FIGURES AND FIELDS: IMAGE OBJECT EVENT: FROM STUDIO TO STREET
       
     
INCIDENT AND INCIDENTAL ART, FOUND AND FABRICARED
       
     
ABSTRACTION OF THE STREET
       
     
CONCEPT VISIBILITY:FIGURE IN A CHROMATIC FIELD
       
     
GLEANING  WINDMESH FROM THE CITY SKIPS
       
     
GRAVITY AND ENTROPY
       
     
COMMUNITY OF PRACTICE
       
     
Painter at work - in the studio
       
     
ART WORK AHEAD
       
     
Squaring the Circle: memory of the architecture of shadows
       
     
Off the Wall ; fabric residue; another layer of skin
       
     
Unpicking the threads; taking the curtain for a walk
       
     
IMG_4937.jpg
       
     
IMG_4927.jpg
       
     
IMG_4933.jpg
       
     
IMG_4894.jpg
       
     
IMG_4896.jpg
       
     
Earlier Studio Painting
       
     
IMG_4856.jpg
       
     
Text and Transparencies:experiments in intertextuality
       
     
STUDIO EXPERIMENTS
       
     
Black Veil
       
     
Geometry constructed from the found object
       
     
Another site for a MAPPS project
       
     
Hunters and Gatherers: The gleaner
       
     
FIGURES AND FIELDS: IMAGE OBJECT EVENT: FROM STUDIO TO STREET
       
     
FIGURES AND FIELDS: IMAGE OBJECT EVENT: FROM STUDIO TO STREET

1. Title of Study.

Image , Object , Event: STREET - STUDIO - STREET

2. Abstract.

What are the commonalities shared between socially led artistic practice and studio based practice led by the individual artists imagination?

How can contemporary art practice connect the experience of the everyday with concepts such as deep time and the ineffable?

In a digitally networked and globalised world the boundaries between what we regard as private and what we perceive as public are constantly challenged by the technologies we construct, the public overlaps the private and viva versa.Through strategies of privatisation by governments, the control of the public domain shift into private hands. Yet at the same time our private lives are monitored ever more closely through digital data mining algorithims embedded in the technologies we embrace. In a 1968 essay, Robert Smithson referred to these two categories of private and public as a tautology,(Smithson).This project uses the relationship between studio based art practice and public art practice, to explore the dialogical dynamic between the two domains of public and private, between the studio and the street, the urban and the global.

Using a material process based, practice led research of thinking through making methodology(Ingold)

The language of aesthetics is a common ground where aesthetic experience is described both in individual art works and collective art events. Within aesthetic experience these common grounds extend across cultural and historic categories allowing for exchange of shared subjective truths. Offering pathways to transcend binaries such as object subject, self-other.

Using methodologies based in the thinking through practice model, this project asks:

What are the characteristics of aesthetic experience as experienced individually and collectively within contemporary social formations?

Is it possible to consider plotting the ‘DNA’ of aesthetic experience by collecting case studies, within the Art History and Theory discourse and distill what may be relevant for contemporary and future art making?

3. Key Words.

Image: representation; Object: form / material

Event: action / performative / embodiment.

INCIDENT AND INCIDENTAL ART, FOUND AND FABRICARED
       
     
INCIDENT AND INCIDENTAL ART, FOUND AND FABRICARED

5. Outcomes:

Art practice scaled to public space can be contingent on production value, and regulatory requirements whereas self generated projects are constrained by an economy of means.The research will explore the dynamic between projects generated through the response to an external brief or commission, and personal reflective and intuitive self-generation. and where an external site, installation or intervention suggests itself from within the process of experimentation/practice.

ABSTRACTION OF THE STREET
       
     
ABSTRACTION OF THE STREET

As the street is saturated with “found”abstraction, The “found “land art” of building sites dominate a transforming city.

However the subject project investigates strategies of installing a poetic reference to primary visual stimuli that is both outside the ordinary and expected ,yet inhabits the landscapes of the everyday. Rather than decorate the hoardings with printed vinyl, The handmade ’one off ”original”.offers a first hand, encounter with the gestural residue of a bodily action.

Timeline:

The street based project in this catalogue are seen as ongoing and installed on an opportunistic basis, free of bureaucratic engagement. This ‘gorilla', stance is primarily a strategy to concentrate on theoretical research and development of ideas, while remaining open to spontaneous incursions into public space as an extension of practice.

The tapestry competition, complete with brief and specific public site has a deadline closing 15th June. This submission date was met though the proposal was not selected.

CONCEPT VISIBILITY:FIGURE IN A CHROMATIC FIELD
       
     
CONCEPT VISIBILITY:FIGURE IN A CHROMATIC FIELD

4. Site.

A response to the city as a construction site. Negotiating constantly changing boundaries, redefined zones of exclusion and access at street level as a manifestation to deeper and more far-reaching change as a social/political restructuring of public space, and personal space.

Using studio based material and object making as an incubator to generate components and projects that can be extended through strategies of instillation, performance into the urban fabric of the everyday, sometimes referred to in an art theory context as the expanded field. The concept of the ‘model’, in painting, sculpture and architecture serves as a conceptual research tool within, the studio to develop ideas capable of translation to scales suitable for public , urban space.

The notion of Location as discussed by Donna Hathaway is presenting as a way of framing environments, and atmospheres that extend the notion of site and its relationships with the body. Through extension of an understanding of the performative nature of art making, and an understanding of embodiment, embodied meaning can within art practice

Artist walk/the architectural promenade/land art/the flaneur/the gleaner….’the edge of the forest’… and beyond the perepherique….city, country, home and wilderness all are at play in the shifting ground of the contemporary city.

GLEANING  WINDMESH FROM THE CITY SKIPS
       
     
GLEANING WINDMESH FROM THE CITY SKIPS

Paintings constructed in the studio using ,wind mesh from the skip.

The wind mesh fabric has become the garment of the scaffolded city as it is transformed at an unprecedented pace.

The language of text, texture and textile, shrouding, veiling, protecting , obscuring is a key component as ‘fabric’ that sits at the centre of all culture , both material and symbolically.

The making and placing of these ‘curtain’s offering a small glimpse of the poetry of the hand gesture that is neither graffiti, nor commerce and seeks to momentarily reclaim the public space enclosed by the barricades of construction.

Their transparency creates the filtered and framed view. a view that creates an interval for those that look and a movement for those that walk by.

The scale of engagement(for the pedestrian, the passer by ) is that of the body, as is the scale of the process of making.

GRAVITY AND ENTROPY
       
     
GRAVITY AND ENTROPY

1. Research Question:

Exploring definitions of landscape and cityscape, nature and culture, to frame the question:

What are the relationships between a singular studio based art practice, with its genesis in the imagination and drives of the autonomous artist, and art practice that has its focus in social engagement, political motivation and the public realm?

Through a social and political lenses, this can be framed as an exploration of the relationship between “State” and ”Social Institutions” and the “Artistic Imagination’

That is, what are the drivers of the contemporary discourse between autonomy and heteronomy in contemporary transcultural art and architecture?

2. Context.

Placed in the context of 150 years of history, of modernism, post modernism, how these histories are framed and reframed, Eurocentric, north Atlantic, east/west.

‘Indeed the whole enterprise of modernism, especially of abstract painting, which can be taken as its emblem, could not have functioned without an apocalyptic myth. “This statement, taken from Yve-Alain Bois essay, ‘Painting the task of Mourning’ may serve as a lead motif for a discussion of the development of contemporary aesthetics and the relationship of aesthetics to a boarder social and cultural context. Notions of relationships between human kind, perceptions (and representations) of reality and the transcendent. The task of mourning immediately suggests ‘the task of celebration’.

Creation stories and the dealing with death and loss….from the book of Genesis within the western canon and the book of change (I Ching) in the east.

Within the contemporary dialogue of the human and the non human, the superhuman and the Anthropocene. Indigenous and non-indigenous attitudes to landscape where landscape can be defined as a cultural construct that can include, town and country, land use and management and how these attitudes are represented through artistic expression.

The “Figure in the Landscape”, in its many art historical manifestations may serve as a motif for an exploration of these relationships

Social and personal space and the framing of spatial perception in a transcultural context.

Formal aesthetic values /aestheticizing / commodification, public/private, political

Freedom and control….body

“…….reflexive methodological framework of French cultural theorist and sociologist Pierre Bourdieu and his explanation of the factors necessary for the genesis and development of autonomous fields of cultural production. Bourdieu’s method provides an interpretative framework with which to identify these components necessary to the development of an institutional identity – the visual arts profession. This autonomous field parallels, conflicts with and at times connects with the heterogeneous art market economy, depending on the strength of its relative autonomy from the field of economic and political power. “

Universal commodification under capitalism…Walter Benjamin, Baudelaire….’s characterization of the poet/writer/artist as a prostitute (artists are the dyed fur lapdogs of the one percent…Ashley Bickerton)……Benjamin sees the poet’s successive identification with the ragpicker (the gleaner),the flaneur, the bohemian , the dandy, or the ‘apache’ as the adoption of heroic roles bearing stigmata of commodification….”[ yve - alan bois,” painting, the task of mourning”]

3. Method.

As a practice led research project initial investigation will begin with the studio as a site for material experimentation and critical reflection. Using found objects and discarded urban detritus to develop an aesthetic visual language that can engage metaphorically with contemporary issues within the public realm .

Through an exploration of the historical discourse of object and material based art practice in comparison with those where spiritual and transcendental philosophy has influenced or directed the art produced. The practice of sculpture and painting and some of its new media derivatives shall be used to frame a definition for the aesthetic experience in the contemporary context.

This context will include references to the local, the global and the " glocal ! "

‘Private is also Political!’as a point of departure to explore how personal stories can translate into a social engagement within the language of art. As a practice led project an absolute methodological approach cannot be adopted because the method is continually being determined by the system/ process of making and the objects-found.

As a point of departure, method and methodology will be discussed as set out by Tim Ingold in, ‘search and Search again’

Duration and the artists walk: The philosophy of walking, as method of researching atmospheres and environments, as well as collecting, “gleaning” material from the streets, pathways, highways, and other routes of travel. Mapping and tracing experience through making. The performative aspect of these processes is beginning to assert itself as an avenue for future development through a yet to be defined autoethnographic process.

COMMUNITY OF PRACTICE
       
     
COMMUNITY OF PRACTICE

My current community of practice begins with my cohort of colleagues within the MAPPS Program at RMIT, extending beyond this locus, is the personal relationships within the city as I commute and traverse its spaces, places and through various modes of mobility, walking, driving, public transport networks.

The RMIT campus and its relationships with the urban fabric form a social/institutional as well as spatial /architectural framework for connection with a wider community of practice.

My current web of influences is articulated in the Annotated bibliographies, listed elsewhere.

Painter at work - in the studio
       
     
Painter at work - in the studio

Using simple geometric ordering systems that are altered through intuitive performative gestural process that foregrounds the hand made gesture as a counterpoint to the structure.

The current immediate environment outside the studio with its ‘continuous building site ‘development reflects in the physical the shifting ground of social change transforming the city.

The institution has over time encroached (‘metastasized”), into the city grid, and recent architectural renovations on campus have used the city street as a model for planning. At the heart of this ‘Academic Street ‘, is the RMIT library. This repository of knowledge has become the node of connection the boarder community of practice through research in history and theory. This research sits alongside and informs the practice of making. Either by providing inspiration for a project, or giving voice to ideas emerging through the making process.

An engagement with the theory and history of art, through available literature and online sources, shows that the past and the future, coexist as on the timeline within the present The network of influences can range from the conspicuous art “stars,’and heroes of history through to chance encounter with an image on Instagram or a spontaneous conversation in a corridor.

Studying traditional Chinese Art and Architecture in Beijing in 1985, showed how the ancient roots of this culture had refused to disappear in the attempted ereaures of the cultural revolution. Like green regrowth after the ravages of an extreme bushfire event, the natural energy of the ancient wisdoms, and their expression in the arts, continued to pulsate in the inner cultural DNA were being drawn upon, with the evolving open door policy. Cycles of history are evident in all cultures(Groys), a recent rereading of the work of Robert Smithson from 1968

Evidence of the perseverance of a pursuit of these timeless qualities in the work of artists of all disciplines, media, practice, are relevant to my community of practice.

In the contemporary cultural revolution of neoliberal global capital, whether east, west or north or south, artists who seek to communicate a communion with the same spirit of a presence of the infinite, within the everyday that transcends (and resists), the lifeless drift toward mechanisation and its accompanying terrors.

In the shifting ground of the contemporary cultural landscape, a methodology that embraces a dialogue of seemingly disjunctive elements, works toward a process that promotes reconciliations rather than conflicts. From a culture of fragmentation, dispersions, pulverization and transformations, new understandings and harmonies can become evident.

Images, Objects and Events, conceived within an artistic framework can provide points of focus and reflection through embodied knowledge, and symbolic connection with enduring human values.

ART WORK AHEAD
       
     
ART WORK AHEAD

From screen to screen, returning the wind mesh to the street.

Geometric patterning based on simple subdivisions of the screen, echoing archetype gridded square pattern with disjunctive, intuitively improvised deviations that avoid rigid of symmetrical gridded layouts.Similar to the way a city plan ,such as Melbourne is a grid countered by natural features of the landforms.Setting up a simple abstract analogy to nature/culture relationships, to construct a graphic framework for colour, drawing and gesture. On the open weave fabric of the recycled wind mesh, a translucent gauze like membrane transforms the mundane temporary structure into an vocative enclosure suggesting multiple references and meanings. As is an installation offering a sense of mystery while questioning it sown presence,the loose handcrafted brushwork challenges the machine made text from its previous use and the values surrounding its origin.

The current immediate environment outside the studio with its ‘continuous building site ‘development reflects in the physical the shifting ground of social change transforming the city.

The institution has over time encroached (‘metastasized”), into the city grid, and recent architectural renovations on campus have used the city street as a model for planning. At the heart of this ‘Academic Street ‘, is the RMIT library. This repository of knowledge has become the node of connection the boarder community of practice through research in history and theory. This research sits alongside and informs the practice of making. Either by providing inspiration for a project, or giving voice to ideas emerging through the making process.

An engagement with the theory and history of art, through available literature and online sources, shows that the past and the future, coexist as on the timeline within the present The network of influences can range from the conspicuous art “stars,’and heroes of history through to chance encounter with an image on Instagram or a spontaneous conversation in a corridor.

Studying traditional Chinese Art and Architecture in Beijing in 1985, showed how the ancient roots of this culture had refused to disappear in the attempted ereaures of the cultural revolution. Like green regrowth after the ravages of an extreme bushfire event, the natural energy of the ancient wisdoms, and their expression in the arts, continued to pulsate in the inner cultural DNA were being drawn upon, with the evolving open door policy. Cycles of history are evident in all cultures(Groys), a recent rereading of the work of Robert Smithson from 1968

Evidence of the perseverance of a pursuit of these timeless qualities in the work of artists of all disciplines, media, practice, are relevant to my community of practice.

In the contemporary cultural revolution of neoliberal global capital, whether east, west or north or south, artists who seek to communicate a communion with the same spirit of a presence of the infinite, within the everyday that transcends (and resists), the lifeless drift toward mechanisation and its accompanying terrors.

In the shifting ground of the contemporary cultural landscape, a methodology that embraces a dialogue of seemingly disjunctive elements, works toward a process that promotes reconciliations rather than conflicts. From a culture of fragmentation, dispersions, pulverization and transformations, new understandings and harmonies can become evident.

Images, Objects and Events, conceived within an artistic framework can provide points of focus and reflection through embodied knowledge, and symbolic connection with enduring human values.

Squaring the Circle: memory of the architecture of shadows
       
     
Squaring the Circle: memory of the architecture of shadows

Gravity and Entropy, A meditation of the utopian vision of Enlightenment Architect , Louis Boullee and his cenotaph for Isac Newton, part of a study for a brief to design a tapestery referencing this architect and as a counterpoint the sculptor Jean Tinguely.

Interpreting this brief as an exercise in composition of the interplay of order and chaos or as titled above- gravity and entropy- to bring in spacific reference to Newton within the content of the historic reference under research.

This is a work in progress and has adopted a second life as part of the project of taking the studio practice for a walk into the world outside.

Off the Wall ; fabric residue; another layer of skin
       
     
Off the Wall ; fabric residue; another layer of skin

Veiling and unveiling, peeling back the layers, to be repositioned back in the street where it came from.

Unpicking the threads; taking the curtain for a walk
       
     
Unpicking the threads; taking the curtain for a walk

Removing the second part of the screen/curtain for transfer to the outside location.

IMG_4937.jpg
       
     
IMG_4927.jpg
       
     
IMG_4933.jpg
       
     
IMG_4894.jpg
       
     
IMG_4896.jpg
       
     
Earlier Studio Painting
       
     
Earlier Studio Painting

Background for painting concepts used on wind mesh come from tradition of abstraction and figuration dialogue with gestural colour painting, exploring figure/ground on a two- dimensional panel.The concepts and processes engaged in constructing this work is discussed in the statement elsewhere on this website, and in depth in a MFA Thesis.

The current project takes these processes off the wall and into the street, however rather than painting on the walls the painting as object is further dematerialised through the choice of the open weave wind mesh and the wind mesh ,reclaimed from building sites brings its own imbedded history into the artwork.

IMG_4856.jpg
       
     
Text and Transparencies:experiments in intertextuality
       
     
Text and Transparencies:experiments in intertextuality

Studio based experiments using found materials.

Other iterations of this and further examples are collected on the adjoining page; RESEARCH STUDIO

Trials for installations.

Possible floor ‘ landscapes’ , possible site: RMIT Spiritual Centre or Gossard Space Building 49.

Or gallery yet to be determined.

practice as thinking through making without preconceived outcome or commission.

Timeline for these projects as making is ongoing, as installation- time is dependent on opportunities and is therefore is open-ended.

STUDIO EXPERIMENTS
       
     
STUDIO EXPERIMENTS

Constructed from recycled CD covers, the geometry could be extended over larger public sites.

Black Veil
       
     
Black Veil

The image is documented further on the accompanying page: BLACK VEIL and the Art historical referencing is documented in MAPPS DOSSIER Conceived as history narrative of non linear timeline.

Painted as projected drawing, drawing emphasized as ‘provisional’ image.

Silhouette or, xray, or oil slick, metaphor of a slice or section through historic and personal memory to arrive at an archetypical non specific field of reference. Conceived as a response to personal memory and historical narrative, this led to an engagement with a research project with Shanti Sumartojo on Anzac day regarding sites of memory.

Raw canvas left to suggest absence.

Image created at bodily scale to establish specific relationships.

With the gestural making , muscle memory and handcrafted incident.

And with the relationship with the viewer who is presented with a material ,constructed image at the scale of the pedestrian.

This image is now available for transference into public space either as digital reproduction, projection or pasteup.

Geometry constructed from the found object
       
     
Geometry constructed from the found object
Another site for a MAPPS project
       
     
Another site for a MAPPS project
Hunters and Gatherers: The gleaner
       
     
Hunters and Gatherers: The gleaner

Work developed first semester for Fawkner Memorial Gardens, installed on greenbelt site next to railway line. Tripod (plinth), recycled antique theodolite( actually used to survey layout for Melbourne trams over 100 years ago) references historical setting out of the city, woven object made from shredded plastic signage discarded from trade show, formed into a shape with multiple readings with cultural reference to technologies from archaic to contemporary.

To comment on the mobility of city life this work was installed in multiple locations (documents elswhere), including video footage of a performative walk using the woven (backpack).