My objectives:
playful arrangements.
Process:
Building form through colour and sensations with materials.
Putting the material under the idea.
Inspirations and why they relate to my work:
Corita Kent - (her subject - faith and hope, use of text)
Vibrant screenprints - in the 1950/60s, creating dense, expressionist work incorporating text into her work based on Biblical passages; jumbled, appropriated advertising slogans, juxtaposed with poetry, scripture, and song lyrics and thereby transforming the mundane into joyful messages of hope and calls to action.
SH (what I relate to: combining psalms in a modern world. witty, playful,
The universal messages of peace and hope, a call to action.
Her process: Kent often mingles small portions of text from different documents, mingling them with passages from other sources and authors.
She chose silkscreen as her medium because she wanted her art to be affordable and widely available and serigraphy allows for the production of multiple works.
Her work evolved from figurative and religious to incorporating advertising images and slogans, song lyrics, biblical verses, and literature.
Throughout the ‘60s, her work became increasingly political, urging viewers to consider poverty, racism, and injustice. In 1968 she left the order and moved to Boston. After 1970, her work evolved into a sparser, introspective style, influenced by living in a new environment, a secular life, and her battles with cancer. She remained active in social causes until her death in 1986. At the time of her death, she had created almost 800 serigraph editions, thousands of watercolors, and innumerable public and private commissions.
Her quote - Don’t try to create and analyze at the same time. They’re different processes.
Richard Tuttle (mid-1960s-today) - aesthetic, formal concerns
He draws beauty out of humble materials, reflecting the fragility of the world in his poetic works.
Mediums: multidisciplinary work that eludes historical or stylistic categorization. Tuttle’s work exists in the space between painting, sculpture, poetry, assemblage, and drawing.
His investigations of line, volume, color, texture, shape, and form are imbued with a sense of spirituality and informed by a deep intellectual curiosity.
Language, spatial relationship, and scale are also central concerns for the artist, who maintains an acute awareness for the viewer’s aesthetic experience.
Heather Phillipson (*1978 in London).
What perception actually is and how it operates are questions pursued time and again.
Personal individual perception - what he or she perceives and exactly how this takes place can only be optic nerve, the brain, and synapses.
The playful and reflective treatment of the interface between perception and language
2013, title “Cardiovascular Vernacular (as in ‘it’s time for my regular cardiovascular vernacular’).” With the aid of a Smartphone, the artist used this to send visitors off to share her own perception and the associated sensations. In her multimedia installation Phillipson plastically combines moving image, sound, and object to become a physical experience: Language serves to connect one’s own perception with perception by others.
1. Interest in narrative, telling a story through materials.
Text based on biblical scriptures, advertising and languages of everyday, personal emotional states. Objects telling something about the human experience. Love, hope, pain, struggle. The struggle to create. Wars of the mind. Change my hard heart.
2. Materials
Interested in the relationship between materials. Combining and arranging these materials to tell a story.
Using text to create compositions.
3. Aesthetic
Creating rich surface textures,
figurative elements whose emotions manifest into materials. Human resilience. Life stages. Love, hope, faith. Beauty out of ashes. Something out of nothing.
Jessica Stockholder
with the smaller pieces I work on top of or in relation to stuff that I collect.
Uses “unpretentious, everyday objects” into large-scale installation