We had the MA open studio’s last night and it was the first time we have all shown work together, and for many the first time, we had seen each other's work. There are some extremely talented people on the course, and it was a very interesting evening.
Inspired by the immersion of other practices I realised that it could be an interesting methodological exercise to view my practice through the lens of other artists, whose practice I know in some way.
This exercise could highlight elements of methodology as well as new perspectives for my own work.
Please Note - All interpretations of the work of other artists are subjective. My interpretations are based on conversations with these artists and encounters with their work, but they are all subject to my bias and misunderstanding.
These are not explorations of the work of these brilliant artists. Where possible I have linked to their websites, I would definitely encourage having a look.
This list of artists is primarily the full-time students (whose work I know to a certain extent) and a few others who I have been able to chat to about their work.
Shirley Sharp - http://www.shirleysharp.com
Shirley’s work, for the purpose of this exercise, would make me view my work through the speech act, or act itself. I would think about the figure of the artist, and the relationship between viewer and artist in a more representational way.
* Pile of canvases that are shaped on one side to form the shape of a person. The other side is left as the natural forms of the pile.
Matthew Dibble - https://www.instagram.com/sculptordib/
Dibble’s work is involved with the haptic experience of materials. If I were to use his perspective to explore my subject and interests I would certainly create sculptures. I would likely focus on the pure materials of painting formed in new ways.
* A horizontal plane, with a vertical upright in the centre. On one side (or space - created in the intersection between the two) would be chaos, on the other, order. Representing the space of the work.
* A frame cut into pieces and reassembled to create a new form, on which to display the work.
Deborah Westmancoat - http://www.westmancoat.com
I have only seen Deborah’s work as an almost scientific process of exploring materials and their effects, and so, I feel, that through this perspective I would explore the qualities of paint and other mark-making materials with the aim to create an archival installation that presents this exploration to the viewer.
Note - The archive was something I explored in the second year of my BA and it is something that has since been an element of influence.
James Glover - https://jamesglover13.wixsite.com/jamesglover
Through James’s perspective, I would likely think about the processes of artists and ways to mechanise them. Many of the processes of artists are menial, or monotonous in some way, and these could be explored in many ways. Most likely in the form of a painting machine or drawing machine, but there are other options. (This is interestingly something I considered a few years ago, but I got distracted by another idea.)
Through studying the reality of artistic practice, rather than the assumptions we make, it is clear that there are activities outside the realm of ‘Art’ that artists undertake more than the ‘Art’ itself.
Jana Jonhardsdottir - https://www.jonhardsdottir.com/portfolio
The thing taken from Jana’s current work, in this exercise, is the deconstruction and reconstruction of layers within her work.
My interest in accidents and incidents would come to the fore here, and I feel I would like to make a piece that layers incidental elements on top of one another. If I were to stick to the parameters of being inspired by another practice then these layers would be trapped in perspex.
Layering, without perspex, involves something being hidden, which is something my work has dealt with in more detail. The moment we stretch a canvas we are hiding the wall and the stretcher. Those things upon which the painting relies.
Julian Green - https://juliansdrawings.wordpress.com
Julian's work would encourage me to create a detailed representation of an overlooked object. Which is a very interesting idea, as it's not something I've ever considered for myself. The interesting thing is the reason why; I have always considered the ‘real’ object more powerful than its representation, but this is a bias.
This has come to being in the studio in the creation of the piece ‘Reflection’ (2017) which was placed a few weeks ago. I am now forced to wonder if the subconscious influence of Julian's detailed representations encouraged this work. It certainly wasn't a conscious link, but it remains an interesting one.
Scott Sandford - http://www.scottsandford.com
Scott’s close-up abstractions would encourage me to view the individual elements of my work, expanding them where possible. The obvious route would be to take close-up photographs of things like canvas, wood, and paint. (which I began when working with a microscope in 2015) However, I now think the more subtle perspective i could take from Scott’s work would be to explore the close-up detail in a more material way. For example, enlarging the canvas in a sculptural form, reducing details so that a single element becomes the focus.
In a way, this links to my placement test for threads of canvas.
James Thornton - http://www.jamesthorntonart.co.uk
James’s work is presented in a similar form to mine, and as we share a studio space this is a very exciting development. What I would probably take from his work, if I attempted to use what I know of it to explore my own, would be a focus on representing a single form, or focus, in various ways. Showing the reality of multiple perspectives on the same subject/object.
This comes into my practice in the use of canvas in alternative ways.
What this exercise has shown me is that there are elements of practice that are already linked through us all. Thinking through and articulating this process has led to some new connections or more appropriately the realisation of existing connections.
I can't currently say if this will have an impact on my work in the studio but I believe it will have an impact on my interactions with my fellow artists.