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Another piece of work consisted of a three-dimensional drawing spread over the wall and onto the ceiling, Parker states that ālittle images are hanging off the drawingā describing them as pencil marks, when in actual fact they are little lead casts of a model battleship, another found item from a junk shop, made up of metal blocks of wood, similar to the Empire State Building, a crude representation of something massive, something that did exist in the world, but by mass-producing it many times in the same mould it became almost like a pencil mark ⦠or ⦠a fish ⦠or ⦠a fly. Parker incorporated the table that she cut and drew on, placed on it was the original battleship. Parker compared the view of the ceiling from the table to an aerial photograph. The next piece of work [Fleeting Monument] that Parker discusses consists of another mass-produced repeated cast. She states that it was an important piece ābecause it encapsulated this idea of the monument, the idea of the monument being this fleeting thing ⦠Like the idea of something that's supposed to last forever, being something that could evaporate, or be spilt, or break into a thousand pieces.ā The famous monument used in this space was Big Ben, ā⦠another very clichĆ©d souvenir ā¦ā. Ā There is a similar use of the broken casts
Cornelia Parkerās work is not a newfound discovery for me. The forms that reside in Parkerās work Artistic process is
How am I only now learning that
How do you decide that you want to blow something up? Quite literally creating chaos in order to recreate the original elements in their new form ⦠a moment of time permanently recorded within a structure, the aftermath of this decision Parker had made. She had chosen
āFor Parker this suspended explosion referenced a significant visual trope of modernity, one that connects popular culture, science and politics of a period of frequent IRA bombings ā a mix that informs much of her subsequent work. As she explained in an interview, images of explosions recur through, āthe violence of the comic strip, through action films, in documentaries about Super Novas and the Big Bang, and least of all on the news in never ending reports of war.āā https://hero-magazine.com/article/172328/cornelia-parker
Bombing ⦠explosions ⦠something you see in the media, so far removed from yourself is a reality in which we are desensitised. Though the reports are never ending, they do come and go, discussed for a spilt second in time and then forgotten about. What is the route of this injustice? Can it be compared to the violence Parker inflicts on these material forms? The exploration that underpins a psychological narrative, perhaps revealing
using found and transformed objects in order to reveal the history and possibility of objects that are often loaded with cultural meaning. āI resurrect things that have been killed off,ā she writes. āMy work is all about the potential of materials ā even when it looks like theyāve lost all possibilities.ā By documenting the volatile states of matter from solid through to dust, Parker is able to find the essence of an object that is retained through past, present and potential manifestations. https://tworooms.co.nz/artists/cornelia-parker-2/
https://www.youtube.com/watch?v=TDkvJ6bRZK4 āAvoided Objectā Falling Towers and Sinking Ships 1984 ā Decided to work at home for financial reasons, 4 white walls and a concrete floor in a studio didnāt seem like the work related to my everyday life. Parker wanted to encapsulate an experience that she had. On her travels Parker had collected architectural souvenirs, from famous monuments, which would end up as in her bedroom and become a sculpture in the home. These objects Ā could be found on top of a television or mantle piece in other homes. Cornelia Parker describes the Empire State building as āthis little, crude cipher of a famous monumentā and states that she decided to use this object as the beginning for a piece of work, making a mould of the souvenir, which was already like an abstraction, and then mass produced it in lead, then making the leads into plum lines, like the beginning of buildings. Parker taught herself how to cast, the way that you would cast tin soldiers, making these crude casts on her kitchen stove, in a frying pan with lead in it, making quite a mess, lead was falling on the floor, so Parker decided that she wanted to make the splashes of lead into images too, which became images of a tin ship, another item bought as a souvenir. This was a turning point in the work. She states āBefore, I was making very ephemeral things, using all kinds of ephemeral materials, but I really enjoyed the idea of using lead, thatās almost as dense as metal to make something thatās quite ephemeral. As more people moved into the house, Parker was sharing the communal spaces and began to take her work onto the ceilings and into any little nooks and crannies to make a sculpture, also using the furniture because thatās the sort of thing you have in a house, the materials that were around seemed to become very important. Drawings always been a concern of Parkers, saying that she always thinks of her work as a kind of drawing.
Another piece of work consisted of................
Last term I had materials previously belonging to an well know high street brand, Costa. Those materials were created to be used once, supposedly, but they were never used, the reason for the disposal ā¦ā¦ a shop refurbishment. All stock and interiors to be disposed of. This was a business opportunity, to clear the shops of all contents and get paid for it, then sort through the items of value for profit, while the ārubbishā is left to find a new use with me.

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Sense of discovery ā not knowing the answers, wanting to find out more
Society ā beliefs, prejudice, carbon copy of parents, external influences, community (small minded, uneducated/unintelligent, educated/intelligent, ignorance/arrogance Religion/tribe/gang/follower/leader ā social media, popularity, government, votes, status, privilege
Tabloid ā manual to your life, newspapers/sources become manuals to life
Language ā the earth speaks for itself but not through words, not through human language. Why do we not listen to the ones who do speak up for our planet?
Oceans ā dirty, polluted Species ā human diet, pure, quality, health Food packaging ??? Plastic toxins Survival ā food, water, oxygen, shelter - accessible to developing countries?
Products ā cosmetics, microbeads, microplastics ā changing genetics, biodiversity loss, species extinction ā not just effecting natural world, humans exposed to toxic chemical start to finish, willingly putting into/onto bodies
- Exposure to chemicals, exposure to carbon dioxide, particularly in developing countries
Bottled water ā cleanliness? Hygiene? ā bodily waste, shower, toilet - ocean
Germs - build up, landfill bacteria - OCD, overthinking everyday tasks plastic seeping into product ingredients, any plastic container can integrate into contents not just BPA cosmetics, fruit and veg in packaging, cling film, clothes - containing plastic ā chemicals in dyes and materials - wrapped in plastic ⦠Countries that don't regulate laws
Plastic is a valuable commodity recycling systems need to be regenerated
I'm part of an active minority, questioning, finding evidence, open discussions Ideas, materials - supply can't meet demand, mass produced, production, business, money, fossil fuels, pollution, non renewable resources ā excess, product life cycle single used plastic, disposable - second hand materials - process of making, combining, environmentally friendly ā renewable, natural, no more synthetic, no more throw away, zero waste population overload, why doesn't the whole population have food/warmth/shelter/medicine government laws are dated Ā war? Guns? Spreading awareness, accountable Create visual journey, how do I visualise: skills, passion. Questioning , good at what? Real interestā¦ā¦ Materials, where do mine come from? How can I purely use pre existing items so I don't cause the damage most other people contribute to? Research man made disposable short life products explore pre existing activist groups - answers to save what's in reach (methods to change humankind's habits and harsh closing life span - the bigger picture artists combining objects -installation of multiples -art that focuses attention 360 degree scale -minimal approach, pointing at message ā ordered/displayed/transformed cases of global overpopulation affecting every element of surviving for shorter due to poor decision's/selfishness/greed/pushing and forcing decisions/lack of education /not caring about the future or humanity or planet earth and environment natural versus synthetic recycling - manufacturers - laws jobs part of issues - trapped working on self-destruction Ā
Drawing attention to objects one item versus 100 versus 1000 exposed desensitised to consumption spreading warning for future using technology and social media to my advantage inspiration call out to generations oxygen pollution, land pollution, cutting trees, killing wildlife ā habitats, hunting - abuse polluting crops, running out of crops valuable materials/wasting materials burning chemicals through production, disposal discarding what can't be reused/transformed brand/manufacturers responsibility - personal responsibility personal possessions? Lifetime? education in ways to leave less man made on earth/less carbon footprint and save the sea, land and animals don't let history repeat itself government and law responsibility jobs ā labourers, quality of life toxic hormones mimicking humans functioning system corruption and secrecy why does health get āpaid forā in only some places - population? why can't we create jobs for resolving climate change, education, crime, war non-judgmental or discriminative a fair system ā taxes, freedom of speech news, misinformation, fame industrial revolution
Multiple conversations (tea bag detail)Ā
https://www.studiointernational.com/index.php/veronica-ryan-along-a-spectrum-review-spike-island-bristol

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The Weather Inside, The Mattress Factory, 2011
Plaster, drywall, mixed plumbing supplies, marble, brick, hair, paper, beads
āVeronica Ryan was born in 1956 in Montserrat, West Indies, grew up in England and currently lives in New York. The fact that parts of Montserrat were destroyed by a volcanic eruption has influenced the direction of her work. Her current work is characterised by a collection of debris on the one hand, while also focusing on notions of partial evidence, remains of things petrified, and traces of last moments. Her installations are made up of plaster casts of everyday objects, like paper plates, arranged in architectural and formal configurations.ā
āVeronica Ryan is best known for her sculpture that is evocative of shapes, forms and objects from the natural world. Over the years, she has experimented with scale, material and technique while remaining focused on the interplay between conflicting opposites: revelation and concealment, container and contained, absence and presence. Her work sits at the intersection between materiality and idea, and enquires into the processes by which objects carry and construct meaning.ā
https://www.cornerhousepublications.org/publications/veronica-ryan/
https://www.spikeisland.org.uk/programme/exhibitions/veronica-ryan/
A compulsion to create a framework with resources that are readily available, that fit my dialogue, working intuitively, similar to a bird, or a mouse instinctively building a nest.
āRyan's interest in the movement of fruit and vegetables across the globe, and the associated concern with origins, finds further expression in her sculptural commission to honour the Windrush Generation. It comes at a time when conversations around public sculpture are especially charged following the toppling of a statue of slave trader Edward Colston in Bristol. While Ryan's work often engages with contemporary socio-political realities, it does so in subtle and allusive ways ā always with one eye on memory and material.ā
The Weather Inside, Paula Cooper Gallery, 2019
āInside and outside merge, which is inside and which is outside. Where are the boundaries? Liminal spaces, time place and locations. Reality and outside of reality. Definable and not defined. A shrine, alcoves, perhaps.ā - Veronica Ryan
āHer meticulously handcrafted worksāwhile quiet and elusiveāalso contain a capacity for provoking an eruptive and disquieting internal dialogue. āSmall objects can have an immense resonance and suggest monumentality in the world,ā Ryan stated. Composed of materials that reference her Afro-Caribbean heritage, the works examine the psychology and semantics of perception, as well as allude to notions of home, memory, and loss.Ā Various found objects have been wrapped, sewn, stacked, cast or remade in plaster. Among those displayed on shelving units are fragments of coral bound with bandages and vegetable nets; crocheted doilies; tea-stained textiles; and mesh produce bags filled with the stones of tropical fruit: artefacts that recall Ryanās memories and ancestral associations of the West Indies. Imprinted with the artistās meticulous and almost ritualistic interventions, the works not only convey the personal and psychological residue held within objects, but also the collective processes such the exportation of agricultural commodities, migration of peoples, and paradigmatic notions of diaspora. Towering stacks of produce traysāperforated by crocheted tunnels that extend through their foliationāare placed directly on the ground. āIām interested in cultural dynamics [ā¦] and the vegetable is a way of speaking metaphorically. I like the receptacles with their egg-like shapes,ā Ryan explains, āand stacking as way of establishing a kind of order to make sense of oneās reality.ā Their formal combinations produce fragile propositions, unpacking tensions between container and contained, absence and presence, invisible and visible, inside and outside. In part the grey plaster works reference the volcanic eruption on Montserrat in 1995, which destroyed the islandās capital city and covered the Southern part of the island in ash. Here, preserved moments, blockages, partial evidence, and traces of things petrified evoke a liminal space and timeāand question concepts of identity, memory, loss, and territorial boundaries.ā
https://www.paulacoopergallery.com/artists/veronica-ryan#tab:slideshow;slide:3

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Bundle II, 2019 - Paper, plastic net, elastic
https://www.artsy.net/artwork/veronica-ryan-bundle-ii
Rescue, 2018 - Coral, bandage
https://www.artsy.net/artwork/veronica-ryan-rescue