sculpturespectator

[sculpturespectator]

[sculpturespectator]

[sculpturespectator]

[sculpturespectator]

[sculpturespectator]

[sculpturespectator]

[sculpturespectator]

Plinth & Thing Sculpture Complete

The corten steel form bears marks, scratches and healing scars (new rust) of its manipulation and creation. These record a timeline of the process of making and will gradually weather over time. While the polished surface of the aluminium will gather fingerprints and kinks from the manipulation of its form, it can always be restored to its original design.  I like the idea that although metal has immense durability, it is also vulnerable to manipulation. The sculptural form shifts considerably as the viewer shifts perspective around the sculpture – additionally the viewer can participate in manipulating the mobile aluminium form to further distort the sculpture from its original design. From some angles the forms will appear as lines in space - from other angles, forms will act as enclosed objects.

[sculpturespectator]

Plinth & Thing Sculpture Complete

The corten steel form bears marks, scratches and healing scars (new rust) of its manipulation and creation. These record a timeline of the process of making and will gradually weather over time. While the polished and reflective surface of the aluminium will gather fingerprints and kinks from the manipulation of its form, it can always be restored to its original design.  I like the idea that although metal has immense durability, it is also vulnerable to manipulation. The sculptural form shifts considerably as the viewer shifts perspective around the sculpture – additionally the viewer can participate in manipulating the mobile aluminium form to further distort the sculpture from its original design. From some angles the forms will appear as lines in space - from other angles, forms will act as enclosed objects.

[sculpturespectator]

Plinth & Thing Sculpture Complete

The corten steel form bears marks, scratches and healing scars (new rust) of its manipulation and creation. These record a timeline of the process of making and will gradually weather over time. While the polished surface of the aluminium will gather fingerprints and kinks from the manipulation of its form, it can always be restored to its original design.  I like the idea that although metal has immense durability, it is also vulnerable to manipulation. The sculptural form shifts considerably as the viewer shifts perspective around the sculpture – additionally the viewer can participate in manipulating the mobile aluminium form to further distort the sculpture from its original design. From some angles the forms will appear as lines in space - from other angles, forms will act as enclosed objects.

[sculpturespectator]

Week 12: Cyliner Massacre

In the final segment of cylinder massacre, I became incredibly overexcited by my last cylinder that I decided to give it some curves. I showed a friend of mine and they said “like a Japanese bridge” – I had to look up what a Japanese bridge looked like, but I can see the resemblance now. Here is the curvy-Japanese-bridge cylinder, victim number 10 (I cut this one in half too not thinking about the how unsupported would become and it collapsed before I could take a picture).

[sculpturespectator]

Week 12: Cyliner Massacre

In the final segment of cylinder massacre, I became incredibly overexcited by my last cylinder that I decided to give it some curves. I showed a friend of mine and they said “like a Japanese bridge” – I had to look up what a Japanese bridge looked like, but I can see the resemblance now. Here is the curvy-Japanese-bridge cylinder, victim number 10 (I cut this one in half too not thinking about the how unsupported would become and it collapsed before I could take a picture).

[sculpturespectator]

Week 12: Cyliner Massacre

In the final segment of cylinder massacre, I became incredibly overexcited by my last cylinder that I decided to give it some curves. I showed a friend of mine and they said “like a Japanese bridge” – I had to look up what a Japanese bridge looked like, but I can see the resemblance now. Here is the curvy-Japanese-bridge cylinder, victim number 10 (I cut this one in half too not thinking about the how unsupported would become and it collapsed before I could take a picture).

[sculpturespectator]

Week 12: Exchanges and Economics in Art & Artist of the Week

Ted Purves and Shane Aslan Selzer essay discusses exchange and reciprocity in contemporary art practices and how this systems of exchange has morphed over time and within different landscapes. The essay brings light to “critical exchanges” in social forms of art, where by awareness and demystification are practiced to provide an expanded view to understand why something is the way it is and the cultural, social and historical forces that have made something that way it is today. The word critical is used in its alternative definition “where it describes a crucial juncture or turning point, a place where a situation or fact may suddenly change or transform.”

An artist making these critical exchanges in social forms and public spheres is Caroline Woolard. She creates installations and social spaces for encounters with the aim of cooperation and critical exchange or alternative economies. To provide a short description of some of her works she said, “Police barricades become beds. Swings attached inside public transport. Money is erased in public. A clock ticks for ninety-nine years. Public seats attach to stop sign posts. Cafe visitors use local currency. Office ceilings hold covert messages. Ten thousand students attend classes by paying teachers with barter items. Statements about arts graduates are read on museum plaques. My work is research-based and site-specific. I alter objects to call forth new norms, roles, and rules. A street corner, a community space, a museum, an office, or a school become sites for collective.” Following are images of three forms of Woolard’s collaborative exchange works of art, including the exchange café at MoMA where visitors exchanged “local currency” for milk, tea and honey - to bring light to many non-monetary exchanges that artist and people in general are engaged in. You provide information on a resource you “create” and a resource “request” as your currency and in return you’re give tea. The museum provides the frame and for the social form.

[sculpturespectator]

Week 12: Exchanges and Economics in Art & Artist of the Week

Ted Purves and Shane Aslan Selzer essay discusses exchange and reciprocity in contemporary art practices and how this systems of exchange has morphed over time and within different landscapes. The essay brings light to “critical exchanges” in social forms of art, where by awareness and demystification are practiced to provide an expanded view to understand why something is the way it is and the cultural, social and historical forces that have made something that way it is today. The word critical is used in its alternative definition “where it describes a crucial juncture or turning point, a place where a situation or fact may suddenly change or transform.”

An artist making these critical exchanges in social forms and public spheres is Caroline Woolard. She creates installations and social spaces for encounters with the aim of cooperation and critical exchange or alternative economies. To provide a short description of some of her works she said, “Police barricades become beds. Swings attached inside public transport. Money is erased in public. A clock ticks for ninety-nine years. Public seats attach to stop sign posts. Cafe visitors use local currency. Office ceilings hold covert messages. Ten thousand students attend classes by paying teachers with barter items. Statements about arts graduates are read on museum plaques. My work is research-based and site-specific. I alter objects to call forth new norms, roles, and rules. A street corner, a community space, a museum, an office, or a school become sites for collective.” Following are images of three forms of Woolard’s collaborative exchange works of art, including the exchange café at MoMA where visitors exchanged “local currency” for milk, tea and honey - to bring light to many non-monetary exchanges that artist and people in general are engaged in. You provide information on a resource you “create” and a resource “request” as your currency and in return you’re give tea. The museum provides the frame and for the social form. 

[sculpturespectator]

Week 12: Exchanges and Economics in Art & Artist of the Week

Ted Purves and Shane Aslan Selzer essay discusses exchange and reciprocity in contemporary art practices and how this systems of exchange has morphed over time and within different landscapes. The essay brings light to “critical exchanges” in social forms of art, where by awareness and demystification are practiced to provide an expanded view to understand why something is the way it is and the cultural, social and historical forces that have made something that way it is today. The word critical is used in its alternative definition “where it describes a crucial juncture or turning point, a place where a situation or fact may suddenly change or transform.”

An artist making these critical exchanges in social forms and public spheres is Caroline Woolard. She creates installations and social spaces for encounters with the aim of cooperation and critical exchange or alternative economies. To provide a short description of some of her works she said, “Police barricades become beds. Swings attached inside public transport. Money is erased in public. A clock ticks for ninety-nine years. Public seats attach to stop sign posts. Cafe visitors use local currency. Office ceilings hold covert messages. Ten thousand students attend classes by paying teachers with barter items. Statements about arts graduates are read on museum plaques. My work is research-based and site-specific. I alter objects to call forth new norms, roles, and rules. A street corner, a community space, a museum, an office, or a school become sites for collective.” Following are images of three forms of Woolard’s collaborative exchange works of art, including the Exchange Café at MoMA where visitors exchanged “local currency” for milk, tea and honey - to bring light to many non-monetary exchanges that artist and people in general are engaged in. You provide information on a resource you “create” and a resource “request” as your currency and in return you’re give tea. The museum provides the frame and for the social form.

[sculpturespectator]

Week 11: Plinth & Thing

This week’s aim was to complete the “thing” component of my sculpture. I bought a roll of Aluminium flashing from trusty Bunnings initially for making  plaster moulds, however with about 20 meters of it I decided to utilise it for my “thing”. Not to mention, the aluminium flashing is like butter compared with the corten steel I wrestled with last week for the “plinth”. The shape of my “thing” is a symmetrical, undulating and curvilinear. The task was to capture space, balance and movement within this form using an off-centre fishbone effect with the aluminium sheet and 8mm aluminium tubing. A form with shifting perspective and rotational concentric rings, like a mobile line drawing in space.  I cut, drilled and treaded the structure together into the desired form, using the workshop to cut the metal tubing. I will attach a photo of the result next week when “plinth” meets “thing”.

#ScultureVISA2255 #ScuptureSpectator

[sculpturespectator]

Week 11: Plinth & Thing

This week’s aim was to complete the “thing” component of my sculpture. I bought a roll of Aluminium flashing from trusty Bunnings initially for making  plaster moulds, however with about 20 meters of it I decided to utilise it for my “thing”. Not to mention, the aluminium flashing is like butter compared with the corten steel I wrestled with last week for the “plinth”. The shape of my “thing” is a symmetrical, undulating and curvilinear. The task was to capture space, balance and movement within this form using an off-centre fishbone effect with the aluminium sheet and 8mm aluminium tubing. A form with shifting perspective and rotational concentric rings, like a mobile line drawing in space.  I cut, drilled and treaded the structure together into the desired form, using the workshop to cut the metal tubing. I will attach a photo of the result next week when “plinth” meets “thing.

#ScultureVISA2255 #ScuptureSpectator