The thought of a 3D induction session doesn't sound that invigorating or inspiring but the possibilities that it has opened up are exciting. Although I had no idea of what I might want to do in 3D it was only when you realise the opportunities and facilities available that your mind starts to wonder at what you could do.
I had already looked at how I could take one of the drawings from the 16 reaction drawings and develop it using paper and orange plastic strimmer wire. It was intended to be seen from above or mounted flat on the wall but the underneath became interesting in itself, the hidden side, the roots.
'The front or face of a single sheet of paper, or the right-hand page of an open book is called the recto. The back or underside of a single sheet of paper, or the left-hand page of an open book is known as the verso.' - https://www.tate.org.uk/art/art-terms/v/verso-recto
By rotating the image or looking at it from different angles it can take on different aspects. By adding a figure it can change the scale and become an architectural space.
I intend to look at developing this piece and seeing how it would work if I could play with 5mm acrylic and manipulate the shape of the acrylic and then drill through it and thread the wire. The framing will become different as will the reading.
The plastic strimmer wire has a certain glow about it and I have been questioned as to whether it is neon. It's not, it's just bright. The brightness of the orange does sing out against certain plain backgrounds. To be able to do it with neon would be interesting, then I found out some of Cerith Wyn Evans' work which was exhibited at the Tate Britain in 2017.
Wyn Evans' work is influenced by the movement in dance and choreography. Clearly the movement, flow and steps can be seen in the piece. You can imagine the dancer not just making the moves but occupying the space and all points of the dancer being recorded for this piece. To transform these movements not only into neon but also then curate them by elevating them to make the viewer look up to view them. The use of white neon also keeps the visual experience simple, clean and calming. Quite beautiful.
Another artist I have discovered whilst researching the use of wire in art is Ruth Asawa.
She has herself described her art in the past been as a craft or even interior decoration has led to it being described as ‘baskets and fish traps’, as Otis Gage wrote in Art & Architecture in 1955. This is another argument which we have discussed in an early lecture and seminar as part of BA1A. However what attracted me to the pieces was not necessarily the construction but the material and also the main interest to Asawa in the transparency of the work, how this creates different layers and depths depending on how many items you are looking through and where you view them from.
They also have an architectural quality to them and this is something I have been noting in my work with the wire. Depending on how you view the work and consider the scale the the context of the piece can completely change.
With the transparency of the pieces this creates some wonderful shadows when hung and I would imagine that these also change and move as the items gently twist and the light changes int he gallery. Very interesting indeed.
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