WIP Show Artist Statement
Ugly, uncomfortable, unfashionable, imperfect, out of place… it doesn’t matter – everyone is welcome. Although we are surrounded by talk of inclusivity and equality in our culture, why are these ideals of legitimacy often ignored when it comes to our things? There is a tendency to look a gift horse in the mouth; to hide the chipped mug; to separate our things into tribes of what belongs together and what doesn’t. ‘Sandbox’ intends to discuss this through sentimentality, empathy and zoomorphic objects, in a world where everyone is legitimate, none are turned away or separated. They all belong, they are all welcome.
WIP Show/Library Display
Working Project Proposal Title (ideas):
- Expressing and challenging conflicting feelings through zoomorphic sculpture
- Expressing Investigating (autobiographical) feelings on inclusivity, coexistence and legitimacy through making and curation of sculpture.
- Identifying why I make what I do, what it says about me, and what I communicate through my practice.
Objects to display:
- Ceramic Cast Jellybean – Magenta cast (+)
- Ceramic Handbuilt Jellybean – Yellow (+)
- Ceramic Black cup or Broken Cup (+)
- Ceramic Purple tactiform (or blue) (+)
- Ceramic mini Tactiform (+)
- Ceramic Blue Cactus (+)
- Wooden Robopants
- Metal Plughead
- Masking Tape Coral
Other/more materials (to consider/experiment/make before WIP Show)
- Wax – make wax Tactiform or Jellybean
- Card – pangolin hat style
- Paper – papier-mâché?
- Tape – more figurative?
- Plasticine – make Tactiform or Jellybean
- Metal – ???
- Plaster – carving, whittling, casting
Ideas of how to display, and why:
- In a round/crowd – conversing, mingling, participating
- On grass – symbolic of existing in an environment – their land, world, microcosm, but a world we as people share too
- In a house/dolls house – all living under one roof
- A kunstkammer – a curious “world” where a range of wonderful, diverse and not-necessarily related (serialised) things are display and exist as they are
- A selection (curated), based on maintaining diversity and equal distribution of all kinds of objects… but this makes the work quite ‘exclusive’, maybe.
- All objects ever made by me… logistically quite difficult! Can this be played with, for example, by objects ‘overflowing’ a shelf, or starting to take over a wall, or defying gravity, etc?
- Simultaneously displayed collections – the same objects, or different? How are these separate ‘worlds’ decided upon?
Feedback from Oscar, 08/02/18
- Titles are a little clunky – broaden and then gradually decide which bit is the most important part to express/unpack.
- Try to think about how critical my question/position of enquiry is – does it allow me to question, critique, investigate and analyse my process or approach to finding something out (ie is it objective)
- Collage and bring in as much stuff as possible
- A variety of forms, materials and processes makes for a more confident direction, and allows for greater objectivity
- Could each of the three display opportunities be approached differently (I.e. try a different thing, arrangement, objects)?
- How does the notion of simultaneous ‘worlds’ affect the notion of inclusivity and legitimacy?
Key words, and how to clarify what they mean to my investigation:
Legitimacy – what rules, laws, regulations? Can my choices be defended with logic, rationality or reason?
Inclusivity – how far do I pursue or press for inclusivity? Where does it end?
Coexistence – living in harmony, despite differences (ideologies, interests, species…)
Curation – how can curation still can make an exclusive statement, despite pursuing inclusivity?
Conflicting feelings – responses to texture and aesthetics such as recoil, adoration, inquisition, tentativeness, etc… is there a better term for this?
- Build strength of argument through contexts:
- How have other artists/sculptors displayed collections of their works (retrospectives, etc.)?
- How do other artists deal with questions about aesthetic differences between types of work they do (Damien Hurst, perhaps?)
- How can a range of different objects (aesthetically, thematically, chronologically) by the same artist?
- Have other artists used a kunstkammer or similar approach to displaying a range of objects/works? Why?
- Collate as many of my objects as possible
- Start to assemble collections, photographing different combinations
- How would these collections ‘overpopulate’, aesthetically?
- How would these collections work when there is imbalance of certain types (i.e. too many blue things, too many ceramic things…)
- By Wednesday 14th February, ensure most of the objects I want to show are together, and bring to university.