WEEK 5 - ORGANIC & MECHANICAL/ GEOMETRIC + ECO-MATERIALITY 2
Organic – forms, patterns or materials derived from
the so called ‘natural’ world – typically associated with softness, irregularity,
growth, and life processes.
Mechanical/geometric – forms and processes related to
technology and industry – often associated with precision, geometry, and
artificiality reflecting mechanical systems or digital structures.
- Often works have both characteristics – paradoxes.
Eco-materiality – shift and change culture as artists –
what is our role beyond the surface level.
Sourcing and production methods are to be considered when
executing an art project.
The history of environmental destruction is entwined with
capitalism and colonialism and has historically led to genocides, devastated
landscapes, long term toxicities, species extinctions and a range of shameful
legacies.
Any act of creation implies destruction
We have integrated the production of waste deep into our lifestyles.
Reading Notes:
Inspired by Nature
(Excerpts from) Collins, J. (2007). Inspired by Nature in Sculpture Today (pp.
226-231,242). Phaidon Press.
What exactly constitutes the natural world & how do we
discern it in our present time?
the line between the natural and the artificial – genetic modification of plants
and product
Major threats to our environment that as consumed global concerns
– climate change, exhaustion of fossil fuels and global warming
The options available to sculptors ace basically three-fold:
they can rearrange the materials of nature within their indigenous habitat
outdoors, of present them indoors in a gallery environment, and this can be
done either in all its earthly reality, or they can simulate it.
LAND ART:
In 1968 a group of American artists turned to working
outside in the land, rather than in their studio, partly as a reaction to the
urban materialist Pop Art that was prevalent at the time and partly to present
the viewer with a stronger sense of the physicality of matter.
These artists travelled to remote rural places in America to
oversee monumental acts of earthmoving \ the act imposed simple shapes on the
land.
Inspired by the monuments in Europe (Pyramids, stone temple etc.)
and applied the same simple formal elements - circle, lines, spirals
Europe transitioned into a more temporal window and perspective
for the natural world – imploring smaller earth projects that didn’t have
permanent effects – the ideation that, what is borrowed from nature will return
to it in time.
Richard Long stated in 1984: 'My interest was in a more
thoughtful view of art and nature, making act both visible and invisible, using
ideas, walking, stones, water, time, etc, in a flexible way ...
It was the antithesis of so-called American Land Art, where an artist needed
money to be an artist, to buy real estate to claim possession of the land, and
to wield machinery. True capitalist art?'
Temporal growth process of plants and trees – another nature
centred art process adopted by Giuseppe Penone.
Atmospheric conditions – Inigo Manglano-Ovalle made a number
of sculptures and footage that draw attention to climate change, weather and
other political and environmental topics that affect nations globally.
Personal observations:
These are remarkably interesting perspectives to observe –
that as artists there is a choice or path that can be considered a platform for
one’s voice – notably art serves to reach, and the process and methods acquired
and applied can shift dynamics.
Alternatively, some artists are ignorant to their footprint
or effects – allowing bigotry to override humanity.
Studio session:
For this session we were required to form a sculpture that
resonates with organic and mechanical/geometric forms – I opted to work with aluminium wire. Following this assemblage it will be virtually
transformed (photoshopped) into the frame of an alternative location.
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| Final Compostion - Sky View & Side View |
Phase 2: Composite
Reflection:
Ideally this is the scale that I would love to produce this sculpture in. Its dynamic and brutalist - the hanging ornament beautifully juxstaposes the organic nature of the rock and branhcing with its 'mechanical' like materiallity - however still reflects the organic nature through the round, asbtract shaping. Its a beautiful symbiosis.
This material has been one of my favourites to work with - it fully allows for my vision to come to life - the scene above amplifies the design and the simple nature achieves the desired effects.
Design Ideas:
Artwork Review: Inigo Manglano-Ovalle
Born of Madrid and raised in Bogota, Manglano-Ovalle received
his education in
America, where he now resides. The sculptural piece Cloud Prototype No. 1
(2003) was designed with intention to draw attention to climate and weather -
the artist brings awareness to geographical boundaries and environmental issues
that affect globally. The 50-metre cloud shaped object has been created with
mechanical materiality, however, the reflection carries itself organically and
true to nature, almost as though the cloud has been trapped in a cast of metal.
The cloud looms intensely above those who observe it, hanging just a few inches
off the floor.
Iñigo Manglano-Ovalle
Cloud Prototype No. 1, 2003
Material: Fiberglass & Titanium alloy foil
Dimensions: 136 x 176 x 96 inches
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| Manglano-Ovalle, I. (2003). Cloud Prototype No.1 [Fiberglass and titanium alloy foil, installation]. Max Protetch Gallery, New York. Photo by the artist and Max Protetch, New York. |
Artwork Review: Alexandra & Gregoire Jonckers
Inspired by the ancient lore
surrounding mythic winds, Aquilon captures the essence of
nature’s invisible force. In Greek and Roman mythology, the directional winds
known as the Anemoi or Venti were believed to be divine spirits born of the sky
and earth. Each wind carried the mood of a season. The work is representation
of this concept, as it mimics a wind like gesture - holding a rippled form that
symbolises the organic/natural element. Juxtaposed is the metallic appearance
that signals an eclectic shift.
Aquilon stems from the Latin word
for 'eagle' which pays homage to the notions of wind. In literature, ‘aquilons’
evoke images of wild, frigid air sweeping across landscapes.
This
sculpture by Alexandra and Grégoire Jonckers is crafted from oxidized
maillechort and elegantly finished with leather. Each panel is hand-formed and
engraved to resemble metal shaped by wind. A perfect symbiosis.
Alexandra & Gregoire Jonckers
AQUILON, wall sculpture, 2021
Material: Hand-formed/engraved oxidized Maillechort & Leather
Dimensions:3x H160 x W50cm / H62.9 x W19.6 Inches
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| Jonckers, A., Jonckers G. (2021). Aquilon [oxidized Maillechort & leather sculpture]. Photo via Maison Jonckers. |
Reference List:
Art21. (2007, September). Interview Climate. Art21. https://art21.org/read/inigo-manglano-ovalle-climate/
Collins, J. (2007). Inspired by Nature in Sculpture Today (pp. 226-231,242). Phaidon Press.
Galerie Thomas Schulte. (2016). Iñigo Manglano-Ovalle, Cloud
Prototype No. 1, 2003. Galerie Thomas Schulte. https://www.galeriethomasschulte.com/artists/33-inigo-manglano-ovalle/works/16266-inigo-manglano-ovalle-cloud-prototype-no.-1-2003/
Gil, I. (2018). Information and the Reluctant Image. MAS Context.
https://mascontext.com/issues/information/information-and-the-reluctant-image
Jonckers, M. (2019). AQUILON. MAISON JONCKERS. https://armandjonckers.com/aquilon-wall-sculpture
Objects With Narratives. (2025). AQUILON | Wall sculpture.
Objects with Narratives. https://objectswithnarratives.com/products/aquilon-wall-sculpture-maison-jonckers
The Power Plant. (2025). Iñigo Manglano-Ovalle: Phantom Truck +
Always After | The Power Plant. Thepowerplant.org. https://www.thepowerplant.org/learn-and-explore/features/inigo-manglano-ovalle-phantom-truck-always-after
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