Showing posts with label Displaced Interiors. Show all posts
Showing posts with label Displaced Interiors. Show all posts

Sunday, June 12, 2011

Untitled (Blue is For Boys / Pink is for Girls) presented in Project Space, Dartmouth Avenue, Bath

“It is not so much difficult to have the real equivalent but public is meant to admire the perfective of the fake.”
Umberto Eco,  Faith in Fakes: Travels in Hyperreality  
 
"The display of realistic objects may portray a non realistic world; nevertheless a non realistic object may portray a realistic world. The verdict of what is the true reality and what is not, relay on the most elusive and convoluted connections within human culture, nothing empirical can prove its existence and this is the object’s ongoing changes in faith."
Daphna Weinstein, Telling Lies Short 



Saturday, June 11, 2011

Untitled (Blue is For Boys / Pink is for Girls)

I have delayed this post as I was testing some new ideas that were consequently included in the degree show.

I have been thinking a lot about the density of my work. How fully packed it is when it becomes an installation, all surfaces covered, overlapping - almost one large sculptural construction. This it leads to number of considerations, like the balance of work and site. I would not say that my work is trying to be site specific but definitely site sympathetic. It responds to the shape, light, fixtures and fittings and then it overlays itself onto the existing with its fake reality. The concerns about the density is that it overpowers the existing canvas of the site. 

Therefore one of the ideas I wanted to test out was to allow the space to enter the work.  The fragments would need to stand for the whole or suggest some bigger meaning then their physical presence. 

At the same time the illusions of overload and feeling of confusion could be retained through scattering the fragments and applying different rules for linking the objects. Certain elements were placed purely to act as a balance to other objects whilst others referenced the site, art history, literature etc. Eventually many found elements were replaced by their "manufactured" equivalents.

There is also a great potential to reconfigure the arrangements in multiple ways. I am not too sure what it means yet but I find it intriguing as the recyclable ability of art and twisting the meaning is something I have engaged in other ways before...


Some of the detail of the arrangements. The working title is Blue is For Boys / Pink is for Girls.


Tuesday, June 1, 2010

Creating a Stage Set

Work and Site are inseparable. The interior becomes a manifestation of the state of the soul, loaded with Freudian resonances of the homely and the unhomely. 
Bachelard in his “Poetics of Space” states: “I am the space where I am”. 

Kangaroo’s Pouch, April 2010, installation with paintings and mixed media, dimension variable
So what is this work about? Spatial ambiguity, painting, layers of meaning, sarcasm . You tell me. What pleases me is its ability to attract the attention of the viewer long enough to start picking things up and ask the questions. 
I guess that is exactly what bothered me with the paintings last year is that they were less successful at capturing that attention. One the other hand, maybe their subtlety was their strength.

Saturday, April 10, 2010

Between Functionality & Decoration

Richard Woods explores the spatial ambiguities of patterns and textures are explored through his hand-printed wood-cut floors and elevations. 
The installations are inspired by the joyously vulgar D.I.Y. movement that swept Britain in the postwar years.Though his work may be about falsehoods, it’s ultimately more about the distance between what the imagine and the reality. 
Richard Woods, Logo no. 41 Crazy Paving no.4 with Print Block Doors, 2010, mixed media, dimensions variable

Thursday, April 1, 2010

Back to Alienation

It seems I have come back to the subject of alienated spaces.

Guy Debord reworked Marx's view of alienation. 
He argued that capitalism had turned all relationships transactional and created "pseudo-needs" to increase “spectacular” consumption.

Interest in the feeling of estrangement and alienation is believed to be reflected in the architecture of interiors. 
 

The "architectural uncanny" describes how our understanding of architecture is often characterized by strange and threatening experiences (as per Anthony Vidler). His concepts build upon Sigmund Freud's classic 1919 essay on the uncanny, explaining the sensation as being estranged from the comforts of home.


Vilhelm Hammershoi, Sunbeams or Sunshine. Dust Motes Dancing in the Sunbeams, 1900, Oil on canvas, 70 x 59 cm
Hammershøi’s interior paintings present us with the familiar in such a way that they becomes somewhat uneasy.  In paintings such as Sunbeams, a sense of confusion is heightened by the fact that we see layer upon layer of windows – exterior can never be reached.  We have the impression that we are looking at a hazy stage set that is missing many of its props.


Follow the Line, April 2010, oil on canvas, each painting 25 x 35 cm

I have created these paintings as a response to a feel of uncanny of interior spaces.

They aim at reducing the information and removing preference of the objects and motifs in favour of the overall mood, pattern and shapes
.