TWOMBLY-HODGKING-NAM JUNE PAIK. Olafur Eliasson.

Nam June Paik

Played a leading role in bridging the gap between art and technology always innovative, his work encompassed a variedty of artistic genres, from sculpture and performace to music and live broadcasting.

With TV garden 1974-77, Paik imagine a future landscape where technology is an integral part of the natural world.His approach follows the Buddhist belief that all things are interdependent and closely connected. It also suggests that technology is not in conflict with nature but an extendion of the human realm.

Introdution of elements of chance into the process of composition had a huge influence on Palk’s work.

Paik had a solo exhibition in Wuppertal. Germany, entitled `Exposition of Music-Electronic television.Three storeys of a villa converted  into a gallery were filled with immersive environments and sculptures that invited the active participation of the audience. There were musical instruments made or modified by the artist, an array of dangling objects playing random noises as they moved and rattled. In the basement visitors could create their own compositions by reproducing snippets of music using modified record an tape players.

In the project investigator , I am thinking to introduce mobile shapes inspires by Calder ,moving shapes with projections and sound to stimulate the senses, Olafur is another influence referring to the senses, the public will have another influence in the art work because depending how the public is moving inside the room will be different projections, or sounds, every time will be different  depending on the intervention of the public, if there is two persons in the room the installation will be acting in a different way than if there will be one person.

Olafur Eliasson.

Eliasson has created a broad body of work that includes immersive installations, sculptures, photography and paintings. The materials he uses range from moss, glacial melt-water and fog, to light and reflective metals. Eliasson´s art comes from three particularly important interest.  He research into geometry, and his ongoing investigations into how we perceive, feel about and shape the world around us.

Eliasson puts experience at the centre of his art. He hopes that as you encounter it, you become aware of your senses. This heightened awareness of yourself an other people creates a new sense of responsibility.

Eliasson puts experience at the centre of his art. He hopes that as you encounter it ,you become more aware of your senses. This heightened awareness of yourself and other people creates a new sense of responsibility.

Twombly.

Twombly made his sculptures from found materials such as plaster, wood, and irong, as well as from objects that he habitually used and handled in the studio. He created assemblages with this found materials.

Many of Twombly’s sculptures are coated in white paint, which unifies and neutralizes the assembled materials. He recalls traditions of Egyptian, Greek and Roman sculpture. He began casting some of his assemblages in bronze.

Yuri Suzuki.

Acoustic Pavilion.

interactive instalation.

Suzuki´s auditory installation explores the connections between the formal and the Sonic qualities of space and architecture the network of White plastic pipes and clourful conical caps invites the audience to experiment with the way sound transforme through space.

In the investigator project the idea is to introduce sound, and invite the people to interact with the instalation, my idea is to have a panel with different shapes and colours, each shape Will have a sound when the public Will touch it, they can create they own composition with sound, the sound Will be related with different countries and religions, and the idea is to explore exploring feelings and perceptions that we have with countries and religions, or politcs.

to be in an unconfortable feeling is one of the ways to acces to your unconsious. Is not fun but usefull.

At the exhibition – Speed of though- Julian  did a demonstration deconstructing a dress,  he is working  with the improvisation and allowing mistake  play his role as a chance of a new opportunity for a new way of approaching the artwork , He is a fashion designer but his way of working is very similar to a painter sculptor or a printmaker.

His dresses are like objects, sculptures of paintings, and his pattens are very complex and simple at the same time, I don’t know much about patters but I have seen a lot of them since I was a kid and maybe that’s why also my prototypes look like pattens. I do in a way shapes that looks like pattens but I don’t know how they work, it was a time I wanted to know and to learn but I change my mind .

Curiosity of the space which,   challenge and interrogate spaces, draw on them as a source of inspiration and to have an approach as fearless, transformative and unpredictable.

I am looking for abstract shapes coming from different sources, some are coming from The birth of Venus painting,Botticelli painter, others from etchings that are damage, others from some ready made papers found in the Street.

I am not attracted by the picturesque  .I am curious about other qualities than the beauty,  qualities of time, weight, balance, rhythm and collapse , is it going up or down, is it folding or unfolding?

I will write some Phyllida ways of working  which are similar to mine.

The work of Phyllida is a kind of balancing act between two forces. This is happening also in my work. One is the process of making which has something to do with construction and deconstruction, damage and repair and the other is my observation of the world. In the process things happen without thinking but the intuition has to sit on the shoulder of the knowledge.

Ideas die quickly they get replaced on the physical encounter of doing the work.

Phyllida is always trying to undermine the image. She is an artist who has thought processes and responses and reactions and counter reactions. She can change direction in the midway of a work , sometimes without interest in achieving a flawless finish.

The paradox of her process is that the process of experimentation necessary to find the final forms can be time consuming and the paradox is that she don’t like heavy handedness and elaboration when working, she is quick and immediate most of the time, with zero fussing around.

I think her work is very interesting because she is using non traditional materials and she move on into a new way of doing art. She takes the inspiration from the world around her , she does not want to make sculptures that respond directly  world events such as, say, 9/11, and would hate to tell people how to think politically.

She achieved with her installation a good view of the world that surrounds her in north London, she calls this interest ` the anthropology of everyday life´.

Is there a subject to her work? She still trying to find the answer, if she were to give one, it would probably have something to do with her `anthropological ´ interests. What do humans leave behind? That´s what fascinates her, she feels compelled to evoke the `mess´ that is an inherent part of being human, though it´s mostly held in check.

Ultimately, though I doubt she will ever find an answer to the question of her subject.

Sometimes I have the same question, is any subject to my work?

My background is coming from a family of designers My father and my sister are designers, since I was 2 years old I was going to the factory of my father, the shapes of the patterns of the shoes are very similar of the shapes I am doing, last year when I was studing a Kensington college a tutor told me that the cuts outs of my etchings were like patterns of shoes, actually I told him, my father is a shoe designer , uncounciously I am imitating my father in another field.

       The object I have created is called “Circular Line”. The main inspiration for this came from the Victoria and Albert museum artifacts and sculptures collections, where I saw the sculpture of grotesque birds in bronze. This is a reminiscent of Dante, who created a poem that positioned humans figures described like grotesque animals around the inside of a cone that signified the circle of life. Borges reinforced this by writing about hexagons to analyze the processes that humans go through. Another significant source for the object I´m creating is Jade Bi is a circular ancient Chinese jade artifact  which has ornate surface carving (particularly in a hexagonal pattern) whose motifs represented deities associated with the sky ,as well as standing for qualities and powers the wearer wanted to invoke or embody. This artifact has inspired me for the simplicity of its circular form and the carving of the hexagonal patterns. As a response to the connection of the other sources mentioned above I have acquired the inspiration of the “Circular line” 3D object incorporating different compartments with hexagons that represent our different processes in which we live and symbolize the infinite circle of life.

The aim is to create an object which when viewed from far away, will look simple, yet up close will reveal complexity. This reflects the human personality, which combines the simplicity of consciousness and the complexity of ego and their relationship with one another.

This object can be exhibited in two ways, on its on, on a plinth and the materials I will use will be wood and glass.  Also can be shown hanging many of them in the space as an installation with a light material such as transparent plastic, combined with paper representing the constellations.

Sintetic material, iDye Poly.

How I Will dye plastic objects, it Will dye differently depends on the plastic.

Marieback.com syntetic, dying with bioplastic

How to dye fabrics, Hazel Stark artist. With turmeric and water to produce a tint in the fabric.

ZarinaArtist , she likes fragil materials, the paper is like skin for her, the materials dictates the process of making the project.

What happen if you dye the environment. Colouring your environment.

Colourscap music festival London.

 Olufsen Eliasson. describres  Different ways that colour influence us.The absence of colour change the perception of the forms.

Peter Sedgley “ light pulse” 1968

Trasnfervinel into fabric,you can apply on different textiles. You use the headpress to transfer image.

Risograph printing.

The structural and fisical understanding of a shoe.

Deconstructing a shoe and producing a new object with the materials of the shoe.

We engage with the notion of looking and avoid cliché, using drawing as a different voice, the notion of using materials.

Notion of deconstruct how you actually physically you deconstruct, we will respond to the material we have deconstructed and make a new object a 3D collage.

After the 3D collage we will make a drawing from the object.

Jean finguely is an influence.

Sculptor and experimental artist, he was interested with the concept of destruction as a means of achieving the dematerialization of his works of art.  He expressed his conviction that the essence of both life and art consist of continuous change,movement and instability, finguely was an innovator in his appreciation of the beauty inherent in machines and junk and his use of spectator participation in many of the events he engineered, spectators were able to partially control on determine the movement of his machines

After the Class of deconstructing a shoe , I had a sole full of marks and textures, on my table I saw a photo  of the Victoria and Albert museum  the image of the photo was a wall full of briks and grotesque faces looking at you.

I could see the relation with my deconstructed sole with that bricks,  I stick together that two objects, the photo and the sole , apparently complete different but at the same time the same. The old bricks with the new deconstructed sole that looks like briks, old and new, clay and plastic. The antagonism that are always together.

That day at the V and A museum it seems I was attracted by grotesque figures that’s why Dante with the divine Comedy is part of the Artefact I am creating.

Julian Class

Accidents , improvisation and not to know what you are doing it may be the process. not to know what you are doing is to know what you are doing.

Sometimes the artwork can be finish on his own, you leave it for some years and went you go back you see it with fresh eyes or maybe the material has change. Miquel Barcelo the spanish painter left a portrait painting in his studio in Africa for 5 years, when he went back to see that painting it was ¨damage¨ from insects, that accident was perfect on the oil painting, he decide at that moment it was a finish piece.

Accidents can be an opportunity to change direction or a perfect mark for the art, we just have to know how to read between lines.

I am interested with different materials for the artefact that I am producing, these artists have influenced me for the materials, shapes, and the texture of the charcoal of Brian Taylor, there are endless possibilities if I want to build a circle.

The process of this prototypes is cutting papers , cardboards and etchings . cutting papers from some drawings inspired by circles, cones and hexagons, after I bent and interlock them I was exploring the shadows and lights reflected on the floor produced from the prototypes.