Exercise 1.5 Painting in the round
Dispense with the canvas and allow the objects you are interested in to become the ‘canvas’ you work on. Working in three dimensions explore the relationship between the work and your physical presence. Focusing on shape and form, make a group of large objects based on items from Exercise 1. At this stage, aim for objects which have a blank surface. Create at least 3 objects; each object should take you no more than 20 minutes to make. Consider the following; size of objects, surface, space and connecting and constructing.
Sketchbook 1. Pages 14 – 17
Jessica Stockholder relates to colour in both a transient and visible state between abstraction and physical form, much as the human eye reacts to light and dark, and thus the way in which we see colour in varied light conditions. This goes someway to explaining her concept of using material as a paint.
“I use material like paint … all materials have a particular quality like a brush stroke has a quality and paint is thick or thin, glossy or matt.” (Jessica Stockholder in A world undone – Works from the Chartwell Collection, 2020)
It was of interest to hear her discussing the ability to see with pre-conceptions – to allow ourselves new thoughts. I have reflected on such a similar sentiment in the process of my own work. In theory it sounds relatively straight forward – but the minute you start thinking about, unconscious pre-conceptions start to come to the fore. They are hard to ignore without considerable self-discipline, and sometimes a change in direction.
Katharina Grosse’s work employs a use of architecture, sculpture and painting. She is known for her large-scale, site-related installations to create immersive visual experiences. She explains that despite an early interest in language and reading, she was attracted to painting because of its non-linear qualities.
It is evident that vivid strong colours are fundamental to her work and her spray-painted installations pay testament to this, which also allude to the body used to create it. For Grosse, these two modes of work are merely different ways of expressing the same things:
“The canvas can be complex, over-layered, compressed action; whereas with installations it’s expansive, goes everywhere and slows down movements. It has a totally different relationship to architecture, to sculpture, to your body. I always need another person, or another medium: something to talk to. It gives me the ability to think through things in different conditions, and the two mediums don’t exclude each other at all.” (Thaddeus-Johns, 2014)
In the shadows of a global pandemic and the UK government’s restrictions on nonessential travel, this was an opportunity to be creative with what resources were available around the house, garage and studio.
Reflecting on the shapes of the table objects (most of which had now been repurposed) I explored ideas as to how I could restructure, manipulate and connect objects to create a three-dimensional form. (See figure 1: sketchbook 1, pages 14-17)
My principle idea was to reconstruct the objects from the table in a vertical structure; connected, free standing and able support its own weight. Repurposing a large piece of carboard 100×75 cm which was being used as a floor covering, proved ideal. Once the cardboard was folded to create a square, vertical tower I marked out the position for the other objects to be added. The box was laid flat and shapes were cut into the cardboard. (See figure 2)
Making an elongated diamond shape to fit inside the corner of the tower took more than 20 minutes, and a lot of paper templates before I committed to using card. Other objects were made from off-cuts of cardboard. (See figure 3)
Once built, I disassembled and laid the tower flat. This was covered in off-cuts of wallpaper that were applied using PVA glue. Once dry, the tower was assembled, and other objects attached. (See figure 4: three images showing different sides)
The object was painted with emulsion paints, applied with a brush, bamboo stick and dripping directly from the paint tin. Whilst still wet, modelling paste was applied with a painting knife, mixing the paint and modelling paste to create a pattered texture. (See figure 5: six images showing different sides)
Having left the piece for a couple of days, I felt no physical or emotional connection with the it. I was unable to relate to the colours when on the structure, so I painted it white. In doing so the textured marks became prominent and gave prominence to the piece that was more defined than colour.
As I still felt the colours were integral to the piece, I experimented with different coloured markings on a fibre material on which the piece would stand on. I was having no success until when clearing my worktable, I noticed that paint had bled through the fabric to produce a saturation of colour and markings that would connect to two pieces and define its boundaries.
I was content with the outcome (see figure 6 and 7) but have since thought how I would develop this further if I was to revisit this exercise. I have elaborated further in my reflection.
Fig. 6. 
Fig. 7.
Reflection
As your work develops consider where the edge of this piece lies?
I thought this might be a relatively straight forward question. However, this was not the case and as the piece developed structurally, its relationship with the table and the background continued to redefine the edge of the artwork. This lead me changing the colour of the structure to white and adding colour to the support which I felt defined the edge of the artwork.
The vertical tower stands on a corner of the base support, therefore when moving around the piece the viewer can observe elements simultaneously or independent of one another. This changes the relationship between each object, spatial awareness and the edge of the piece. It is also worthy of note that different light conditions also effect the relationship between each element.
Does the work claim space i.e. is the wall behind the objects or the space above part of the work?
This piece does not naturally claim space, nor is the surrounding space connected to the work. The integrity of the work is defined by the whole piece.
How much of the floor is included?
The floor is not included. Given how the colour and marks were achieved to create the base support, it did not lend itself to including the floor. Although I must admit that this decision was also driven by the resources available to hand. I had since thought of ideas how to develop a three-dimensional, partially translucent base that would also explore and expand the edges of the piece and incorporate the floor.
As it stands, I feel the piece works when viewed so that the top of the vertical tower is about five feet off the floor.
As you move around, or through the work, when are you inside the space of the work and when are you outside?
Moving around the piece is fundamental to be able observe elements simultaneously or independent of one another. This allows the viewer to observe the changing relationships between objects, spatial awareness and its boundaries. The dimensions of the base support (100×61 cm) and position of the tower also pushes the viewer away, forcing the piece to be viewed at distance, as well a close-up. My personal opinion was that the piece was best viewed as shown at figure 8. Moving from left to right, the gradual exposure gave the feeling of being inside the space, as objects and colour appeared.
How does your use of paint help you to define these boundaries?
The piece could have stood on a white floor, table or in a white room where the edges would have extended to the viewers peripheral vision and continued like an ever decreasing circle. The use of paint and spatial awareness defines the boundaries of the piece.
As you move around and/or through the work consider how the physical experience of being among these objects affects your decision-making, process and approach to using paint.
As previously articulated, the process and approach to using paint and the effect this had on the piece, lead me re-thinking the use of paint. Focussing on texture and using colour in a representational manner restored a physical and emotional connection with the piece.
What is guiding you and helping you to make decisions and take action?
My decision making was guided by my physical and emotional response to the work as it developed, more so as this piece was reflective of a lived experience. This was about feeling my way through the process, albeit with a degree of trial and error, to achieve different effects. Frequently reflecting on what this meant to me – sometimes doing nothing, just thinking!
References
Thaddeus-Johns, J., 2014. Colours And Chaos: Studio Visit With Katharina Grosse. [online] Sleek-mag.com. Available at: <https://www.sleek-mag.com/article/colours-and-chaos-studio-visit-with-katharina-grosse/> [Accessed 24 March 2020].
YouTube. 2020. Jessica Stockholder In A World Undone – Works From The Chartwell Collection. [online] Available at: <https://www.youtube.com/watch?v=XbppPhosVo8> [Accessed 24 March 2020].
Contextual Focus Point
Michael Fried ‘Art and Objecthood’ published In 1967 in ‘Artforum’ in response to Donald Judd’s essay ‘Specific Objects’ and Robert Morris ‘Notes on Sculpture’.
Summary of key points:
Freid refers to literalist’s, the preoccupation of their viewers experiences which makes viewing their work mundane, an everyday experience.
The literalists try to make their works excessively dramatic rather than about the works presence.
The literalists are more concerned with the specificity of the materials rather than the work a distinct piece of work, losing any distinct identity.
Fried accuses the literalist artists of looking for ideology at the expense of their art. Trying to establish relationships between contrasting components rather than the work as a whole.
By being literal – artists blurred boundaries and compromised the outcome of their work.
Reflect on any resonances with your own experience of making
My piece for this exercise was sculptural. Taking items from the object table and reconstructing them in a vertical structure. The viewer is led to walk around the piece, viewing from different angles and distances to take in the various elements simultaneously or independent of one another before forming and opinion.
The piece went through a series of iterations. These were formed on my emotional interaction with the piece rather than any attempt for it to be excessively dramatic or a piece of theatre, Far from an ideology, however, these ideas were formed from personal experience. As such I had no consideration of the viewers experience until near completion.
Bibliography
Wood, P. and Harrison, C. (2003). Art in theory. Malden (Mass.): Blackwell publ., pp.835-846.
Painting 2 - Studio practice 