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WEEK 1– INTRODUCTION TO OPEN STUDIO: OBJECT/SPACE

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https://jennasstudioprocess.blogspot.com/ Preliminary notes:  Objective : Contemporary expanded 3-d practice field that propels the development of ideas through the required form – object making/assemblage. Grounded through a contemporary lens.  This art will be realised in three-dimension with the consideration of enviroment (site-specific) - a transformation of site or rather how the work is informed by the surroundings. “Sculpture also raises important questions about the kinaesthetic dimensions to viewing works of art and about the role of siting and environment”  – Wood, J., Hulks, D., & Potts, A. (Eds.). (2012). Modern Sculpture Reader (p.xi). Henry Moore Institute. Powerful psychological or sensory impressions are the purpose of these works in recognition of the viewers kinaesthetic bodies. There is an ambiguous status - that projects or points to something that is more than what immediately meets the eye. Whats beyond the surface? This experimental studio...
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WEEK 2 - BODY & OBJECT

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  Reading Notes: The Absent Body/The Body Everywhere (Excerpt from) Katrib, R. (2016). It feels like ... flesh. In How Does It Feel? Inquiries into contemporary sculpture (pp. 28-32). Black Dog Publishing Swiss artist, Pamela Rosenkranz highlights the quality/attributes associated with the skins surface as opposed to the objective representation. In acquiring a silicon material (‘DragonSkin’ prosthetics) the tones and texture of human skin is mimicked – without the physical traits of the human body, this art relied solely on familiarity. Plastic bottles and sneakers held the artificial skin contents – this connects to bodily autonomy without directly addressing it. Additionally, the work ‘Our Product’ follows this same process, with the exception of confines – it has freed itself from the ubiquitous commodities that regularly contain the skin puddles. Personal observations: To carry from this thought there is a notion that one can explore new bounds to present the idea of ...
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WEEK 3 - PRESENCE & ABSENCE

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Reading Notes: Presence and Absence Echeng, E. E. (2021). The presence of absence: Negative space as form in sculpture. International Journal of Arts, Design and Art Theory (IJADAT), 1(1), June 2021. UNICAL Press There are two distinct spaces – positive and negative. Positive – limited to exact formal boundaries of the work. Negative – heralds the openness that exists beyond the work. Notably, sculptural practice has a tendency to lean towards creations in applied positive space – rarely in theory or practice does negative space receive the same emphasis or attention. Rachel Whiteread has a unique process to generate negative space which involves casting the space that encapsulates objects. This is achieved with materials such as resin, plaster, concrete and rubber Sculptures resonate with traces of human existence, history and memory – turning space into object. Immortalising the space. Whiteread has created architecturally scaled works with her casting process, wi...
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