Deborah Crowe

Deborah Crowe's has a major interest in Architecture, Scaffolding and Interior Space. I believe it is because of these interests she is able to work across a range of practices. Which makes it appropriate to call herself a 'Practitioner' rather than an Artist. A Fashion Designer, Drawer and 3D Constructor are just three of the things Crowe can call herself.

To call yourself a practitioner you need to have a lot of confidence in your work and in what you do (Like Crowe) I believe this because in these times you find most artists have 'labelled' themselves, whether it be as a Painter, Designer, Sculptor, or Freelance Artist. This has caused themselves to become categorised in Art.

This would cause the issue of not belonging to a particular 'group' or 'category' and would make it difficult to pitch yourself to galleries or people curious about what your practice as an artist is. By belonging to a certain 'group' you have set solid ground work for you to work with when dealing with galleries, clients and other artists. In saying that, I do believe cross disciplinary practice is a fantastic idea, as it allows you to push the boundaries of what is known as the 'norm'. Something I feel Crowe has succeeded in doing. Working with Textiles, 3D and electronic modelling and exploring issues of space in drawing has allowed Crowe to create new boundaries for herself and setting to goals, something I don't feel can be reached when you are confined to one area of art. I myself need to set these new boundaries, by choosing other areas of art, rather than sticking to Design. Even though Graphic Design is my strongest area of practice, I feel that I can become a better artist or 'practitioner' by branching out and including other art forms in my work.

The idea of Interior Space and things being contained is of a huge interest to Crowe, she likes to explore what Henri Lefebvre coined as Spatiology. The re-establishment of relations between, physical space (Nature), Mental Space (Emotions and Abstractions) and Social Space (The idea of the humans actions and the natural actions which accompany them). Crowe likes what is behind the wall, and how it was constructed. What belongs in this space, and how does it relate? As a young girl, her elder sister used to lock her in the cupboard, which she "really didn't mind at all, in fact [I] rather enjoyed it" something Crowe believes helped to ignite this love for containment and Spatiology. Because of her interdisciplinary practice, Crowe can also relate this to her textile works, (example; "Dual Outlook" a collaborative work with Fashion Designer Kim Fraser). Architecture and textiles relate to each other as the are both housing or containing the body.

After Crowe's lecture, it lead me to think about what I would call myself in the future. I know that I want to major in Graphic Design and to head into the Marketing and Advertising area. This would cause me to call myself a 'Graphic Designer'. However I do know for a fact, that if I dabble in other disciplines of art, and allow myself to create new boundaries so I can strengthen the level of my works I will become more successful in my future. But I am not positive that I would ultimately call myself a practitioner. I want to be a Graphic Designer who has strengths in other areas of art. So I'm not sure the title of Practitioner would be suitable for me.

Mary Curtis

Mary Curtis has a the idea of looking back to historical art periods to source visual inspiration for her own work. So she can develop and gather new ideas to explore in her jewellery making practice. This is a great idea, and something I would personally try.

I think Curtis has caught onto a good idea. By looking back in time, and gathering information for new ideas from existing art works, she is developing her own style through the use of others before her. By doing so she is allowing herself to go back and look upon what was probably what interested her in the first place. Whether she is using the historic jewellery to inspire her in terms of form or function, Curtis finds a way to incorporate her findings into a contemporary piece of work of her own.

I feel that this strategy is a very useful way of approaching research and the development of new ideas because not only does it allow you to gather inspiration from other time periods but it also allows you to see what was in fashion then, and if you can relate to the rends an fashions of today.

I would definitely use this approach to generating new ideas and processes in my work because I feel it allows you to draw inspiration from generations before you who were also interested in the same things. Otherwise you would not be looking at them in the first place! If I were to use this process in my work I would be looking at the way text is conveyed through out the different time periods, how the text is composed and how its the letters are formed on the page. I would look at old books, magazines, bibles. I like the way the text in the Bible is composed on the pages, and how sometimes uppercase and lowercase letters are the same size.

I would also go back and look and old graphic design advertisements from the late 70's/80's, as it would be interesting to see how the cultures of then and the cultures of today are coming together in advertising.

Frances Hansen

Frances Hansen's reasons for using the materials she does, is as simple as wanting to save the earth..

It sounds like a long shot, but Hansen believes that by doing her part and recycling materials to use in her practice, she is achieving this.

''Rescuing' Rubbish - Extending its 'life''

In today's lecture we saw Hansen's works through a slide show, which did not really allow us to see much detail but gave us an overall feel or her work. Also as she spoke, we gained an insight as to what materials she uses in her work, where they're from and why she uses them.

Domestic household objects are a favourite of Hansens. Two Litre milk bottles, cleaning products, and old cane baskets. Her Daughters drawings from creche are also something she likes to use in her works, one even features in on of Hansens works in the MSVA library!

As said before, Hansen uses recycled objects in her work, because she wants to extends its (rubbish) life, and by producing art from this rubbish, she is renewing its life.

In my practice, I do not really look at materials in that way, i usually choose the materials based on the look I am trying to achieve. My main field of interest is Graphic Design/Typography, getting a lot of inspiration from David Carson, Banksy and looking through design books and magazines. Ideas for materials come from these sources as well. I like to use glass to use as a base material, to screen print on or to simply mark make using markers. I like to use glass as it can be interpreted into many different meanings, Layers to represent generations, history, age. Transparency to represent the idea of loss, forgetfulness, seeing through things no one else can see. Ideas like that. I also like to use photographic paper to print on. Not only it is neat to print, but it gives my work an overall feel of professionally produced contemporary work.

The words professional and contemporary do not really spring to mind when i think of Hansen's work. Because at first glance it looks messy and rushed. This however is my personal opinion, so to others this may seem different. But when you learn of the process Hansen employs when making her work, you realise it is rather contemporary and professional.

So ultimately Hansen uses the materials she does, to help the rubbish have an extended life and so its get a chance to renew its itself.

Emma McLellan

Emma McLellan is a lecturer here at MSVA and teaches the DVA students. Her interest in Animals, Patterns and Genetic Engineering is evident in her works we saw today. A strong influence from William Morris and Konrad Gesner help add the fantasy element to her unique "painted prints"

Layering is a technique that McLellan uses in each of her works we saw today. Layering of media, pattern and colour. This connects to McLellans interest of Genetic Engineering (as she told us in our lecture today). Animal modification and the creation of fanatical beasts is made from layering one animal with another. A Chickens head, with a Rats tails on a Sheep's body. Much like how genetically modified animals are created. This is typical of the McLellan style and taste we witnessed today, McLellan herself saying she "loves fantasy creatures"

Konrad Gesners 'book of beasties' is a book McLellan uses a lot in research for her works. Sometimes also uses Gesners images as found images to use in her work. Cutting and pasting to create new and improved beasties from his ones

Another aspect McLellan is fond of is the idea of cloning, which I guess fits in well with Genetic Engineering and McLellans love of pattern (William Morris) Cloning is much like pattern, our genetic makeup is a code, which could also be referred to as a pattern. So in a way, us as people are connected with wallpaper and genetically modified animals..?

William Morris was an English furniture and textiles designer mostly famous for his wallpaper designs, which most were based on nature, looking intricately at the detail is natures plants. He is a big influence in McLellans works, and this is evident when looking at her art works of which we saw today. McLellan uses Morris' style of subtle colours which are allowed to fade into the background.Creating a muteable setting. McLellan uses imagery much like Morris. Creating patterns based from natures objects and overlaying then with fanatical beasts.

What I like about McLellans work, is how she has taken objects and design from the 1800's, and created futuristic pieces of art. With McLellans interest in animals, genetics and cloning, it is no wonder her works are so incredibly intriguing.

SEMESTER TWO!

Our blogs this semester are on different lecturers who will be coming to talk to us about their own individual practises. I think this semesters lectures are going to incredibly interesting!

-Emma

Psychology

"Tears make the world go round"

Louise Bourgeois

During today's lecture we viewed a range of artists who create psychological art. I was captivated by Louis Bourgeois, a insomniac sculpture.

Bourgeois's father was an anglophile, meaning he loved all things English. Lucky or Unlucky for Bourgeois's father, the family nanny was English. Ultimately causing her father to have an affair with her (the nanny).

We are told that this is what caused Bourgeois's Insomnia, the hatred and betrayal she feels about what her father did, leaves her unable to rest.

This however is the cause of her art.

Bourgeois's work explores the psychological concerns of emotions. It almost seems Bourgeois is trying to rid herself of the hatred and betrayal caused by her father, by creating art pieces, which cause the viewer to feel her emotion, and by producing it in a very rough and strong way.

She uses the band saw in a lot of her work, this is because she can be aggressive and it allows her to be in control.

By producing work about her emotional states it is full of meaning and is very symbolic to her. She (Bourgeois) can only trust her unconscious.

By producing work that is highlighting her own psychological concerns and feelings, she is creating a very personal and deep work. That only she can really understand but it open enough for viewers to interpret their own understanding of.

"I'm a wild beast some of the time"

Said by Bourgeois, this shows how she thinks in terms of herself, and how she can create raw emotion through art.

I feel that the reason Bourgeois creates art is too release herself of her hurt and to try get on with things, however when watching the way she lives her life and how shes goes about daily routines, some may think she is happy how she is. She gives off that impression.

She very abrupt and upfront saying what she needs to say to get the job done.

"At this level we are in business. You can talk to me"

Andy Warhol and Multiples

Multiples

Andy Warhol's use of multiples in his work is evident through his silkscreen process. It was his use of multiples that generated most of his income towards the late 1960's.

Andy Warhol's multiples were commodities. Things that were produced, with there sole purpose being, to be either sold or exchanged.

Warhol's 'The Marilyn's' are great examples of multiples. 'The Marilyn's' are silkscreen prints, that are all the same. (Multiples).

Walter Benjamin talked about the aura that one would feel when looking at the original of a piece of art. The aura, referred to as the sense of awe and reverence one would presumably experience when in the presence of a unique piece of art.

So therefore you cannot experience the aura of an art piece if it is a reproduction of itself.

This makes me wonder.

Warhol's work is consider as multiples. But they are still all individual art pieces. So if what Walter Benjamin is saying that you cannot experience the 'aura' of a piece if it is a reproduction, then can you experience the aura of a piece of from Warhol's 'The Marliyns' collection?

They are all individual pieces, all made the same way, printed from the same screen using the same ink, but at individual times. They are not photocopies, scans or photographs of the original. They are all original pieces of art but they just look the same. So can you experience 'aura' from each piece or not?

I think in this case you can. Even though the pieces may look exactly the same. They are not exactly the same. Each piece may have a slight difference from the one before.

So I feel that in this case, Benjamin is wrong. In the case of Warhol's silkscreen prints you can experience an 'aura' from a multiple.