Responding to Michael Landy & Tony Cragg

Landy's primary inspiration arises from the objects around him, creating the very art which he exhibits formed through the inspired, found objects. This is exemplified by his "art bin," interactive piece where he asked other artist's to contribute to his centrepiece of "creative failure."  

Cragg complements this ideology of taking found material through his own application of found materials; that which occurs naturally in form of metal ore and that of human construction such as plastics, never the less both artists create thought provoking art representing the world in which they live. 

Michael Landy- Art bin 29th Jan- 14 Mar 2010

Taking aspects from both artist's culminated in my sculptural 'failure;' that is to say that my primary vision was never realised. I set out to create a solid concrete form of a Smirnoff Vodka bottle, encapsulating money within its construction, questioning the financial implications of alcoholism on the economy as well as the individual consumer. However, receiving my brief two days before I cast, I had to adapt my material to that which I already had. Therefore, the mix created "gobbo" and not true concrete. Never the less, the form was created and the following photographs show its development. 

Using a mix of three gravel to one cement, with five pence pieces added created the needed mixture, while adding plenty of water brought the consistency to the desired runnier level.   

These two show the form before the glass started to be smashed; a consequence unpredicted is the layer of concrete present on the bottle forming an interesting photographical form.  

The bottles top presented the greatest challenge and one which I unable to successfully overcome. However, interest has still been created even though the structure fractured...

The layer of glass below the broken neck was the first place to be broken, as this photograph shows the contrast in form. 

The next three images represent the unfinished idea; that it is, that is that it shows the complete structure set in the concrete form. Unfortunately, the only clearly visible five pence's were at the very bottom, and taking this negatively I have alternatively used the sculpture as a photographical construct, enabling the original concept of alcoholism and the consumption of money, to be emphasised through the black and whit stills utilising the previous notion set by Michael Land'y art bin.

Tony Cragg

"I'm still searching for meaning..."

Cragg's words highlight his work's and not his own creativity, as the sculptures he creates are really creating them selves.  In this way, its hard to envision a greater purpose than ones own; as Cragg embarks on the incomprehendable through the absence of a solid meaning. Without one, every individual response is as worthy and true as any other forming a great bond between the piece of art and the person viewing it.

As he embarks on experimentation and adaptation of wood, metal, plastic and countless other materials it is easy to see how his free flowing forms are created. Yet, It would be a misconception to only describe Cragg in this way, as many of his sculptures are reflections of our urban and natural world, yet, for tp really engage with Cragg's work is for one to embark on their own personable response and meaning. 

Runner by Tony Cragg | Nasher Sculpture Center, Dallas, Texas

Tony Cragg, "Elbow," wood, 2010, photo copyright Michael Richter

Tony Cragg, "Outspan," bronze, 2008, photo copyright Charles Duprat

Diane Arbus

Instead of showing a portfolio of her work, similarly to my previous Uelsmann post, I have instead decided to focus on one particular photograph... her most recognizable of works:  Child with Toy Hand Grenade in Central Park

" She catches me in a moment of exasperation. It's true, I was exasperated. My parents had divorced and there was a general feeling of loneliness, a sense of being abandoned. I was just exploding. She saw that and it's like . . . commiseration. She captured the loneliness of everyone. It's all people who want to connect but don't know how to connect. And I think that's how she felt about herself. She felt damaged and she hoped that by wallowing in that feeling, through photography, she could transcend herself."-

This quote was spoken by the boy being photographed; Colin Wood and it remarkably captures the horror's of the Cold War as well as that of Wood's own personable demon's. What strikes  me the most is its resonation in my mind, I first viewed it about two years ago and seeing it among 50 other photographer's, its impact was frightening. 

Jerry Uelsmann

Offended, that's how one feels after viewing 50 photographer's without the inclusion of Uelsmann. I could blog continuously for another 1000 word's, however you have own ideas and responses. So alternately I urge you to scroll back up and simply admire at his masterpieces'...    

£ land...

"Project 3.

2 objects.

From your local pound shop buy 2 different £1 objects. At home explore different ways of joining them together..."

A task, one of simplicity juxtaposed with ones own self forming imagination, creating a infinite array of possibility. Dew to the unfortunate realisation of libraries facilities, your time is once again taken in the observation of my own response to this task. From the outset a particular strand was recognised, that of sculpture and the effect it has on the transformation of mundane objects. To exemplify this, two seemingly unconnected items were purchased at the specified location; a shower hose and a light...     

Taking a stroll...

Taking a stroll, a walk outside the studio environment and out into the unknown spaces of the world; inspiration arising from the environment which the walk takes you on. 

A simply idea really,

Just ask Ross Loveday...

..."My inspiration comes from many places – the Saltmarshes of North Norfolk, the Pembrokeshire coast, or on walks closer to home in Essex – but the location itself isn't that important. I want to convey an atmosphere – the essence of the place – and to capture the mood and light of a particular moment rather than its topography. The subjects are only the starting points, sometimes a small insignificant detail or texture – a thorn bush by a path or twigs poking through the snow – triggers a new print."

His description exemplifies the power which his composition's present, the power of form and contrast not simply representing shape but rather atmosphere, emotion. This is what one gains from the acquisition of his paintings, an insight into a place, not the outer but the inner emotional core. Personification through expression, creating pieces which are working on many different layers. At first glance the last two and particularly the final example are not aesthetically pleasing; yet these resonate more deeply than any other. The gouges of the last speak of a deeper emotion, not simply the beauty of a the colour's which we conventionally  perceive.     

Shaping perception... the power of fine art?

Copper sulphate, Roger Hiorns knows all about its properties and  in one Google search so can you, yet, Hiorn's is not a scientist  and he is not aiming to educate, and nor is this a blog of mere description of a writers feelings , or my own ideologies associated with my interpretation.

Instead, this  is the why, the association which the fine artist applies to their practice, their finished piece.  This soul question in turn objectifies the viewer in the way of associating  their own intellect, to the reasoning behind transforming a block of flats into the glittering sculpture.

The true answer is one of unrivalled simplicity for it is the answer of every viewer; their own individual response of another's existentialism, in turn shaping a new perception formed out of  their existing feelings.

In one perspective, this is the encapsulation of incomprehendable shapes, shadows and negative space all created out of one explosion...supported and captured in this photograph.  Cornelia Parke's sculpture is therefore a lot of different feelings for a lot of different people; the depth of her exploded shed is not as deep as one might imagine; to engage with it is to move inside, to become part of the motionless explosion, the life-force of the suspense. 

Memories, feelings, all captured and presented in any one of the following instillations by Annet Messager.

The reasoning behind this investigation was quite simple, to find three fine artists who have used transformation in their  art work. Yet, the answer to this investigation arises not from anyone of the chosen examples, for countless others could have been used to exemplify the following point. That the power of fine art is transformation, the power to shape a viewer's perception through their own response, their own interaction with that of the artist's thoughts.