Hey everyone! Welcome to my new website! It’s early days and I’ve got lots of stuff to add! Please have a look around and let me know what you think! This is the place I’ll be blogging about my artwork, as well as keeping you up to date with work in progress, exhibitions and general arty chat! I’m looking to meet like minded individuals who are keen to push art forward, network about the UK art scene, and share concepts!
Look forward to meeting you!
Weeks have passed by and I haven’t touched this blog. Work has been busy and the artwork produced by students is mostly unbloggable – unless I go through the rigmarole of permissions and parent consent…
But this week my year 11’s produced a collaborative art installation that is entirely bloggable. We have been studying a unit called “time, site, audience”. It focuses on conceptual art installation, and we have begun to produce our own environmental installations. This one was the result of a whole class discussion about how colour could be used as a theme. We decided to dye strings 24 colours from a colour wheel, then fill bottles with the colours and suspend them on weighted strings, from a tree.The bottles had texts that said something about each colour that they contained.
Here is some of the results:
Sol LeWitt created a series of works throughout his life called Wall Drawings. These works are not permanent pieces but temporary drawings with a life span of an intended exhibit. The drawings are not made by the artist but by assistants. The ‘hand of the artist’ is not present. Owning one of these works is not to possess something in a frame but a set of instructions on how to execute the work.
My first experience with a LeWitt wall drawing was at the National Gallery of Art. Wall Drawing #65 may still be on exhibit. The physical piece is not the final product but the visual example of the idea, or instructions, owned by the museum. The work itself not ‘precious’ and will be painted over someday.
How cool is that?
Our idea of art is something lovely and/or meaningful preserved on a canvas or in a frame…
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I always find there is an issue of whether I should create work that is critically aware of the space it is in, or whether I can make work that is purely aesthetically or conceptually pleasing without making a comment on the space. I am keen that everyone should think about the space where they’re exhibiting with the work in mind, or they should make their work with the space in mind, so that all work is context responsive.
Some artists do this by creating work that is made within the space itself, so can never be separated from it. These installation artists seek to create an impermanent space that can transform the way a person views or interacts with the space, such as Anish Kapoor’s Marsyas, which was in the Turbine Hall at the Tate Modern.
The Tate Modern’s Turbine Hall is always very aware of the space…
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