I started this course with one of the most important thoughts and tasks - "I would like to formulate a concept that unites all my ideas. Put everything in order and highlight the most important. Idea/research with which I will continue to work for several years." And in one year of this course, I did it. Now, I am absolutely sure of what I do and how. Such confidence was given to me by complete immersion in the search and meaning of my ideas highlighting the main points of interest.
Changes in Aims and Ambitions
During the course, my aims and ambitions for my work have evolved significantly. Initially, I was focused on clearly separating what I do to make money and what is called art (my goal in this course was to combine all two parts). However, as I delved deeper into the interplay between material, colour, emotion, and human perception, my ambitions broadened to include a more holistic approach that integrates these elements with more personal narratives. This shift was influenced by my reflective practices, and feedback from peers and tutors. The impact of these changes has been a more focused and coherent body of work that aims to connect more deeply with the audience on an emotional and sensory level (since this was also one of my personal aims in this course).
One of the visitors at the exhibition made a sketch of my work because it "spoke" to her
As a result, I deepened my understanding of my colour-fields and moved them into another category.
They became an urban installation
Mock up for Temporary Urban Installation
And they acquired my personal voice and from beauty they became aesthetics.
Divergent, 2024, acrylic, newspapers, canvas, screws, cardboard, sand, сhipboard, paint, fixatives, wood, 64 x 59 x 11 cm.
In addition, I found a combination of art with something that opens up access to a wider audience (this was one of the most important conditions of my work on this course - to speak to a viewer who would not go to a museum) - bringing art to the streets
Untitled. Glossy pink, 2024, recycled newspapers, canvas, paint, screws, acrylic, wood, coating, 50 x 50 x 15 cm.
and, combining pop art coating and my themes of unconventional materials, and photographing the details of my works.
Fragmented Perspectives (Untitled. Glossy pink), 2024, Photo print behind glossy acrylic glass with frame 133,3 x 100 x 1,7 cm.
Recognising Context and Influences
Reflecting on my work, I recognize that it fits within the broader context of contemporary art practices that explore sensory experiences and human perception as well as the development of digital technologies and manipulation of perception.
For example, I was focused on works that stimulate increased interaction - the desire to touch, for example.
In Sheep's Clothing, 2024, recycled wood, fur; acrylic paint, screws, 59 x 33 x 35 cm.
Or in my work with photographs, I strive to provide the possibility of perceiving only a part of a physical object.
Fragmented Perspectives (Altar of Materiality), Photo print behind glossy acrylic glas with frame
Altar of Materiality, 2021, wood, paper, nails, screws, paint, varnishes, rope, sheepskin, wire, the face of St. Matrona of Moscow, candle, 56L x 58H x 23D cm.
Artists like Artie Vierkant, who works with digital manipulation to influence perception, and Anselm Kiefer, known for his immersive installations and super tactile art, resonate with my practice. These influences suggest a future direction of creating more immersive and interactive works that engage the audience’s senses more fully.
Key Moments in Development
Key moments in the development of my practice include my initial experiments with synaesthetic representations,
the decision to incorporate personal narratives,
The basis of the work is a fence that I painted as a child.
and the feedback sessions and art exhibitions (this year I had four exhibitions so far) that helped refine my focus.
I experimented with work for the first time with a group of children and adults in my studio according to a pre-planned plan
Experiments with own body
My husband laughs at me. Then I spent a week washing this "natural" paint off my skin.
Experiments with AI
Experimenting with subsequent upcycling of my colour fields
First time physical collaboration with other artist
Experiments with planning fully curated solo exhibitions: https://www.marinawittemann.com/post/exhibition-concept-art-for-change-transcending-boundaries-from-digital-to-physical
First time conducting a workshop for OСA
Experiments with working with text
New collaboration with professional picture frame builders,
professional coating master
and consultation with a professional photographer (on how to create high quality photography and conduct shooting)
and this is only part of my experiments this year.
These moments have shaped the direction and depth of my work, leading to a more nuanced exploration of my themes.
Strengths in Process and Works
The strengths in my process include a strong reflective practice, openness to feedback, and a willingness to experiment.
The works themselves are noted for their vibrant use of colour, emotional depth, and the ability to evoke sensory responses. These strengths have helped create a cohesive and impactful body of work.
Connections and Threads
The connections running through my work include a consistent exploration of colour, materials, methods and emotion, the integration of personal and sensory experiences, and an ongoing dialogue with contemporary art practices.
To illustrate this I suggest ma work “for me mom”
Impact of Research
The research I conducted has deeply informed my work, providing a theoretical framework for my exploration of sensorial responses and perception. It has also introduced me to relevant practices and methodologies that have influenced my approach to making art.
Examples:
Discovering the connection between my childhood memories and work with materials and today's practice
Quoting myself “By 2024, creating pieces with wooden debris evoked childhood memories of my father's workshop, forging a connection to my work materials. These experiences demonstrate Deleuze's notion of "difference"—free creativity and its analysis generating new experiences, supporting continuous transformation and change. Deleuze's idea of difference emphasises creativity's dynamic and productive nature, where each artwork is not a final product but part of an ongoing process of becoming (Deleuze, 1994 p. 168-221).”
Quoting myself “This approach [meticulous folding of newspapers into colour-fields] challenges established norms by foregrounding the value of repetitive, meditative labour and its capacity to generate new insights and connections, aligning with Deleuze's idea that repetition, even of the same (Deleuze, 1994 p. 76), is a process of continuous variation and renewal.”
Fragmented Perspectives (Behind the fence), 2024, Photo print behind glossy acrylic glass with the frame, 133,3 x 100 x 1,7 cm.
Quoting myself “Viewers identify symbolic elements within the artwork, such as specific objects, colours, or arrangements suggesting metaphorical meanings. For example, a photograph might symbolize digital technology. This critical analysis can be illustrated by Bradley and Esche's ideas on challenging established norms in art by questioning how different elements relate to broader themes like politics, society, or personal experience (Bradley, Esche 2007, p. 21)[1].”
Interdisciplinary Interplay
Working across disciplines, such as incorporating elements of video art,
photography,
installation art,
sound,
and visual art,
has enriched my process. This interplay allows for a more dynamic and engaging body of work, offering multiple entry points for audience engagement.
Addressing Problems and Contradictions
I have addressed problems such as balancing personal narrative with broader themes,
For example, bringing in a sense of destruction, both personal and social.
integrating multiple sensory elements cohesively, bringing a wider audience via social channels
gaining recognition and having one work exhibited in my first museum and being published in the exhibition catalogue:
These challenges have been met through reflective practice, experimentation, and feedback, leading to more resolved and effective works.
Future Ambitions
Looking forward, my ambitions include creating more immersive and interactive installations, exhibiting my work in galleries and public spaces, and continuing to explore the intersection of synaesthesia, emotion, and perception.
New Possibilities
Bibliography and references
[1] “…artists found it necessary to disrupt or operate outside of the approved boundaries of the art world in an effort to engage with politics…” (Bradley, Esche 2007, p. 22)
1. Deleuze, G. (1994)"Difference and Repetition." Columbia University Press
2. Bradley, W., Esche, C. (2007) Art and Social Change a Critical Reader. Tate Publishing. London, Tate Enterprises Ltd. Millbank
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