The final outcome for the Repitition module. I was very interested with stabilising something that is so obviously fragile, but completely contradicting the stability with the visual collision. I call this visual movement, where the work is not actually moving but it the movement is communicated to the eye.
31.10.2012
These photographs represent the experimentation I undertook for the final exhibition of the Repitition, Replicas & Multiples module at university. I was, again exploring the instability of materials, gravel in this case.
I have been seeking materials to use for a few weeks now. These materials I now have in my possession may keep me occupied for a while. I cannot wait to work with them.
28.11.2012.
These pictures represent a small number of experiments I undertook as part of the Repetition, Replicas & Multiples module at university.
The module aimed to look at how artists from the 20th Century to the present have deployed process, serielaity and replication in the production of their work. This was conducted by picking artists who are concerned with such things in their practice so we could practically investigate the process and procedures that characterise the works. I chose Andy Warhol’s Brillo Pad boxes, Rachel Whiteread’s empty spaces, Doris Salcedo’s work and the work of Richard Wentworth.
The aim of this module was to experiment and develop the experiment for the second exhibition.
For the first exhibition I decided to unpick the work of the chosen artists and also to challenge my own practice. I use a lot of stable objects with certain connotations attached to them in every day life and the art history. For this module I decided to use an unstable material (gravel) & physically and visually investigate the instability of this material.
Development of the chair + Orange Uncle Ben’s packaging plastic trimmings. I was heavily researching the history of furniture and exploring the large gap between the bespoke and the mass produced.
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