WEEK 6 - THE ART OF MATERIALS & VISUAL ANALYSIS
‘Objects gain their value through the situations in which
they are placed – in other words, what defines the value of an object is not
the mayerial it is made from or the function it serves, but its position in a context.’
- - Johansson, M. (2012). Quote on page 9. In T. Manco, Raw+ Material. Thames & Hudson.
Truth to materials: advocates for a works form to be intrinsically linked to the inherent qualities of the materials being used – rather than disguising or falsifying them.
Downcycling – Is the repurposing of old/used materials.
The transformation of sculpture into a cultural object.
Reading Notes: ‘The art of Materials’
Manco, T. (2012). Raw + Material = Art: Found, Scavenged and
Upcycled (pp. 6-18). Thames & Hudson.
In utilising and repurposing humble and unconventional
materials – what has surfaced is a genre of artists that have curated highly original
methods to create tactile, aesthetically pleasing pieces that are imbued with
wit and charm.
The use of scrap, the handmade and the unglamorous – to downcycle
the objects in new frames of object and perspective
Applying methods such as, collaging, assemblage, carving,
painting and weaving – otherwise less intensive processes of craft
Transformative nature - Experimental processes have opened
avenues for innovation – this varies from creation to exhibition tactics.
Recent development in the landscape of art is the broad
acceptance of alternative materials. The idea that art can be produced from any
substance or object
Modernism’s intervention:
The philosophy behind Marcel Duchamps work, Fountain
continues to inspire generations of artists: to perceive the world differently
and use objects and materials in a way that questions our understanding of what
art can be. – This work laid the foundation for conceptual art.
In using waste materials to fashion new creations, we are
often confronted with objects that evoke the past.
When artists re-employ objects that already have meaning and
function in this way, there is often a tension between the original use of the
item and the artist’s reinterpretation of the material – What meaning remains
intact and what is lost in the creation.
True to Nature:
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An innate respect is held between the creator
and materials procured for creation.
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The contemporary scene for art is an age of
awareness – how have the resources been acquired – through harmful practices or
sustainable sourcing? One can be selective in this choice.
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The belief that art should have a truth to
materials, meaning that a work of art should be inseparably related to the
material from which it is made rather than having an image forced upon it or
being manipulated beyond recognition – To carry a mindfulness for each material
and the individual qualities they possess
Personal Observation:
Maintaining the integrity of the material is essential to
the outcome of the work – it adds additional layers of depth and connotation while respecting the nature of its source. As an artist, I deeply
resonate with this philosophy – it centres ones mindfulness toward the acquisition
and application, to allow for a more profound appreciation.
Studio Session:
In this session we were tasked with independently sourcing our materials with liberty in concepts. I had some scrap/remnant calico fabrication leftover so I figured this would be a perfect choice. In alignment eco-sensitive values, the decision felt instinctive - this artwork was to enahnce the materials meaning through repurpose and transformative creation.
The aim is to breathe new life into the excess, enhancing its significance through transformation and thoughtful reuse.
Calico is a a biodegradable and natural fiber which embraces my vision, the natural wear and tear shall continue the narrative.
The use of remnants adds a layer of personal history.
In more depth, the work finds its meaning in decay - the natural cycles of life and the organic. It points to 'dry-bones' and calling life back the 'dead' thing in one's life.
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| Details |
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| Final composition Hung outside vs. woodern panel |
Design Ideas:
Artist Review: Julia Gutman
Julia Gutman is a multidisciplinary artist whose practice is
anchored by an experimental textile process. Her figurative works are
made primarily from donated fabric that consist of worn clothes, slept-in sheets, to replicate compositional moments from historical artworks. The use of her friends as
models responds to and reinvents the originals.
Gutman noted, “Once More with Feeling is a
love letter to my friends, made almost entirely out of clothing, sheets and
blankets they have worn and grown in… It’s surreal to share something so
intimate at such a monumental scale…” (Ace Hotel, 2024).
‘Once more with Feeling’ blankets a collection of personal histories from the reuse of textiles to produce patchworks hangings. The work is richly layered creating depth and texture as a tactile surface. There is a subtle contrast in colour between the two figures to accentuate their expresion and silhouettes. The shape of the piece indicates entanglement or closeness with the soft organic contours of lounged forms are slightly overlapping.
Reflection:
The striking drapery of this textile piece conveys a beauty
in rawness - organic in application and appearance, this eco-conscious
work remains one that I am thoroughly impressed by in aesthetics and materiality.
Viewing the art in site (the Ace Hotel) only amplifies the piece and its
surroundings – it does not take away but rather compliments the interior in
presenting the personal histories of the art.
Julia Gutman
Once More with Feeling, 2022
Materials: Donated textiles and embroidery, plastic chain
Dimensions: 87 2/5 × 90 3/5 in | 222 × 230 cm
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| Gutman, J. (2022). Once More with Feeling [donated textiles, embroidery & plastic chain installation]. Ace Hotel, Sydney. Photo by Ace Hotel. Artwork Review: Neri Oxman“Humans, organisms, materials, the environment—they’re all
appropriated and referred to in synergy and harmony. They’re all part of the
design process.” (MoMA, 2020) Neri Oxman’s work represents a groundbreaking convergence of
disciplines, blending biology, material science, and digital fabrication to
reimagine the boundaries of art. At the heart of her practice is eco-materiality,
a philosophy that embraces sustainable innovation. Her series Vespers is a collection of masks that fuse cutting-edge technology with historical reverence and natural presence. The result is an intricate skeletal-like form that feel both futuristic and ancient.
In Vespers, the past and future coexist - where ancient marries modern. The colour palette of these pieces suggests a spiritual and cultural connection. It is embedded with brownish-red tones in suggestion of decay. The form itself could be compared to ancient ‘death’ masks, scared objects or more poignantly, a fossil. The many facets add to spatial complexity - utilitsing negative space to touch on whats beneath the surface - the depth the biomorphic skeleton. Neri Oxman  Reference List:Ace Hotel. (2024, September 24). Sydney Art Program - Curated by
Flack Studio. Sydney. https://acehotel.com/sydney/art-program/ Artsy. (2022). Julia Gutman | Once More with Feeling (2022) .
Artsy. https://www.artsy.net/artwork/julia-gutman-once-more-with-feeling Gutman, J. (2022). Once More with Feeling [Donated textiles and
embroidery, plastic chain]. Sullivan & Strumpf. Manco, T. (2012). Raw + Material = Art: Found, Scavenged and MoMA. (2020). Neri Oxman . The Museum of Modern Art; MoMA. https://www.moma.org/artists/33046-neri-oxman NGV. (2024). Mask 5, Series 1,. Vic.gov.au. https://www.ngv.vic.gov.au/explore/collection/work/126785/ OXMAN. (2016). Vespers . Vespers I. https://oxman.com/projects/vespers-i Sullivan Strumpf. (2023). Julia Gutman. Sullivan Strumpf. https://www.sullivanstrumpf.com/artists/julia-gutman |
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