‘Untitled’ ,work in progress
* photograph of both parts of the installation together – to be provided
The viewer was properly challenged by not being provided with a title or any other clues. Some were attracted by the looping questions in suspense the work provoked.
The blue plastic bag (x2) was an experiment added to the critiqued piece just the afternoon before. Once I put it up, I though it might be worth to see what it does. The blue bag was a main topic of discussion and fascination. The colour vibrancy remined of a market/corner shop, the lines of the stretchmarks made by the pull of gravity in reaction to the bottles inside have been classified as organic.
I am glad that the detail true to the everyday in the form of a receipt inside the bag has been noticed. Contrast I noticed myself thanks to the crit was the fact the bags were too warn off for the weight of the bottles inside, I see this as a puzzle and for now can only suggest the effect was unintentional due to reusing the bags. If I had new unused bags I might still have gone for the used ones for my work because as a shopper I aspire to take the most advantage of the plastic bags.
The single bottle got comments on the fact the text on the label isn’t in English language, its amber colour was mentioned later in relation to the overall palette. It was unclear if all of the bottles are full or empty and why only one of the lids was off?
Suggestions of a mystery crime scene or perhaps a party are speculations provoked by the placement. The reduced set of objects suggest great significance and generate heavy ‘baggage’.
”Something between art, science and philosophical experiment is going on.” – S E Barnet
It has been spoken about the pure materiality and relationship between the visual of the blue lines and the amber labeled nice shaped bottles. How all the components react to light and movement reveling their true self and origin in a play with perspective.
About the fixings I hope I am allowed to reveal in my analysis were found and used, no specific intentions behind the bags’ hanging which can be problematic. Every aspect has to have its purpose, its answer and decision behind it and in this case it does not provide it. Same goes for the quality of the surface the bottles were placed on, but in this particular case I was aware of the ‘crap’ seen inside and chose to keep it cozy.
What if and element was taken away? The bag would be empty, less important, in no reaction to the weight and out of context without the bottles on a side. They can go by themselves and at this point the bag seems more and more out of place. In this particular display the two parts bring conventional feeling and play with balance.
Literal would be the read of narrative in relation to alcoholism which is very subjective. I am definitely not in conversation about that and still will need to find a way to get as far as I can. Sadly, there is no guarantee I will manage to do so, after all beer is an alcoholic drink.
The engagement becomes problematized because of the chosen materials. Are the object meant to be looked at formally? There is loads of connections to be made to the plastic bag, does the bottle suggest the history of beer? It is not clear what and how it is meant to be seen.
I want to activate the bottle and the Shumensko brand and its significance. My concerns were others might not find it and classify my choice of object as too nostalgic and obvious.
I see now how I got annoyed then at a distraction I have placed myself and was left thinking the bottles were not interesting enough. The truth I have came to my dissertation topic as my studio practice is that keeping things specific is best. I am excited to see how things develop after Christmas.
Bulgaria has been famous for its rose fields, rose oil and rose oil products, yoghurt, red peppers, sea, and ski resorts… the list can go on and on. Let me tell you about
Shumensko Spetsialno (Special)
Beer type: Pilsner
ABV: 5.2%
Brand Origin:
Shumensko Brewery Bulgaria, Shumen city
Shumensko brewery was founded in 1882 in my hometown Shumen, and it is the longest on-going Bulgarian brewery. The event occurred only 4 years after the end of the Russo-Turkish War (1877-78) which was a particularly crucial step for Bulgaria towards declaring its independence from the Ottoman Empire in 1908. These are a few of the facts that never fail to agitate me. No matter I moved out of Shumen at the age of 7 and lived in Varna up until I was 19 before I moved to the UK, I will keep returning to Shumen as my heart and soul will be forever there.
Shumensko Special was brewed for the first time in 1966, which is a time I want to find more about. Having its relaunch in 2016 as a 50-year anniversary celebration, I assume, just 5 years ago has been met very well by the consumer. For a long time, I thought they had stopped producing and bottling the product at the original brewery in Shumen, which I was sad about until ‘The Bomb (-ichka)’ (so named special edition of Shumensko) came back.
The first time the idea of working with the bottles came across my mind was after receiving a crate of Shumensko Special from my father. It was sent to me and my boyfriend (whom my father has not met yet). After we had enjoyed the drink, I felt very precious about the empty bottles left, but I was not sure how I would approach the idea at the time. I started by keeping some of the caps and dreaming about taking bottles up to my studio and being bold enough to work with them one day.
We have received several more beer care packages since then and my sensation has only been growing on me. After completing my studio project space residency and working with yarn and geometrical installations for a while I will like to shortly take my practice in a new direction. It is another way of thinking and understanding my work.
Here is one of Duchamp’s Bottle Rack 1914 as a bottle related example.
Despite the Shumensko beer empty bottles, the rack has a function as well as Comb 1916 or Hat Rack(Porte-chapeaux) 1913 which are all part of his ready-mades. It does not end here, though his works are divided into 3 sections I found not all ready-mates necessary have a practical function. Assisted ready-mades such as Bicycle Wheel 1913 designed by mounting the bike’s fork to a painted wooden stool came out to be pleasing and amusing to watch as the wheel spins. Kinetic sculpture is something my bottles are not but I feel a sort of pleasure and satisfaction looking at them, holding them in my hand. There is an interesting crossover between the retinal, the sculptural and the ready-made.
During the summer of 2021 at Royston Museum, I have handled 20th century local brewery, milk, medicine, and perfume bottles for a photoshoot meant to update the database. Based on this experience I claim the bottles of Shumensko Special as historical objects.
In December 2020 in my installation, I love you sentimental elements have been implied by placing yarn in handwriting style on the floor, shaping the words I love you in Bulgarian language. I see all kinds of reasoning behind that work. One is missing Bulgaria and my family, two my love for the language and tree is to link the two by sending a message without a recipient. I suspect this had a lot to do with the upcoming Christmas holidays.
I chose to work particularly with Shumensko’s Special edition now not only because of the attractive size, curvy shaped, brown colour of the bottle, label design in Bulgarian language or the cap. I am drawn to explore the symbolism within the bottle and not too much of its contents or relations to alcoholism.
This object has been imported directly to me from Shumen, Bulgaria instead of being bought from a UK European shop, mainly because it cannot be found. I see this as a preferable feature because it would not be the same for me if I purchased any Bulgarian product to work with from here. Would it still come from Bulgaria? Yes, but it would not be sent by my father especially to me. This is an essential element.
I have brought 3 bottles+ theirs caps at the studio to study them. All 3 physical elements- the bottle, label and cap are important for me to display, and the question is which is the best way to do so?
It is vey delicate but it could be seen where the cap has been bent when opened. Should it be on or off? No cap will suggest the drink has been consumed or it is in the process and the rim can be seen as well as the bottle’s insides. I usually throw away the cap as soon as I open a beer bottle, not like my boyfriend which makes me wonder if it is down to gender or more to personality. Although, cap on suggests value and divides the object from being a piece of waste as bottles are rarely thrown away with their caps on. Even at shops where you could purchase glass bottles at a reduced price with the condition the glass will be returned caps are not required.
The label is a piece of design not to be neglected. In red, white, black, and gold it is full of detailed symbols front and back. This leads to the necessity of a 360-bottle view. Frankly, the deeper analysis of the label is postponed as currently I am focusing on the bottle’s components as a collective.
It all started with the love for the bottle’s contents, beer and not only beer but a particularly good one. Led to the importance of Shumensko brewery’s fascinating history, put it in the context of historical events occurring at the time as well as my personal story line. This is a part of me that I am proud to celebrate.
Sticking to my Friday tradition here are some videos relating to this post. I find these ads very inspiring, because I like how they have tell a Shumensko’s story within seconds.
https://www.youtube.com/watch?v=Ruvl3jWb4rI&t=30s
125 years Shumensko, first ever Bulgarian ad played at cinemas in 1940s
https://www.youtube.com/watch?v=JFb1nsg7yyA
130 years Shumensko ad, 2012 campaign
This was the most intense working week I have ever had and is my top big effort- big reward experience. Through this residency I got pointed out how it is impossible to be on top of everything and the mistake is expecting it from myself. It was ok to put the rest of my work on hold for a week and get focused on this. I managed to imply planning and foreword thinking.
This process showed me there is no point of rushing by expecting too much too soon from myself. What I need is to slow down, be calmer, take thing easier and stop roasting myself during the essentially busy daily basis.
Advertising as well as risk assessment were details that were not to be missed. Now I understand why projects take a long time to come together as there are possibly other people involved, unexpected circumstances, rework, improvements and errors.
I want to keep improving my photographic skills and think of a way to reduce the bummers with the white balance and edit of the images. This is the main reason I have not got images of the installation to upload at the moment. The light came out slightly differently on every shot/ in every corner and is my current challenge. I am stuck and cannot solve it myself and will be returning to this post with images and a lot more to say about the work.
In a sea of tasks, at a time weeks keep passing quicker and quicker ,I have been offered to take residence at the container where Container Project’s Woodbridge ‘Me Time’ sessions have been taking place.
It has been lovely to take part as a volunteer and have the chance to extend my work with May Cornet. These is much more to come, we will be setting the terms and sharing every step, starting now.
Study of the container
I have spend an intense extra hour of drawing at the container on Monday (01.11.21). Starting off by mapping the inside, the existing furniture as well as the exterior alongside my ideas.
Link to time-lapse> https://vimeo.com/641170771
I find documenting my process very interesting as no artist often has the chance to look at themselves from a side. It really helps me understand my process and even that I have been back to drawing for more than a month now, I still can’t believe I am actually doing so. The more I draw, the more natural it gets.
Thanks to my study I have established several outlines of the work I will be creating. The windows will be the main part I will be engaging with. They will be my tool for viewing the work from the outside of the container. I want to play with perspective and use yarn (for now) in a hot and in a cold colour. This will bring better contrast for my play with symmetry. Another new element I am planning is engagement with the floor and sealing.
As I live in Ipswich and will need to plan my trips for the residency, I have made a ruff plan for at least 2 more days/afternoons that my work might take. Marking the invisible, I will highlight my suggestion at the container.
I will need a step ladder, white duct tape, yarn, two tripods and two devices, alongside a sketchbook and pens. Also, so far I have only been assisted for taking my installations down and I will be searching for full on help for this work. It will be a new challenge that will contribute a new element of my work- verbal and written directions for installing.
22.11.21 – Closing tea with May
We went on a walk along the river (Deben) today to reflect on our experience and chat about plans for the following 6 months over tea. It was a very clear, although chilly day and I must admit one of the most enjoyable work related conversations I have had so far.
Here are the main topics we discussed:
Support through mentoring over my Container residency which will not necessary lead to a final exhibition and can be about the process of drawing, studying and proposals. By leaving it open there will be more space for creativity. Afterwards we can only see where it leads us to. The aim is to link the inside and the outside community through my work and the container, bring opportunities for each side.
We spoke about my Studio Project Space residency and my current interest in testing ready-mades ( Shumensko beer bottles). May suggested I could take an element from the bottles such as the colour red and imply in my future yarn installations. We also spoke about future experiments with materials and fixing emphasizing on thickness (by layering the lines) and particular circular (closed) hooks. I will consider using ribbon or self naturally coloured yarn.
May shared that she sees the river as a thread which connects us all. This ties very well with the idea for creating work in response to the landscape linking with the container.
I have shared my plans for after university as well as my dissertation topic, deadlines and concerns. She encouraged me to present my dissertation instead as I mentioned it as sounding unsure but aware I enjoy speaking.
Temporal conclusions from our conversation:
Residency could be culminating in June and until then we will keep in touch along side the ‘Me Time’ sessions. When they return in spring depends on funding. Up until then we are planning to have regular monthly calls starting in December .
Wisdom of the day is
things take time, you cannot push the river, you must let it flow.
25.11.21
On my way to have a late night tour at the Fitzwilliam in Cambridge, soon after our closing tea ,May and I had a conversation over the phone. As her own commitments will demand more time after Christmas and myself am in my last year of uni it has been decided It will be best to postpone the next ‘Me time’ sessions as well as the residency up until June 2022 the earliest.
