#studioiva

[gracemulhollandstudio]

ERNESTO NETO: SUNFORCEOCEANLIFE

“Ernesto Neto has captivated audiences around the world with his multi-sensory, structural environments—each one unique in nature and its visitor experience,” 

This super structural interactive work of Neto’s highlights the relationship between sun and ocean to produce life here on earth. These crochet spirals with polymer string spread wide across the gallery encapsulating it in its red, orange and yellow glow.

this scale is a tad bit out of reach for me but the ideas, such as the interactivity side could be explored! I would really like for people to interact with my work in some way. I also think that Neto has explored ideas of a journey with the path he has created through this work.

[owletgiggles]

How gorgeous is this drawing?! Thank you, @studio_iva for permitting me to steal this from you. 😘 Follow her for more amazing creations and check out her shop on #inselly. 💯 #studioiva #art #drawing #fashion #sketches #gucci #guccigirl

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"📮@studio_iva: First illustration from the Cannes Festival ⭐️💥🌞 #StudioIva #Art #Illustration #Cannes2016 #Cannes #CannesFilmFestival #FilmFestival #Entertainment #InstaEntertainment #Fashion #InstaFashion #WindiWorldDaily

[gracemulhollandstudio]

The final title, drumroll please : Partition. 

Partition is based on a beaded curtain that I had as a kid, I was obsessed with running in and out of the beads to hear the noise it would make, the movement it would make and the texture of the beads hitting my face/hands. I have done it justice through the way I have hung this work and the textures all across the forms. We find that when art is in its most beautiful and interesting form, the more it pleases the senses but for a piece to be genuinely intriguing to me, it has to have personal significance. The works of art that I have created and have been taken aback by, reach out to me on this personal level and have something in them that I find familiar and relatable.

[gracemulhollandstudio]

These are some images (not final ones) of the installation in different lights. We as a year group have decided to create a massive job for ourselves by making a gallery space out of the studio, this consisted of moving everyone's stuff around which was kinda scary because I know I don't like having my stuff moved so hopefully they will understand 🥺. After a lot of testing different layouts for the T walls, we came up with a layout that suited all of us. Once we thought we were all happy, our eyes would always be drawn to the hideously dirty floor. So we painted the floor. You never truly know how dirty something is until it is finally clean, and painting the floor just made such a huge difference, opening up the whole room, bringing out the true potential of the space.

Okay, about the work itself. Recently I have been looking into and really interested in the text ‘The Death of the Author’ by Roland Barthes. He speaks against the conventional response when it comes to the interpretation of literature. This being the reliance on the intentions of an author to indicate and explain the “ultimate meaning” of their writing and art. The essay heavily emphasised the importance of the audience's interpretations of a work over any ‘meaning’ intended by the author. The Death of the Author is the sort of failure of creation, causing the author to become a “scriptor” collecting pre-existing excerpts and collating them. Unable to create or determine the meaning of their work. The death of the author is also the multitude of meaning, therefore in essence, the downfall of meaning. It is the breaking of handcuffs when it comes to the author's purpose. It is the wildness of whirling out of control into the depths of multiple meanings and inescapable meaninglessness. Your eyes and mind don’t see exactly the same as somebody else's, so ultimately it is up to the audience to decide what the ‘authors’ intentions are. I like this notion of people all seeing my work differently. Some people agree on one thing and then disagree on another, I am open to any quip and comment at this point. The way the audience sees my work is probably wildly different to how the I or even the person beside them sees my work and I like to wring out every last observation about the kind of world/personality my works create. People see my work differently than how I do or even the person beside them does all because of the journey and paths they have taken in their lives. All of these unique experiences, everything they have read or watched lead up to how they view a certain thing, and I think that this is definitely something being aware of when it comes to my art practice.  (I'm sorry that was very long)

So for this work, I have loosely based it off of a beaded curtain that I used to have, I always remember it being the best part of my day to go in and out of my bedroom door through the beads, feeling them almost get caught in my hair, and hearing the noise that they would make as I would run back and forth between them. I am excited to see if people are reminded of this or if they are reminded of something wildly different. I am happy to see these objects fill the space and create their own narrative as well as the narrative others may put on to them. 

 I am sooo0 struggling with a title for this one, so I will get back to you on that in the next post. stay tuned. or don’t.

[gracemulhollandstudio]

Summative work

This is the first time that I haven’t actually taken any photos of the progress of my making for my work. This is because I have been so super busy, looking after visitors that I had and juggling this last week of uni work. But I did end up executing my plan yay. There were a few bumps along the road, with some falling to pieces (there were tears). But in the end, I just rolled with the punches, hoping that I can pull off convincing everyone that if it falls apart, it is all a part of the show. 

For installing this work I had help from the great Will to hang them from the ceiling beam in the studio space. I had sort of measured these at the start, but I also just wanted to make them and see how they acted themselves when I put them up in the space I had planned for them. I originally wanted them to all fall at the same height, they did not end up this way and I think I actually like that more. Still keeping true to the forms’ organic and sporadic nature. I am really interested in how people are gonna act around these noodle thingies, I really want people to interact with them and I have sort of intentionally placed them so people have to walk through to get to the other side. So we will see...

[gracemulhollandstudio]

This was an alternate plan, that I can also explore later on. It was to suspend the objects in the corridor/stairway. I thought this could be interesting because people would actually have to walk through them and interact with them, but I’m not sure if I could keep them up for too long and it would probably get in the way of the fire escape thing. But I will hopefully test this idea in the future!

[gracemulhollandstudio]

This is the plan for my summative hand in. The one on the left was my original plan, having 9 of the objects hanging down and spread across the whole beam of the ceiling in the studio space but now I have condensed the plan to make 7 and install them towards the middle of the beam/room. I decided to make less because I didn’t realise how much it would cost me lol. But I think that the new plan still works too. 

[gracemulhollandstudio]

Had a thought to experiment with a mannequin, so I crashed the fashion class and stole a mannequin (sorry fashion girlies). I do like the way this looks and I'm glad I tested it but I'm not sure that this is what I'm going for. yet.  

[gracemulhollandstudio]

I have not hand sewed anything in my life. I intend for these to go on my soft structures as a sort of different way of representing the spikes

[gracemulhollandstudio]

Remco lecture

Artspace aotearoa

Collaboration 

Collective response

Colony of the netherlands

Forms of political practices turning into cultural ones 

Post colonial practice 

Homosexual Law reform

Artspace in former post office

Urban development

Guy ngan 

Personal histories tied to architecture

Nz Chinese history

Reconnecting history 

Historical view

Barriers/exclusions architecture poses

Accessibility 

Infrastructure

Artspace nz ---> artspace aotearoa 

Framework of board

Not much diversity

Diversity of worldviews

Researching fabric history in pacific

Art historical exhibitions

Koloa

Women, art, and technology 

Gender based division of labour in making these cloths

Social reflection on Tongan society

Contemporary responses to exhibition

How we connect very complex political social realities we find our selves in

Can we propel certain issues/ideas forward?

Funding mostly from creative nz

[gracemulhollandstudio]

Debra bustin Installation series

Debra Bustin’s Installation Series is a skilful example of non-conformist sculpture in art with objects such as 3D drawings and slashed canvases. Bustin’s works could be described as deconstructed paintings. Paintings, which are traditionally dedicated to beauty, she plucks these techniques flipping them into environmental sculpture, showing this different side to beauty. Bustin makes sure that you are aware of yourself in regard to the forms by overwhelming the senses with her environmental walk-ins. She wants the viewer to feel the depth of these created worlds, to experience the richness of her work that is in all directions of the room. This generation of language between materials and senses Bustin demonstrates creates lasting relationships between the viewer and the art. 

https://www.youtube.com/watch?v=cHKeWL7NMCo

The video above is a great video of Bustin explaining her work, processes and ideas surrounding this installation series.

[gracemulhollandstudio]

Sarah Lucas ‘NUDS’

Biomorphic forms

These forms are nylons stuffed with kapok stuffing and placed on top of cement blocks which are placed on wooden plinths. Resembling human skin, we can see the textures and crevices that allude to this through the bodily contortions, inviting many interpretations from the audience. These works are rather erotic, resembling bodies/body parts entangling with each other, connected through proximity, and seemingly unapologetic about their behaviour in this space. There are thirteen of these sculptures and despite the reoccurring material Lucas has given all of them their own unique personality. 

Personally, I really enjoy the humour these works show, the use of pun in her title is evident, and this idea is also apparent throughout the works, using this to evoke this idea of abstraction and distortion. The auto erotic. I’m also drawn to the ambiguity of these works. Relating back to my works, Lucas also takes familiar forms and distorts them in her own unique way. 

[gracemulhollandstudio]

Heather Gailbraith

covid disruption

Judy Darragh

competitive plastics

object based processes

object space exhibition

floor plans

atmosphere

supersize the show

7 works, making them twice as big or adding a third component if there were two existing components

spacial historical and contextual

echoed the architectural

john miller with Elisapeta Heta

studio visits

a living example of the possibility of being an artist

Judy arts educator

neoliberalism

what can we do as creative practitioners to foster creative ecologies

state of habit or addiction

craft based practice

disrupt the space

discovery magic wonder

competitive plastics

para

being beside

accompanying

mono mono chair

utilitarian

protest riot and descent

gender

intersectional feminist practice

engagement with the work

fluidity

paradox of plastic

[gracemulhollandstudio]

Crit debrief, next moves

one of the main points that came up during this discussion was the positioning of the work. It was said that it would be received better if it was pulled away from the wall and made to be a stand-alone item. I actually never thought to test this, maybe its because I made it while it was hanging over something on the wall? 

But I really enjoyed how this work was received as compared to my previous ones, I loved how people immediately went forward to interact with this one as it came across as more approachable, softer and loveable, whereas with my previous works people were standoffish, and felt as if the objects didn't want to be touched with their hard exterior. I think i want to keep this dynamic going.

Next steps? I want to go bigger. Since all of the test spaces have been booked out literally since day 1 (I wasn’t quick enough) I will be showing in the studio space. 

I have probably talked about this work of Sui Parks before but I just think it's so cool. Anyways...

Sui Park creates organic forms mostly from cable ties, these forms grasp on to faint yet continuous changes in our emotions, expectations and memories. She looks for these moments throughout the familiar environments in nature to manipulate the creation of her forms. Her works allow a pause to think of what may be overlooked by presenting nature in conceptual yet familiar ways so that they can be filled with our own thoughts and moments. Her work Undulating Beauty (picture above) visualises an ocean at night, the movement of the surf having a different feel to it in the evening. She describes these waves as a reflection of where we might see ourselves in the future and the beauty of this being how we all seem to drift towards the place we seek.

Park is renowned for her use of cable ties; even though they are mass produced, they represent intermingling sentiments and familiar attachment, and when put together, they create beautiful forms. The use of plastic cable ties to engage with this idea of the environment and nature convey a juxtaposing idea, using the familiarity of nature to bring a somewhat discomforting reality of the materials used. Having the familiarity of nature then the starkness of the material definitely creates an interesting dynamic.

I want to channel this and use my chosen materials and forms to hang from the ceiling (not sure at what height yet) for my final work of the semester. I will draw up some plans for this and update where I may head with this work. 

[gracemulhollandstudio]

Crit notes

Chair used in previous works, familiarity, dirty laundry, could have other connotations, transforming the mundane aspects of familiar life.

Shift good

organic

contrast

familiar object intervention

other object different

readymade

unidentified object

detail, colour, paint

rich 

prettier, stuffed animal

softer

conversations

different reaction

animal like quality

snake-like 

op art

visual gains ^

visually interesting

chair is of its era, stylistic

resistant to form of chair

curious

warning bell

laterally

different use of material

what does the familiar readymade communicate

familiar and unfamiliar communing

explorative material

Jessica stockholder

more approachable

familiar beauty

danger/safety

do I become the danger

snake wrapping around

lively

childhood playfulness, key toy

restrained to the wall

better if stand alone 

where does it belong?

transition of use and unused

smell (dirty laundry)

world creation 

imaginative material.

normal everyday