Sculpture

Psychogeography is the intersection of psychology and geography. This work Welcome to Country focuses on a psychological experience for those that pass under the bridge. It illuminates forgotten and often discarded and perhaps marginalized aspects of the urban environment. Like the work of Brook Andrew thia work highlights a political agency in its symbolism.

The derive is part of the letting go, chance becomes paramount, i am addressing the gaze of the walker, race colour creed, it should make a difference as you wonder through land inhabited. Take a moment privilege our cultural past and pay respect to the Traditional Owners as the original custodians of Victoria’s land and waters.

My spear is 2500 cm long with a tear drop stone head, this type of spear had many uses, however along the Yarra i would imagine the spear was used for fishing and at ceremonies.

This afternoon i conducted a site visit of the Mac Robertson bridge walking under it first then walking over it from south to north and back again. What i noticed between 5-5.45 pm was the vast amount of vehicles using the bridge, including cyclist (most disobeyed the walk your bike across the bridge sign) and people doing there afternoon exercise. At the Richmond end the bridge shakes with the amount of cars driving over it and congestion getting on to the bridge is a test in driver behaviour.

Mark Virgil Puautjimi Tiwi born 1964 and Maria Josette Orsto Tiwi born 1962: Beautiful sculptures that articulate the Tiwi ancestral life. The NGV has several other works on display as you walk through the upstairs foyer area, they hold their own presence, and on close inspection, the artist dramatically illustrates a fragment in time. These sculptures pose the question of life today has not moved forward and colonisation is only possibly evident through the NGV’S purchase and their display in covered perspex plinths. They should be on the ground level not tucked away on the second floor. 1999 Earthenware, Stringybark (Eucalyptus sp.) and palm fiber.

Listening to Anna being interviewed for her exhibition “Between Senses” and at the SCAD Museum of Art (“By a Thread”) she comes across as a very sensitive articulate woman that enjoys the sensual feeling of working with clay “ it is a celebration of the hands” and creating sculptures that having a sense of the body in time and place. Her work spanning over fifty years has an un-complicated tactile resonance. I see minimalism and expressionism as being very evident with a distinct accord with life in how her clay sculptures attached to the wall and on the gallery floors have this sense of movement and freshness that looks like they were newly made. Her drawings have this similar tactility, simple form objects that again are un-complicated in the use of just one or two colors give this striking lively agility. It is quite amazing to look back at Anna’s work and see how little has changed yet they continue to possess this free-flowing sensuality. I can see a connection in her sculptures with Eva Hesse how Eva presented herself as a participant in her work she had the same feminity and tactility that lives on. My interest clearly is how both Anna and Eva articulate the bodily resonance of how they are able to demonstrate the lived organic and sensual personal presence. Anna discussed in Between The Senses interview what she defines her practice as having, motherhood, hunger, migration, fragility, resistance, lovemaking for something lost, and nomadic as a Brazilian woman. In the late ’60s and 1970s, a political emphasis was present in her work as was the same at the time with her contemporaries Helio Oiticica, Rubens Gerschman, Raymundo Colares, Antonio Dias.

reference :http://contemporaryart2010.blogspot.com/2010/01/march-17_10.html

Quote David Frankel, Helaine Posner, and Kiki Smith, “In Her Words: Interview with David Frankel.”

Beuys i am finding uses his art to preach to anyone that will pay attention, and he had plenty of followers. What interests me is the way he communicates to the world through the lexicon of drawing his medium in this regard being “any physical sign of mental activity that was preserved and presented in a two-dimensional format”. C. Haxthausen The Burlington magazine, Jan. 1994, vol. 136, No. 1090 pp.53-54. The use of these unconventional materials, felt, beeswax, grease, blood, pressed plants, stamping, staining, and other materials. Beuys used these mediums to create performances, like the iconic work, I Like America and America Likes Me 1974. I am looking to extract how I can utilize Beuys imagery drawings his delicate touch like the Untiled Salamander 1 with the juxtapose proposition of a one-man performance. His materialized forms the drawings of women and animals have a Palaeolithic sense to them at the same time being imagery of thought rather than pictorial. The threads I am sowing are of awareness to the earth and the bodily humanist spirit, this is an evolving enquiring process. However, the transporting of thought to hand to paper to sculpture is where my projects lead. Beuys’s use of what he termed Braukreuz, a reddish-brown pigment that he began using around 1960 signifies a ritual like color and substance at the same time it becomes a motif, I locate it with blood, femininity and a way of translating animal to earth. This leads me to join Beuys with my research Ana Mendieta and her untitled Self Portrait 1973 where blood drips down from her forehead over and into her nostrils lips and on to her white blouse, a performance, solo captured as a photograph.

What is Art For ? written by Ellen Dissanayake, published University of Washington Press, accessed 29 June 2020. I have started my inquiry for semester two over the first-semester break to get a heads up for a COVID lockdown at home. Towards the end, the last four weeks of semester one were challenging for me to stay enthused and in particular, I had a hard time dealing with no physical contact of the RMIT Master cohort, the corridor chats lost to COVID and the bleak outlook for uni to stay online for semester two. So the investigation began to look for inspiration get me fired up and for the creative juices to kick in. So What is art For seemed like a safe place to start, having read and skimmed through some chapters Dissanayake makes a valid effort that art began before humans could talk it was the start of creation, the biological evolution and how humans communicated? Dissanayake concludes that way back in prehistoric ages chimpanzees were somewhat like a man except they could not think as we do, they could not communicate as man does, and they could imitate but that was it. Motherhood is referenced as a bond between the newborn and the maternal nurturing that as humans are an attachment. So Art as a source to communicate leads in both the natural world and the non-human world. My interest is in both these areas as I seek to find my voice through my practice the context being how do I make sense of reality in everyday life with my feelings of a spirt lifting my thoughts to the non-human. Going back to Dissanayake's What Is Art For she talks extensively about the emotions and beauty art posses and how we evaluate art as the receiver. My voice is looking to find an attachment maybe it’s a motif I am seeking to unearth. Right now the inquiry falls back on my ongoing interest with Ana Mendieta her Silueta series in particular, although I am now starting to review her Fireworks as they also have a strong embellishment with the body as the art form. Kiki Smith’s feminism sculpture depicting the body and her spiritual drawings and Joseph Beuys who I am just starting to explore his drawing ovure.

A sculpture standing torso height, painted fragenrently white, this image reminds me of a scene set in 1970’s may be in a bedroom, yet i feel a presence of between the inexpensive object and a cultural Tahitian like reference. i bring this up today as lock down makes me remember the past, when freedom was not questioned it was just everyday life. So those memories are ever so present but on the same page a disconnect. I am thinking what i make today in time becomes one of these “oh do you remember when we were in lock down”

Like Lucio Fontana Spatial Concept, series 1958-1968, my work attempts to redefine the experience of an active viewer, as you walk through in and out from the floor looking up from above looking down, how these 15 sheets of moulded paper temporal presence moves to a space beyond.

Like Louise Bourgeois in her traumatized an angry girl, what Artforum 1982 say “child abuse” that never escaped her demons in fact grew more loudly as she advanced in years. She demonstrates symbolically in her Cell Series a fractured traumatic life, lonely I sense and an absence of being able to talk about her past, My work narrates an escaping far above the home the earth here i am looking down safely positioned untouchable far beyond.

Bourgeois, in this sculpture challenges the dialect of what is fragility, using animal bones as clothes hangers, draws you into another world, a world of exclusion, and taument of an historical memory of what could be perceived as here i am but you touch me and while revenge you !. There is this sense of eeriness a kind of dark side as if something unforgiving lurks behind the image, it is a bit like a play and these are the props. I still feel a sense of fragility, trauma and physiological of a submissive childhood.

Michale Heizer, as discussed at Dia Beacon, the architectural scale of megalithic monuments of ancient cultures-a comparison that is explicitly addressed in his Negative Megalithe #5 (1998), a natural menhir-like stone inscribed in a rectangular niche. “I think if people feel commitment they feel something has been transcended” Heizer. To me parallels are drawn to between the human body and the malability fo this entrapped stone.