Once for “ Sculpture 1” I already did a big analysis about one of Rauschenberg’s works.
Magician (1959) Robert Rauschenberg, Combine: oil, fabric, wood, printed paper, printed reproductions, and metal on canvas with fabric pouch and string, 65 3/8 x 38 1/8 x 16 1/8 inches (166.1 x 96.8 x 41 cm). Private collection At: https://images.app.goo.gl/UmwK1stQmo7kYkf78 (Accessed 18.11.2020)
Here I will quote myself:
The "Magician" attracted my attention due to the external similarity with my work. Here I see the person himself, where the circle will be his face, and the board protruding from the canvas will resemble the hidden bottom of a box, from which the magician will soon take out a bag of coins.
Rauschenberg did not plan his works, they arose in the process, and he let the material be itself, did not work according to the plan and used what was at hand. ("Robert Rauschenberg and Calvin Tomkins: A Conversation about Art and Life", Recorded February 5, 2006, starting at 8:30 At: https://www.metmuseum.org/exhibitions/listings/2005/robert-rauschenberg (Accessed 12/23/2020). My process developed in approximately the same way. There was a material, a canvas with a hole and the work logically moved on, other objects and colours appeared. I left the painting it stayed. As a result, what was left was left.
In the 50/60 years, abstract abstractionism dominated America. The consequence was “Rauschenberg's enthusiasm for found materials and his rejection of the angst of the Abstract Expressionists, ..., led him to search for a new means of expression. He found his signature style by embracing non-traditional materials while always demonstrating rigor and concern for formal composition". (The Metropolitan Museum of Art. online, At: https://www.metmuseum.org/exhibitions/listings/2005/robert-rauschenberg (Accessed 12/23/2020)
At first, I was interested in the external resemblance. Open space in canvas. The presence of spherical and hanging elements.
But the difference in technique was obvious. Robert Rauschenberg uses collage to create layering. He collects images and objects of everyday life that will evoke associations in the viewer and create images. “Rauschenberg left a bold and indelible mark on the 20th century. His combines, which integrated the flotsam and trash of everyday life, including the artist's own duvet in Bed (1955), were neither painting nor sculpture, and proved that anything could be the material of art. " (Alex Needham (2016) online, At: https://www.theguardian.com/artanddesign/2016/nov/19/robert-rauschenberg-just-something-be-around (Accessed 12/23/2020). In my work balls of light plasticise turn into these objects from “the everyday world”. Rather, they do not communicate with the viewer but are in a relationship with the drawn balls, in other words, they are in communication with themselves.
The artist uses colour as a unifying element. The chosen colour complements the narrative, for example, black evokes dark connotations, while pink or red brings energy or refers to bloodstains.
My colour, compared to his, is not so bold. No layering, no collage. I paint it on a blank canvas, and the artist worked with colour on top of newspaper clippings, fabric or other objects.
How exciting it is to watch my quest for volume. Now I understand why I was so interested in Rauschenberg's work. It is materiality, volume and colour. He applied oil or industrial paint directly on objects and this created volume. My eyes were searching for this three-dimensionality and texture.
Bibliography and references
1. TATE, Robert Кauschenberg At: www.tate.org.uk/context-comment/articles/robert-rauschenberg-lets-do-it-together (Accessed 23.03.2021)
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