The starting point for this blog of reaserch was Paola Anziche, her work consisted on more artistic merits than mine, she especially looked into form and the way an environment changes body extension.
Her methodology put my own work into a new light considering what might be a viable existence to a location for my work.
The environment also creates many other aspects to the piece, the feeling and the structure seems to change depending on location.
This notion for me was a new aspect to looking and critically making decisions about the work's context and how others might perceive my work to be.
If I had done this piece of reaserch before the final photo had been taken I would have taken great care as to the environment I was displaying the work and how this might eventually effect my work.
The next piece was of work I discovered was a series of photographs I dug up on Google, that were, from what I could tell, a university's or college's show.
The pieces accentuated parts of the body in a creative and yet viable form of body extension, again, this was not so far from my own work but almost an extension of it.
The key differences between my work and the artist's in reference is the lack of functionality and durability. The pieces I viewed were frail and in some case's very crude, as A piece of amour my work had to have some functionality and this brings us to the next guy, Stelarc.
Stelarc used technology and its functions to create performances by giving the audience the control over the show by using buttons to stimulate his muscles in different ways, creating this unique performance each time.
Rebecca Horn and her work spans back decades but what’s really nice to see is strong structures "Pencil Iron mask" and the famous "finger gloves" her experimentation with body extension is that through the sense's.
Her work often involves creating a unique experience for the user of her objects by creating an extension of the senses. This is not something that apparent in my work, or so I thought, but I remembered how the glove's of my amour feel, it's like nothing before, you have a good inch or two extensions of the fingertips and this creates pressure on the part just under the nail, creating a very sensual experience indeed.
Her work has been a key factor since then, looking into what feels like what and what advantages a piece can gain from incorporating them.
Next thing, I tried to dig up internet based reference to destructive creatisim, this in my attempts left me with very little.
It's a shame really as this section really hits into a key aspect of my work, breaking something down to re-create it again in a better and sometimes more suited form.
It's an old notion but the ideal's of recycling are very important to many cultures and the way we as humans lived in the past.
As it stands at the moment recycling has its many advantages and is currently a big buzz word for today’s culture.
My piece worked and was successful in its own right, I created (not finished) a piece of work that had sensory extension, was decorative (also tied in with the styles that I had researched on other 2D artist's) but on top of that it met its function in durability.
I am very pleased to say that even if it was unfinished, the work itself met all the requirements that I had hoped and would fit into a post apocalyptic setting.
Thursday, 28 February 2008
Wednesday, 27 February 2008
Why?! A question about my work.
Why even create a piece?
Well this question there is no real main reason, i'd guess it's because I can never be doing "nothing" and with this I have to do things, and the only things I enjoy are usually creative. I love creating stuff, from models to doing web design to making music I love it all, I like the notion of saying "yeah, that was me, I left me mark".
Since I was a kid I'd build tree houses and draw comics. This was my way of letting off steam and dealing with my reality at that time, which was not always good. But this release gave me an opportunity to discover the arts of creation further, I would go one make board games, video games and yes, draw more comics.
So for me creating pieces of art is a release of stress and negative energy and use it to create something positive.
Why amour?
I have always had an obsession with amour since I was a kid. mainly because I'd have to make some to defend my many forts and tree house's.
Armour, up until now i thought of as being cool, but never questioning the reasons as to what is and why i like it. I like body extension and enhancement, from film characters to comic's I have always admired those that had implemented it in there character design and thus making the ordinary extraordinary.
Why it's made the way it is?
I made the piece from bits of spare junk around the house, I figured that the piece should be spontaneous and built from materials ready to me.
the materials have little value in the form they were in so I just decompiled them and transformed components into useful ones, nothing new on that front
What does this piece mean to me?
The piece was made to substitute an urge to create amour since my last tree house, so a good 6-7 years go, so this urge has been growing and growing until I just had to give it a shot. The artist's I referenced had similar plate based designs for their amour and I really wanted to implement them in my work.
The piece, to me, is a representation of what I'd fantasies about as a kid, exploring fantasy landscapes fighting hordes of undead and your average fantasy's that follow.
I would often dream of situations I could face with my friends and in this little world I created a mythology around it for my local area, bending and twisting folk stories until they were orignal and viable reason's for area's and the cultures that I would create.
Well's is a stranger area, it's got a lot of weird and explorable sections that offer interest and desire to manifest little sub plots and fit into the greater story.
an example is the "fog of change" a strange and interesting feature to the location of the town.
The fog rolls in and legend has it, in my world, that the fog is an omen of change, people's behavior change. This event happens in the spring and winter season's and is due to temperature change.
I have a video of the freezing fog that gripped the area a few days back, I will upload them soon.
Little things like this helped create a world in my head based on actually things in my reality but just, twisted into a more interesting factor.
So it's meaning for me, is one of nostalgia and a reminder of some happy days.
Well this question there is no real main reason, i'd guess it's because I can never be doing "nothing" and with this I have to do things, and the only things I enjoy are usually creative. I love creating stuff, from models to doing web design to making music I love it all, I like the notion of saying "yeah, that was me, I left me mark".
Since I was a kid I'd build tree houses and draw comics. This was my way of letting off steam and dealing with my reality at that time, which was not always good. But this release gave me an opportunity to discover the arts of creation further, I would go one make board games, video games and yes, draw more comics.
So for me creating pieces of art is a release of stress and negative energy and use it to create something positive.
Why amour?
I have always had an obsession with amour since I was a kid. mainly because I'd have to make some to defend my many forts and tree house's.
Armour, up until now i thought of as being cool, but never questioning the reasons as to what is and why i like it. I like body extension and enhancement, from film characters to comic's I have always admired those that had implemented it in there character design and thus making the ordinary extraordinary.
Why it's made the way it is?
I made the piece from bits of spare junk around the house, I figured that the piece should be spontaneous and built from materials ready to me.
the materials have little value in the form they were in so I just decompiled them and transformed components into useful ones, nothing new on that front
What does this piece mean to me?
The piece was made to substitute an urge to create amour since my last tree house, so a good 6-7 years go, so this urge has been growing and growing until I just had to give it a shot. The artist's I referenced had similar plate based designs for their amour and I really wanted to implement them in my work.
The piece, to me, is a representation of what I'd fantasies about as a kid, exploring fantasy landscapes fighting hordes of undead and your average fantasy's that follow.
I would often dream of situations I could face with my friends and in this little world I created a mythology around it for my local area, bending and twisting folk stories until they were orignal and viable reason's for area's and the cultures that I would create.
Well's is a stranger area, it's got a lot of weird and explorable sections that offer interest and desire to manifest little sub plots and fit into the greater story.
an example is the "fog of change" a strange and interesting feature to the location of the town.
The fog rolls in and legend has it, in my world, that the fog is an omen of change, people's behavior change. This event happens in the spring and winter season's and is due to temperature change.
I have a video of the freezing fog that gripped the area a few days back, I will upload them soon.
Little things like this helped create a world in my head based on actually things in my reality but just, twisted into a more interesting factor.
So it's meaning for me, is one of nostalgia and a reminder of some happy days.
Creative destruction002
http://en.wikipedia.org/wiki/Creative_destruction
The notion of creation through destruction.
http://www.marxists.org/reference/archive/bakunin/works/1842/reaction-germany.htm
"the passion for destruction is a creative passion"
I am really struggling to find anything other than books on this :S
The notion of creation through destruction.
http://www.marxists.org/reference/archive/bakunin/works/1842/reaction-germany.htm
"the passion for destruction is a creative passion"
I am really struggling to find anything other than books on this :S
?!? What and Why?!?
What is my work:
Its a basic extension of the body for protection and the setting of the pieces environment is a post apocalyptic setting, much like that of the recent film "I am legend".
The amour I made was comprised from several different objects I collected from my apartment, tins and fabric even an old long sleeved top.
It represents the true nature of adapting and the survival methods we as humans evolved to.
Creating objects into new fabricated ones using the base properties is no new feature but the way I adapted and reformed the ideals of recycling were somewhat different
As time goes on mankind will continue to adapt to its surroundings and conceptually speaking we shall evolve our understanding of our environment and how to use it better.
A first step to becoming a successful race is that of which can adapt quickly and change with its enviroment before problems end it's very existence.
There was another side to my work, its the decorative side I researched from different eastern culture artist's, looking at slightly more impractical amour thats also decorative, something well achieved by the Victorians. The fusion of decoration and high quality workmanship into the form of protective amour and weapons spawned a lot of styles for our videogames, the biggest example is final fantasy and its series of games.
Its a basic extension of the body for protection and the setting of the pieces environment is a post apocalyptic setting, much like that of the recent film "I am legend".
The amour I made was comprised from several different objects I collected from my apartment, tins and fabric even an old long sleeved top.
It represents the true nature of adapting and the survival methods we as humans evolved to.
Creating objects into new fabricated ones using the base properties is no new feature but the way I adapted and reformed the ideals of recycling were somewhat different
As time goes on mankind will continue to adapt to its surroundings and conceptually speaking we shall evolve our understanding of our environment and how to use it better.
A first step to becoming a successful race is that of which can adapt quickly and change with its enviroment before problems end it's very existence.
There was another side to my work, its the decorative side I researched from different eastern culture artist's, looking at slightly more impractical amour thats also decorative, something well achieved by the Victorians. The fusion of decoration and high quality workmanship into the form of protective amour and weapons spawned a lot of styles for our videogames, the biggest example is final fantasy and its series of games.
DESTRUCTIVE CREATIVISM
I just realized that my work also reflects on the base morals of destructive creativity and the base idea of taking mundane objects and breaking down there components to create another piece, this, in essence is what i was doing.
Taking mundane objects that might be readily available to a post apocalyptic community and transform its components into the sections of amour that became my finished piece.
Trying to find some links to destructive creativism artisi's.
Taking mundane objects that might be readily available to a post apocalyptic community and transform its components into the sections of amour that became my finished piece.
Trying to find some links to destructive creativism artisi's.
Rebecca Horn
http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=37&searchid=9468
This is her piece is titled "Arm Extension"(1968) And uses fabric wood and metal to keep the form.
http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=25&searchid=9468
Finger Gloves 1972
Fingerhandschuhe
Wood, fabric and metal
sculpture
This is her piece is titled "Arm Extension"(1968) And uses fabric wood and metal to keep the form.
http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=25&searchid=9468
Finger Gloves 1972
Fingerhandschuhe
Wood, fabric and metal
sculpture
"Ideas of touch and sensory awareness are explored in this work. Horn has described how wearing these gloves altered her relationship with her surroundings, so that distant objects came within her reach: ‘the finger gloves are light. I can move them without any effort. Feel, touch, grasp anything, but keeping a certain distance from the objects. The lever-action of the lengthened fingers intensifies the various sense-data of the hand; ...I feel me touching, I see me grasping, I control the distance between me and the objects.’ Implicit in the work is the idea that touching makes possible an intimacy between our own body and those of others."
This notion of creating extra senses is something that fascinates me, not only does it enhance the appearance, but due to its location it enhances the senses connected to the device... in this case, the fingertips. This device brings the distance closer, while all the time these items are out of reach as the practicality of the device is almost unusable.
This side not really that relevant to my side of body extension as mine was more practical based, well it had to be to fit into context of my work. Rebecca Horn has been in the field of sculpture for over 40 years and has had a few dabbles in body extension. But the pieces are to be based on their artistic merit over ability to successfully implement a body extension.
I guess when you think about it there is a lot of body extension going about today.
Getting fake nails to hair extensions all the way to piercings, these are a form of bod yextension and each comes with extra sensory action, sometimes sensitivity to an area and other times an extension of touch or weight.
The environment in which pieces are used also have detrimental effects on the piece and the experience for the user.
I think that the clever use of extra sensory can be heightened by countering with the removal of another, for example the finger gloves could
http://www.medienkunstnetz.de/works/berlin-uebungen/video/1/
This video is the finger gloves in use and scraping two walls at one time. Interesting, sound is as weird as it probably felt on your fingertips.
The notion of extra sensory body extension frightens me a little, because it can also be created to give the user negative sensory damage, and this could be implemented in pain. But I guess my argument is flawed because anything could be adapted in this way.
This notion of creating extra senses is something that fascinates me, not only does it enhance the appearance, but due to its location it enhances the senses connected to the device... in this case, the fingertips. This device brings the distance closer, while all the time these items are out of reach as the practicality of the device is almost unusable.
This side not really that relevant to my side of body extension as mine was more practical based, well it had to be to fit into context of my work. Rebecca Horn has been in the field of sculpture for over 40 years and has had a few dabbles in body extension. But the pieces are to be based on their artistic merit over ability to successfully implement a body extension.
I guess when you think about it there is a lot of body extension going about today.
Getting fake nails to hair extensions all the way to piercings, these are a form of bod yextension and each comes with extra sensory action, sometimes sensitivity to an area and other times an extension of touch or weight.
The environment in which pieces are used also have detrimental effects on the piece and the experience for the user.
I think that the clever use of extra sensory can be heightened by countering with the removal of another, for example the finger gloves could
http://www.medienkunstnetz.de/works/berlin-uebungen/video/1/
This video is the finger gloves in use and scraping two walls at one time. Interesting, sound is as weird as it probably felt on your fingertips.
The notion of extra sensory body extension frightens me a little, because it can also be created to give the user negative sensory damage, and this could be implemented in pain. But I guess my argument is flawed because anything could be adapted in this way.
Tuesday, 26 February 2008
Rebecca Horn
"Rebecca Horn: Bodylandscapes: Zeichnungen, Skulpturen, Installations 1964-2004" By Armin Zweite, Rebecca Horn, Hayward Gallery
Published in English on the occasion of the exhibition of the same name at the Hayward Gallery, London, 26 May-11 September 2005. - Also at K20 Kunstsammlung Nordrhein-Westfalen, D̀eusseldorf, 2 October 2004-2 January 2005 ; Fundaðĉaao Centro Cultural de Bel̂aem, Lisbon, 4 February-17 April 2005 ; Martin-Gropius-Bau, Berlin, in co-operation with the Berliner Festspiele, September-December 2006.
its the supporting book to a collection of Rebbecca horn's work.
Official Website http://www.rebecca-horn.de/pages/biography.html
The official website has no information about the body extension concept.
Going to dig a lot deeper.
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