TEXTILE PRACTICE POSITION 1 (1:1 TUTORIAL)
Friday 6th November
Colour Key:
Key Thinking / Points of Potential Development
[edited transcript: me]
I am looking at how you can convey form; all the different ways of making something look three dimensional. I think you can tell this painting is three dimensional just from the perspective, however I know it derives from this object so perhaps I have that ability to perceive this as a result.
[edited transcript: Sharon Ting]
Yes perhaps, you have that connection with it because you created it.
[edited transcript: me]
I find it really interesting looking at the relationship between these things.
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[edited transcript: Sharon Ting]
Can I handle your fabrics?
[edited transcript: me]
Oh yes, of course.
[edited transcript: Sharon Ting]
Are you thinking that these things exist in spaces? Not on the body?
[edited transcript: me]
Yes, I am interested in things in spaces, last year I worked with the Tate as my context. Mostly I envision things large scale, generally art based and last year I worked a lot on responding to spaces, whereas this year I would like to focus on responding to objects.
[edited transcript: Sharon Ting]
Can I see your technical notebook?
[edited transcript: me]
I have been keeping it very simple and striped back. Lots of browns.
[edited transcript: Sharon Ting]
But that is your colour identity.
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[edited transcript: me]
I began talking about Significant form in our tutorial and I think this slide between expresses that notion.
[edited transcript: Sharon Ting]
So it's the connection between form and connecting to our aesthetic.
[edited transcript: me]
Yes, the idea that it isn't about the object, it's about the painting. It doesn't need to be anything or say anything. A bit like Mark Rothko. It is its colour.
I want to talk to the Director of Jewellery as you suggested, but I want to have some concrete questions and ideas to throw at her, like food for thought. So I want to expand on my research more to really get the most out of it.
[edited transcript: Sharon Ting]
Also try talking to Adrian about objects in environments to see what he imagines your work to be. He has got that background and history.
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What is this?
[edited transcript: me]
This is a UAL Masters graduate from this year. but these were my drawings from first year. I found it interesting how similar they were. At the time I was looking at rocks, so still form. I don't think I've changed much, but here I was interested in the planes of surfaces; shapes have millions of individual planes when you think about it.
[edited transcript: Sharon Ting]
Okay so if you are interested in form and creating a space. What do you want to do when you graduate?
[edited transcript: me]
I'm thinking of doing a Masters but not in anything practical. I have been looking at things like Cultural Studies, Museum and Contemporary Gallery Studies, Art and Visual Culture. My Contextual studies this year is all about how we see things, why we see things the way we do, how galleries make us see things in different ways.
[edited transcript: Sharon Ting]
So are you interested in curation?
[edited transcript: me]
Yes, I think thats why my work has become so art based because elsewhere this is my background thinking, the network of thoughts in my head.
This is another UAL Masters graduate whose work again related to my work in first year, specifically from the MML unit. I made these clay sculptures in first year and then transitioned that into textile; this was her final year masters project which looked at "The Materiality of White". I thought her work has really interesting in terms of form. These shapes in a space have shadows and are a collective being. I think I like collective forms. I think things can be so much more powerful when they are multiples rather than individual.
These were points of reference from our last tutorial. Followed by works of art which I feel convey form but in very different ways.
This is 1954 piece by Mary Martin. It is on a two dimensional surface but it is a three dimensional form.
This piece by Sir Terry Frost reminds me of pattern pieces, which in turn produced ideas of construction of form, stitch etc.
Even within this piece by Paule Veszlay, it's a two dimensional painting but he is insinuating, he is directing us to form.
Of course I love Henry Moore, but this sketch in particular sparked ideas surrounding fragmentation of form. The restriction of form. The containment of form.
And these mesh sculptures are by an another artist, I love the individual shapes and the opacity changes. It seems I am working a lot currently with shades of one colour, so on the print table I am going to work with layering to get this kind of effect but on a flat surface.
[edited transcript: Sharon Ting]
Okay, I think that's a very nice presentation, it really shows your thoughts.
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[edited transcript: me]
I am trying to not leave anything behind. Sometimes I just focus on the colour testing or just focus on research so I am trying to keep everything informing everything and keep it all interlinked. I think especially with production last year I was very much "I have an idea in my head and that's all I need to get to nothing else matters full steam ahead" but actually this time I am working slightly different. I really enjoyed I&I so I want to take that more free flowing approach into this unit, especially as it is the exploratory unit. I want to give myself time to digest information and maintain making and something will come.
[edited transcript: Sharon Ting]
I suppose I am trying to unpick this. One of the things I think you need to think about is how do you think your practical work is going to inform what you want to do at the end in a purposeful way. Does it even need to? Or is it perhaps good to say I know what I want to do, but for now I am just going to explore as I might not get the chance again. You don't have to gear your work towards your post graduation endeavours. You can just take it for what it is.
I think you need to decide what that would give you. Perhaps it would give you the opportunity to be completely creative and make etc. You feel as though you don't want to make now but you never know. I think you should think about this.
It would be a shame to gear your work to that end if you could use this time to just work on your ideas. You will be touching on this within an MA so potentially you could focus on your project work and your preparation would be purely creative.
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If you do want to focus on this context you could perhaps think how can I create a mini space and curate my own work within a space. And how do people react to my work. You could think about creating an installation that people enjoy as a connection to you. If you're thinking about that I would really consider people, not just psychologically but physically. How do they engage with your work in that space. Are you going to produce something on the wall, on the floor. Is it object based?
This [referencing one of my sculptures] object is really hard but what if it was blown up plastic or rubber. It looks hard but it's lovely and soft.
Then you could have your paintings and samples, forming a 'chloe' environment of stuff to make you think.
Your body of work will generate discourse and engagement that is seen in that context of visual arts and culture. I think thats really interesting.
This isn't about making a product for you, its about exploration.
Questioning how people see, how they react.
You could even be really controlling about it and write a proposal for how you would control the space i.e you have to wear this.
Think about whether people are comfortable in your space. Some exhibitions are really intimidating, but you could question that whole idea.
What types of people go to see what types of exhibitions?
[edited transcript: me]
This is kind of what my CTS was verging on but Adrian said you would need ten sociology degrees and ten psychology degrees to be able to understand people so he said to stay on firm ground, keep it focused on the theory and the multitude of opinions in the field.
[edited transcript: Sharon Ting]
Yes, that could potenitially be more for your MA.
[edited transcript: me]
For my CTS is have been focused on reading books because I find it fascinating. Lots of John Berger; Ways of Seeing, About Looking, Steps towards a Small Theory of the Visible, as well as more contemporary writing such as The Imaginary Museum by Ben Eastham.
[edited transcript: Sharon Ting]
So what is your ideal situation, a real or virtual museum. If you worked in that field where would you be?
[edited transcript: me]
I love galleries; last year my whole project was about the solace I find from sitting in the Tate, I find it the most calm place. I could sit in the Tanks all day.
[edited transcript: Sharon Ting]
Is it the enormity of it?
[edited transcript: me]
Yes it makes you feel so small. And I enjoy that. I find the environment settling, but then the theory behind it is even more fascinating.
[edited transcript: Sharon Ting]
Okay so its a physical space.
[edited transcript: me]
Yes, the way artists fill spaces with things.
[edited transcript: Sharon Ting]
So in your ideal world you would work at the Tate Modern?
[edited transcript: me]
In my ideal world I would be director of the Tate Modern.
I read a book by the Director of the Serpentine, Hans Ulrich Obrist, Ways of curating.
He spoke about his experience and his journey in the field.
[edited transcript: Sharon Ting]
Okay so what kind of things have influenced you?
[edited transcript: me]
He made a massive point of talking to artists. His practice is wholly based on conversation and collaboration. Rather than saying "I am curator, give me your artwork and I will place it". The evolution of curation during his career is interesting; as a field it has not been established for very long.
He always asks artists "What is your unrealised project?". What is your dream project that you think you could never achieve.
This made me think of my love of Christo and Jean Claude last year. I don't know if you have ever seen "Valley Curtain". That happened, they made it; that scale is just immense. I suppose we both have a desire to make the impossible possible. But on a simpler level, just showing people new things within a beautiful space.
[edited transcript: Sharon Ting]
I think you need to create some models. Even if you use your paintings as backdrops. String things up and start photographing. Create environments; think about lighting, form ideas, take photos.
I quite like the idea of furniture too. What if that translated too, a space for seating for example, some sort of textiles cloth that you could construct, that invites use and interaction. You could construct shapes with textiles, you interact with it and be within it but also use it.
There are lots of potential outcomes and roads here but you need to decide what it means to you.
I don't think you need to address it now but keep it in mind.
It's very individual.
I don't think you need to worry about any start and end points just keep working through.
[edited transcript: me]
Ideally I'd like this year to be a body of work, rather than two separate projects.
[edited transcript: Sharon Ting]
Yes, I don't think you need to draw any start or end points in the sand, just keep working through, developing as you go.
There are many layers of complexity, but it hangs together through what you are doing within the materials. There's a sense of simplicity within the materials and the act of looking, but actually there are many many layers that are driving it.
[edited transcript: me]
I think it's about finding ways to convey that because I appreciate that to look at it's all very simple, they're really just shapes in simple colours, so that notion of communication is going to be important.
[edited transcript: Sharon Ting]
You can write about it, you can speak about it, think about how you present that because you do need to present the thought behind it so that people can understand. But how do you do that? Is it a book? Is it a powerpoint? Is it a film? A commentary, if you love the written element, find a way to bring it in.
