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Do You Ever Feel Like a Plastic Bag, 2023. Installation by Stephanie Bouris. 2x 100cmx200cm photo print on bond paper, electric fan, plastic shopping bag, Spotify Playlist (3 songs, 10min), artist present.

WEEK 4: SOLDER, PUTTY, FIXTURE

Once all the lead lining was finished and the last two pieces of zinc frame were cut, the metal had to be soldered together. This process involves painting each joint with an ointment-like substance called flux which assists the solder to flow between the two pieces becoming attached. The soldering iron is heated up and small amounts of solder material are melted onto the joints. It solidifies extremely quickly so at first it was really hard to get the joints flat. Furthermore if the hot soldering iron is held near the zinc or lead for too long it burns and melts that material too. I had to learn very fast to be as fast and precise as possible.

Once both sides were soldered the gaps in the channels had to be filled with putty to prevent movement. Had this window been intended to function as an actual window the putty would have been very important for a water and airtight seal. The putty was smashed into the joints with my hands and the excess scraped off with a tool.

Once both sides had been puttied the piece was ready for installation. As the basis for my design was the Microsoft PowerPoint interface I wanted my fixture to resemble a laptop- this why I chose to have it tilt backwards.

Finding my Franklins shopping bag is what gave me the inspiration for the final install of the work. Having a genuine artifact as the centerpiece of the work was important. Here is a drawing:

I realised that for the most effective immersion I could display the work in a corner and give the aisle photograph a more effective sense of dimension. In order to do this I had to crop the image slightly so that the middle could be where I needed it (up the centre of the aisle using the light reflection on the floor as a guide) and also so that the prints could be taller as I was working in a space where one side had a 1m maximum width.

My image is low quality, which speaks to the themes of memory and loss within the work. But to ensure the most readable image possible, and also to minimise distraction, I used the gaussian blur tool in photoshop to remove some of the blocky nature of the pixels.

For printing I decided to use Bond paper, which is the most basic and cheap option available in the print lab. This, I feel, is most true to what Franklins stood for. Further, the Bond paper absorbs less ink than higher quality archival materials- but I was not looking for bright or sharp colours. As you can see from the photos or perhaps even remember Franklins was not a very colourful place.

WEEKS 2 AND 3: CUTTING, ZINC FRAMING, AND LEAD LINING

Robert Smithson: A Tour of the Monuments of Passaic

Land Artist Robert Smithson's 1967 work, A Tour of the Monuments of Passaic

quote from the Holt-Smith Foundation website entry for this work:

"Six photographs of unremarkable industrial landscapes in Passaic, New Jersey depict evidence of man-made history, yet the title of “monument” seems ironic. Stripped of any apparent artistic agenda, the images appear photojournalistic—without an accompanying news article to inform our perception. Smithson was perpetually intrigued by suburbia; in its sameness he saw a version of eternity defined by formal repetition rather than temporal longevity. By framing the mundane sites as “monuments,” Smithson challenges the conceptions of aesthetic merit and historical significance.  Monuments of Passaic exists as three manifestations: a published article in Artforum, a photowork, and a photographic series."

The idea of framing the mundane as monumental and thereby challenging its aesthetic function and historical worth is a concept that is central to what I am trying to achieve with this artwork. One possible way to present my work could be to create a photographic and perhaps textual timeline:

inspired by the dry and informative tone of Smithson's journal article. Something like this could exist non-intrusively in a space but also would physically draw any interested viewer around the room physically, which is a subtle but powerful way to incite audience engagement with a work.

Simon Denny

Aesthetically I'm very drawn to the work of New Zealand artist Simon Denny. His appropriation of corporate, advertising, and capitalist aesthetics in his works comment on and critique the values of modern capitalist society.