WEEK 3 - PRESENCE & ABSENCE
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, with many of her commissions receiving much criticism.
Boundaries were pushed in this style of capture – monumental
projects such as House (1993) and Holocaust Memorial (2000).
Whiteread viewed ‘House’ as a temporal piece, the
destruction of the work was intentional. During its occupation on the street, it
was frequently mobbed and vandalized – its location was a cause for public
annoyance – considering the neighbourhood didn’t want the location accessible
to the middle-class. Whiteread noted, that in despite of the graffiti and
obstruction, House didn’t completely lose its dignity but was rather ‘hijacked’.
Architectural features such as stairs, doors, and windows as well as domestic objects have become a part of the casting works too. They are infused with an inimitably dignified presence in the form of an intimate experience.
Personal Observations:
The inherent use of negative space frames as not just spatially but philosophically.
There is an untapped potential in how one can encompass, invade or captivate space - the negative space calls to the unseen.
By turning absence into memory there is a poetic exchange in resisting the traditional. Overall I found the artworks response to auidence interesting, specifically the 'hijacking' intends that those who meant harm did not destroy it but rather added to it.
Studio Process – Week 3
In the discussion phase we divided into smaller focus groups
(assigned absence or presence). I was allocated ‘absence’ which as individuals
we were able to further expand this concept - I pursued emotional absence.
The task required us to create a 3-D composition that
actively uses negative or positive space to convey our chosen idea with the
supplied materials - wood blocks.
Delving into emotional absence – I found a base point upon the examination of the material. The theme
links to social constructs and perfectionism– the straight confinements of the
wood panels resemble a metaphoric ‘box’ that limits society. I worked with
negative space (subtractive) – to carve away/remove the edges of the one of the
rectangular panels which led to an unconventional abstract shape – perfect in symbolising
resistance. Additionally, 3 separate droplets were formed with the saw machine
with the intention to create eyes/ tear shapes – this is representation of
emotional weight and the pressures placed.
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| Layers captured |
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| Flatlay |
Design Ideas:
Artwork Review: Chiharu Shiota
‘A question of perspective’ (2022) from the artist Chiharu Shito creates an immersive enviroment that captivates the room with arranged string.
The scene compels a dense arrangement of thick black polypropylene ropes and sheets of paper suspended over an empty table and chair. This creates an atmoshphere of emptiness or rather abandonment and entrapment are intensified through the webbed setting. Themes of absence and vulnerability are a common 'thread' in Shiota’s practice. The installation explores the intangible as though you have stepped into the realm of a memory or the intrusion of a dreamscape.
This piece was designed to invade the entirety of the space, while the negative space surrounding the chair emphasises absence. The minimal and dull colour scheme drives the erriness and chaos. The dominant colour, black, symbolises introspection which contrasts with the white that taps into memory. Texture and depth has been formed through the scattered and floating paper.
Chiharu Shiota
A question of perspective, 2022
Material: Polypropylene ropes, 80gsm paper, found furniture, cable ties, staples
Dimensions: 500 x 810 x 1215cm
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Shiota, C. (2022). A question of perspective [Polypropylene ropes, 80gsm paper, found furniture, cable ties, staples, Installation]. QAGOMA. Photo by Merinda Campbell, QAGOMA.Artwork Review: Lygia PapeTteia 1, C (2008) The works of Lygia Pape embrace a poetic exploration of
space and light. The Tteias are constructed by geometric installations of
gold or silver threads The artwork, titled “Tteia 1, C,” was created by the artist
Lygia Pape in 2008. It belongs to the genre of installation within the
Conceptual Art movement. The artwork comprises intricate arrangements of thin,
almost translucent threads that crisscross a dimly lit room. These threads
stretch from floor to ceiling, creating symmetrical, shimmering geometries that
appear ethereal and delicate. The play of light and shadow on the threads accentuates
their golden sheen and produces an immersive, almost otherworldly visual
experience. The installation interacts subtly with the architectural
features of the space, blending the intersection of art and environment in a
harmonious yet thought-provoking manner. The word ‘Tteia’ comes from the word ‘teia’, meaning web –
this connects back to the natural nature of the material and its compositional
value to the site. |
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| Pape, L. (2009). Tteia 1,C, [golden thread, wood, nails, light varible installation]. Venice Biennale, Arsenale. Photo by, Paula Pape. |
Reference List:
Artchive. (2025, July 2). Tteia 1, C (2008) by Lygia Pape.
Artchive.com. https://www.artchive.com/artwork/tteia-1-c-lygia-pape-2008/
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
Keehan, R. (2022). The presence of absence. QAGOMA Collection . https://collection.qagoma.qld.gov.au/page/presence-absence
Moderna Museet. (2018). Lygia Pape: Ttéia 1,C. Moderna Museet I
Stockholm. https://www.modernamuseet.se/stockholm/en/exhibitions/lygia-pape/
Queensland Art Gallery | Gallery of Modern Art. (2022). Chiharu
Shiota: A question of perspective. Queensland Art Gallery | Gallery of
Modern Art. https://www.qagoma.qld.gov.au/stories/chiharu-shiota-a-question-of-perspective-the-soul-trembles-brisbane-australia
Shiota, C. (n.d.). CHIHARU SHIOTA–塩田千春. CHIHARU
SHIOTA. https://www.chiharu-shiota.com/a-question-of-perspective
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