« You have created a strong and ambitious body of work. …You have used a wide range of materials and processes with confidence and intention. …Strong work that extends ideas and utilises different process to develop outcomes. This is also evidenced by through documentation and a professional attitude to making.» (OCA Tutor)
This was a strong part of my works and now we turn to the most important thing - criticism. To something that can improve my work.
«How do you understand issues of scale / location, sculpture within the composition of the objects and imagery?» (OCA Tutor)
This is a broad question. The problems of scale have worried people since ancient times. In Egypt, the measure and canon were the size of a person. Over time and with a change in views, a person appeared and disappeared in the world around him. For example, Bruegel or Chinese drawing where a person is small, who does not decide anything in nature. In the 20th century, a man was exalted to the skies and subordinated to production systems. One thing remains unchanged we create and we destroy. Therefore, if the very process of creation is in our hands, in my opinion, then the assessment of what is happening comes from the point a "man". In other words, the perception and understanding of size and location depend on the man's perception. We are comparing ourselves with the surrounding objects. Against the background of the big one, we are small and insignificant. Against the backdrop of the tiny, we are giants. If we are surrounded by many things, the effect of confusion or mass is created, but nature will be perceived in a completely different way. Thus, when we place the created art object in the environment with other objects, all these things begin to interact.
Pieter Bruegel, The Fight Between Carnival and Lent, 1559, Oil on oak, Height: 118 cm; Width: 164 cm [Painting] At: https://de.wikipedia.org/wiki/Datei:Pieter_Bruegel_d._%C3%84._066.jpg (Accessed 29.07.2020)
«Are the paintings the drawings that are asked for - how do you understand them as
paintings/drawings?» (OCA Tutor)
I understand the hint of following the course instructions. Although by drawing I understand "a mark-making process used to produce a line-based composition". (Dexter, 2013, 5) Since lines are what create any visual image on a plane, I believe that these works are as much drawings as paintings. How we would judge the water paint poured on the canvas? Is it a drawing or a painting?
«Where are the stacks – how have you understood them, I can see the notion of stack
through the layering of materials especially in the eagle piece but is this your
understanding?» (OCA Tutor)
Tony Cragg, Stack, 1975, Wood, concrete, brick, metal, plastic, textile, cardboard and paper, Unconfirmed: 2000 × 2000 × 2000 mm, TATE [Sculpture] At: https://www.tate.org.uk/art/artworks/cragg-stack-t07428 (Accessed 29.07.2020)
Stakes for me is a collaboration of heterogeneous entities which create out of mass the clearness. It is like a woman's brain. It can think about the multitudes of things but it is still a clear representation of a Women. Also, stacking sculptural elements can be explained like:
“The order in which elements come off a stack gives rise to its alternative name, LIFO (last in, first out). Additionally, a peek operation may give access to the top without modifying the stack. The name "stack" for this type of structure comes from the analogy to a set of physical items stacked on top of each other. This structure makes it easy to take an item off the top of the stack, while getting to an item deeper in the stack may require taking off multiple other items first.” (Wikipedia)
So it is a kind of the arrangement of the elements which cannot be disassembled without taking all parts from the top first. This part I analysed in detail in the next part.
«There are many examples of when your work is directly influenced by other artists
and this is interesting to consider.» (OCA Tutor)
Yes. On the one hand, this is not original, but on the other hand, it creates new interpretations and meanings of my art, since I create it in a different context and for the implementation of other ideas. “…any new piece of art already looks a certain way before you make it…It’s the passive power of convention. … Any convention can be turned into a great tool, hijacked in service of your own vision.” (Saltz, 2020, 11)
«You tend to push ideas and at times forget the task because you are excited. The extension of ideas is positive but remember sometimes tasks can explore a process of material thinking that can benefit the work going forward (OCA Tutor)
This is my weakness - to be excited about the idea and forget about the material. I'm going to be focused on a process in the next part of the course.
«Think about the development – there are times when you have not documented the
thinking/making/decisions clearly.» (OCA Tutor)
Yes.
Bibliography and references
1. Emma Dexter (2013) Vitamin D: New Perspectives in Drawing, Phaidon
2. Wikipedia https://en.wikipedia.org/wiki/Stack_(abstract_data_type) (Accessed 29.07.2020)
3. Saltz J. (2020) How to be an artist. Riverhead Books
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