to use the stereotypical art “sold” stickers in place of the dots to maybe suggest what is art truly is. This does not mean I don’t admire him though, as I was thinking that maybe he’s the reason I am an artist.

The drawing of Minnie Mouse on the wall makes it impossible for disney to sell it, a complete comparison to the cel.

The drawing of fountain on the wall makes it impossible for the item to be sold. Therefore making it art that is completely against the market.

The silkscreen prints direct onto the wall suggest several concepts. The first being of disney being unable to be sold on the wall. The second is a repetitive nature of commerciaism. The final being the oxymoron of silkscreen printing onto a wall; the point of silkscreen printing (according to warhol) to produce multiple prints which can then be sold for lots and lots of money seperately.

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Vija Celmins

Vija Celmins is my favourite artist right now, her exhibit at the Artist Rooms has made me go back twice already and there’s another trip planned for monday. Really think she is brilliant, so I’m writing my philosophy essay on her work. We have to choose two philosophical aesthetics theories and interpret them to the work. For the first one I am going to choose the sublime as I truly believe that is a huge element to her work.

Celmins was born in 1938 in Latvia and was brought up there and Germany until the age of ten when she moved to America. This is quite relevant to some of her work as some works include images tha remind her of her wartime childhood ie planes and blimps etc. She works mainly in charcoal, graphite and painting but also experiments with printing techniques in some of her more major works. The works themselves are usually images of the sea, space, deserts and spiderwebs, however she did dabble in hyperrealism for a while.

Like her earlier stuff Celmins more recent work questions the idea of representation. Are the drawings she has made perfect? Or are any drawings perfect? It is impossible to create an exact likeness to the real thing. However I believe that Celmins has chosen to represent the works this way due to her interest in recreating the 3-Dimensional on a flat surface.

Her Spiderweb drawings are incredibly interesting too

What really hit me whilst in the exhibit was the question one young girl asked her mum “Where is the spider?” And indeed I never questioned it myself. In relation to her other works I believe it can be read as to questioning who is the creator? Is there a creator? There is also lack of a character in the drawing for the viewer to relate to. This may allude to the fact her pieces are snapshots of life seen through microscopes, telescopes or even cameras. These points are all very significant to her universe and nightsky drawings.

Her space drawings are my favourite ones as they remind me of my own work and appeal to my love of sci-fi.

so yeah, thought I’d slip some of my own artworks in there haha. One of her other works is the ocean woodcuts and drawings. I believ these reference the sublime, but in a sort of working way, the artist has realised the sublime through really technically difficult and intricate work.

n the conceIntric bearings pieces, the artist alludes to her history and also to the theme of rotation which is prominent in some of her other works. In Concentric Bearings D Celmins combines pictures of her own nightsky work, Marcel Duchamp’s Rotary Glass Plates(an optical illusion  piece) and a picture of a plane which reminds her of her childhood.

In another piece with multiple images, Jupiter Moon – constellation, Celmins explores a minute detail in a mass of stars, a kind of metaphor for herself and the rest of space. She is so small but so individual, so it is again like another sublime idea. In Constellation – Uccello, 1983, I think Celmins point of view is most obvious. It is a multiple print piece, one of a nightsky depicting a starscape exploring the 3D in a two dimensional surface, really getting into the rendering idea, whilst on the right is a tracing of a drawing of Uccello’s chalice. It was likely the work was traced from a book whilst Celmins was studying in Florence. The drawing of the chalice represents another idea of 3D being shown on a 2-Dimensional plane, but is a more graphical approach. The two pieces are linked this way.

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Card Tricks

So I went and did some smaller drawings in order to make light of the fact the universe is so massivley huge. I did another A1 as well:

So those are some of the nice drawings. huzzah

I really love the small card ones. I chose to use a card (or the size of a card) for some of the drawings to reflect the chance of these drawings.

So I think from now on I shall call these the chance drawings.

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