I originally chose Josh Faught’s, Untitled (I), from BE BOLD For What You Stand For, BE CAREFUL For What You Fall For, 2013. I saw this piece of work in the Saatchi gallery and was instantly drawn to the scale of the piece, the objects attached to the work and the colours. This piece of artwork was made to highlight the queer community.
I found it difficult to make artwork and know where to start. I then had a group tutorial and was asked to explain why I chose this artwork. I struggled and came away feeling like I did not connect with this piece of work. I realised I chose the work because the colours, scale and materials was something I enjoyed, I couldn’t make work from the internal aspects of the work and that is important to me.
I then chose Maria Bartuszová’s, Untitled, 1973. It interested me as it only focused on suggested body parts, both male and female. It also carries both ‘maternal and erotic associations’. It suggests the body but does not represent the body. This artwork instantly made me create artwork and makes me excited to create work which was a much better start.
An object is something that resists my will. An object is something that is beyond my complete control. An object offers relief from the turmoil of desire.
An object is unknowable
Perception is always partial. We never perceive the whole object. We never perceive the same object as anyone else.
For example, La Grenouillere, by Pierre Auguste Renoir (left), 1869 and La Grenouillere, by Claude Monet (right) 1869, was painting on exactly the same day together. Renoir’s version of this scene is more social and more chatty like. Monet’s version is more reserved, a quieter painting. They have both painting different versions, they have also painted different river banks.
I am an object (in a world of objects)
What is the difference between subject and object? They are reversible. Therefore I only come to a knowledge of myself through a knowledge of objects.
Is a painting an image or an object?
Piet Mandrian, Composition with Red and Blue, 1929. The paint goes beyond the flat face of the canvas, onto the stretch bar of the canvas. This could be perceived as an object.
I choose an artwork for the brief over the next year, myself and a few friends decided to go to London. We visited: The Saatchi Gallery, Tate Modern, The White Cube and The National Gallery.
A few pieces interested me but I have 3 in mind that I will explore and research to find out if they are suitable for the brief.
One artwork I was drawn to was Josh Faught’s, Untitled (I), from BE BOLD For What You Stand For, BE CAREFUL For What You Fall For, 2013. The colours and the scale really brought me in, also the items that had been sewn into the tapestry where very random. At the time I did not know the meaning. The work is aimed at the ‘queer community’. I enjoy making work to make other people aware of subjects, so this could be a possible artwork.
I’m also interested in Maria Bartuszová’s piece, ‘Untitled’, 1973. The artwork is made from plaster and carries both with maternal and erotic associations. The work suggests a body rather than represent one. The human body has always been a fascination to me and I feel this piece could simulate my work throughout year 2.
At Tate Modern I saw a voice and sculpture/ installation piece by Otobong Nkanga. The installation reflects on contemporary anxieties and suggests how people gather in a crowd. The ropes suggest the networks in today’s society. The concrete balls can also weigh up to 600 kg, so it also implies the impossibility of moving forward alone. The idea behind the work was what appealed to me, I think it is an intriguing way to display a crowd and the anxiety that comes with it for some people.
Now I have to narrow my decisions down to one artwork.
This was the final response to my response and Margarida’s response to Fountain, 1917, by Duchamp. I have tried to combine as many elements from the responses into one piece of work. I used cardboard because it was used to make the sculptures, and orange paint because orange cellophane was used in the sculpture by Margarida. The white lines are imitating the action Margarida wrote about the artwork. In her action, she instructed the reader to draw a box on the floor with white chalk and lie in the drawn box with an orange t shirt on.
I focused on the shapes found in Fountain, 1917, and in both mine and Margarida’s responses. I also signed the artwork with, ‘R. Mutt 1917’, to keep parts of the original artwork in the final response.
I enjoyed this task as we had such a short amount of time to think about what we were going to do that it allowed me to think of ways I wouldn’t have with the artwork. It also allowed me to not be so precious over the artwork I created because it was very fast paced.
During this lecture, we explored artists’ studios, such as Jasper Johns studio space and Francis Bacon’s studio.
Sean Edwards also talked about traditional European studios having high ceilings with big windows, American studios are like factories.
The lecture also introduced the artist, Daniel Buran to me and what he thinks a studio should be. Buran says the studio should be ‘1) a place where work originates. 2) A private place, an ivory tower. 3) A stationary place where portable objects are produced’. Another artist, Marcel Duchamp, has an idea of a studio being like a laboratory.
This lecture was interesting to have an insight into artists’ studios and to understand what a studio means.
The ideas lab was to help give the class examples of appropriating artists’ work. I had to choose an artwork to work on throughout the workshop. I chose Marcel Duchamp’s, Fountain, 1917.
In the class, we swapped our artworks around for a someone else to respond to the artwork we had chosen.
The response to the work by Duchamp was not what I expected. It was very abstract and the colour orange was brought into the response by creating a sculpture out of orange cellophane. I found it interesting to see how the work was seen through someone else’s eyes.
Paint, charcoal and sculpture responses by Margarida
I then responded to the work. I tried to respond to each response to make work completely different from the original Fountain, 1917.
I tried to look at every response, including Margarida’s artwork and the original. My final response was this, I think it was successful. I incorporated every response to the artwork, adding the circles and colour Margarida found within the image, the signed named in Duchamp’s artwork and the shapes in my response.
Cornwall is a very quaint area and I love the small fishing villages. I wanted to capture my favourite places in cornwall and decided I would paint Penzance, as I think the scenery is beautiful. Polperro, as I remember going there on holidays as I child and it was nice to revisit the village and bring back memories. And Mevagissey. Mevagissey was were I stayed with my family during this holiday.
There were lots of wood that I kept finding on the beach and near the harbour in Mevagissey. I painted small scenes that I had captured on phone on the piece of wood. The wood is long which to me represented the long drives to the next village and it was washed up on the tiny beach in Mevagissey.
This piece of work is the finished artwork that had to be completed over summer. The work captures what I wanted of Cornwall. However, I think I could have improved the artwork by adding people in the work to make it seem more lively, a more realistic version of how Cornwall was when I visited.