Michael Craig-Martin, An Oak Tree (1973) Assorted objects and printed text, 15 x 46 x 14 cm (Photo: Courtesy of Michael Craig-Martin) At: https://www.tatlerasia.com/culture/arts/5-bright-ideas-from-michael-craig-martin (Accessed 15.09.2021)
An Oak Tree consists of an ordinary glass of water placed on a small glass shelf of the type normally found in a bathroom, which is attached to the wall above head height. Craig-Martin composed a series of questions and answers to accompany the objects. In these, the artist claims that the glass of water has been transformed into an oak tree. (Michael Craig-Martin, An Oak Tree (1973) TATE At: https://www.tate.org.uk/art/artworks/craig-martin-an-oak-tree-l02262 (Accessed 15.09.2021))
The work An Oak Tree by Michael Craig-Martin was not a revelation for me and reminded me in some way of the work of The Void of Yves Klein. The artist changed the meaning of the subject back in 1958. Even this work is much more layered for me, I would say since emptiness does not even have a body. To change our understanding of what is commonplace for us and designate "this" as something new already was many times before in the history of art.
Piero Manzoni stated that through the signing of a person or part of him, or, for example, being in a certain position (seated), a person could be an object of art created by Manzoni.
Joseph Kosuth in 1965 (One and Three Chairs) finally forms the understanding of the concept and shifts the emphasis from the object of art to the idea itself.
Lawrence Weiner, for example, describes and exposes words as objects, where the very meaning of words and what and how it is already written, by definition, are two different entities.
Martin Creed # 227 The Lights Going On and Off (2001), for example, presents the reasoning that we see an empty room or a Void? With or without light? It is essentially a matter of definition and perception.
In my titles of works, I tried to explain the feeling that is associated with colour. For example, Homeland, Cold or Lemon.
In one of my works, I tried to describe a situation in which the material reflects the meaning of words.
«Birth. Formation in a natural way. Passions are raging, they say what to do and what not. Judgement. Disbelief. They are forming you. Become stronger and shine.» Such a description is poetic in nature, but, in my opinion, it gives additional colours to the work.
Julien Creuzet uses poems, small stories, music for the titles of his works.
«We will flee, into a huge enclosure, we will go around in circles. Once again, that will be an end, and once again a departure. We will bounce back, ricochet, until our last ounce of strength. We will live our lives as human beings, with our temporalities as human beings, we have a short passage. Sensitive gust. Frail and fertile, weak and vain, we should have taken clues from crazy ants. Land rebound, we will eventually sink.»
Julien Creuzet, 2017, at The 2017 Biennale de Lyon (05/2021) At: http://www.juliencreuzet.com/wp-content/uploads/2018/03/PORTEFOLIO-2018-March-JULIEN-CREUZET-website-1.pdf (Accessed 18.09.2021)
In the example of this artist, I am interested in the method of constructing an artistic image. He has his own recognizable style, but he trying to understand the problem of identification, race and meaning of life by all available media. Even including poetry and music.
Comparing my works, yes, of course, they are endowed with colour quality, but I can add and develop this. Create a whole atmosphere around emotion and colour. As a filmmaker, plan the whole image.
Comments