Pause and Reflect: The Art Object As Immersive Experience

Pause and Reflect: The Art Object As Immersive Experience

By

Amiel Logan

BFA, Emily Carr University, 2010

A THESIS ESSAY SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF APPLIED ARTS

in

Visual Arts

EMILY CARR UNIVERSITY OF ART + DESIGN

2014

© Amiel Logan, 2014

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AbstractMyresearchhasconsistedofaseriesofartworksthatareaimedatidentifyingeffective

methodsofgeneratinganimmersiveexperiencethatgivespauseforreflection.Artforme

isatransformativeprocessthatincreasesawarenessofself.Arttranscendsmany

boundariesmakingitauniqueformofcommunicationwithanaudiencewherewordscan

oftenfallshort.

Buildingonmyhistoryofworkwiththemediumofstone,myartisticinvestigationshave

ledmetoexaminehowprocess,scale,material,craftandformcanbeeffectivelyemployed

tocreateanimmersiveexperiencewiththeartobject.Myartisticcreationshavetakenthe

formofsculptureandpainting.RelevanttomypracticearetheartistsMarkRothko,Isamu

NoguchiandRachelWhitereadandtheoristsClementGreenbergandMartinHeidegger.

Myresearchexplorestheeffectsofanimmediateexperiencewiththeartobjectasa

techniquetoabsorbtheviewer.Precisionofcraftisemployedasamethodtoelevatethe

significanceofmaterialsandform.Materialsareunderstoodintermsoftheirdensity,

weightandpsychologicalimpact.Perspectivedistortionsanddefyingtheexpectationsof

theviewercanservetodestabilizeandleadthemtore‐establishtheirground.Different

processesareexploredasawaytogivelivingqualitiestoastaticobject.

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TABLEOFCONTENTSABSTRACT………………………………………………………………………………………………iTABLEOFCONTENTS………………………………………………………………….……………………….….iiLISTOFFIGURES…………………………....…………………………………….…………….......iiiINTRODUCTION…………………………………...…..….……………………..………………......1CHAPTER1Painting………......………………………………….………………………….…...3 1.1Process………………….....………………………………………..……….....5 1.2ImmediateExperience…….......……………………………………….....7 1.3Scale……………………………...…………………………………………….…9 1.4MaterialandCraft……………..…...………………………..……...………10 1.5FormandVoid…………………………………………………………….….12CHAPTER2 StoneSculpture………......……………………..….…………………………...15 2.1Process………………….....………………………………………..…............17 2.2ImmediateExperience…….......………………………………………....19 2.3Scale……………………………...………………………………………………20 2.4MaterialandCraft……………..…...………………………..……………..20 2.5FormandVoid……………………………………………………………….22CHAPTER3 SculpturalTables………......……………………..….……………………..…24 3.1Process………………….....………………………………………..…...........25 3.2ImmediateExperience…….......………………………………………....28 3.3Scale……………………………...………………………………………………29 3.4MaterialandCraft……………..…...………………………..……………..30 3.5FormandVoid…………………………………………………………….....32CONCLUSION………………………………………………………………………………………….34REFERENCES......................…..........………………………………………………………………..38

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LISTOFFIGURESFig.1:AmielLogan,Untitled(blackOak),2013.Oak,CanvasandOilpaint,120cm(H)x550cm(L)x5cm(W).Fig.2:AmielLogan,Untitled(blackOak)(Detail),2013.Oak,CanvasandOilpaint,120cm(H)x182cm(L)x5cm(W).Fig.3:AmielLogan,Untitled(firstpainting),2012.OilonCanvas,120cm(H)x400cm(L)x5cm(W).Fig.4:MarkRothko,RothkoChapel,1971.OilonCanvas,dimensionsvariable.Houston,Texas.Fig.5:AmielLogan,Untitled(Cut),2013.GraniteandBrass,DimensionsVariable.Fig.6:AmielLogan,Untitled(Cut)(detail),2013.GraniteandBrass,14cm(H)x28cm(L)x18cm(W).Fig.7:AmielLogan,Untitled(Cut)(detail),2013.GraniteandBrass,30cm(H)x50cm(L)x20cm(W).Fig.8:IsamuNoguchi,EndPiece,1970.BasaltandCortensteel,170cm(H)x150cm(L)x52cm(W).IsamuNoguchiFoundationandGardenMuseum,NewYork.Fig.9:AmielLogan,Aside,2013.MapleWood,80cm(H)x150cm(L)x60cm(W).Fig.10:RachelWhiteread,YellowLeaf,1989. Plaster,WoodandFormica,73.5cm(H)x150cm(L)x94cm(W).CentrodeArteModerna,Portugal.Fig.11:ArnaldoPomodoro,CilindroConstruito,1983.CastBronze,487cm(H)x45cm(W).SanFranciscoAirport.Fig.12:ArnaldoPomodoro,CilindroConstruito(Detail),1983.CastBronze,487cm(H)x45cm(W).SanFranciscoAirport.Fig.13:AmielLogan,Untitled(BlackWalnut),2014.BlackWalnutWood,95cm(H)x95cm(L)x38cm(W).

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INTRODUCTION Theartobjectisthesiteofmyresearch,whereallmythoughtsandenergiesare

distilled.Itisphysical:materialsandformalign,chargingthespaceitoccupies.To

encountertheseobjectsistoengageinanimmersiveperceptualexperience.Theartobjects

arepaintingsandsculptures,whereknowledgeIacquireinonemediumspillsintothe

other.Precisionofcraftandefficiencyofformarethefocusofmyownengagementwith

making.Theseareexplorationsthatattempttofullyarticulatespaceandtransformthe

consciousnessoftheviewer.

Inthisthesis,IwilldiscussindetailthreedifferentartobjectsthatIhavecreated

duringmystudies.Thesearecriticalworksthatrepresentthebreadthofmypractice,and

areillustrativeoftheevolutionofmymethodsandmethodologies.

InChapter1,mytrioofpaintingsUntitled(blackoak),2013,willbediscussedalong

sideMarkRothko’spaintingsandtouchingonClementGreenberg’sModernistPainting,

writtenin1960.

InChapter2,mySculptureUntitled(cut),2013,willbediscussedinrelationtothe

workofIsamuNoguchi,inparticularEndPiece,createdin1970.InadditionIwillexplore

severalpointsofconnectiontoMartinHeidegger’sWhatiscalledthinking?aseriesof

lecturetranscriptspublishedin1954.

InChapter3,mysculpturaltablesAside,2013,willbediscussedinrelationtothe

workofRachelWhiteread,focusingonYellowLeaf,asculptureshecreatedin1989.Ialso

willdiscussMartinHeidegger’sconceptofDa‐seinfromhisworkBeingandTimewrittenin

1927.

AsmuchaspossibleIhavereferencedartiststhroughtheirownwords.Ihave

chosentheirwordstogetclosertoanunderstandingoftheartist’sownexperienceand

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engagementintheirindividualpractices.Sometimesconflictingandoftenprofound,the

wordsoftheartistreflecttheintenseemotionalinvestmentthatgoesintoallthework.

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CHAPTER1:Painting InChapter1,mytrioofpaintingsUntitled(blackoak),2013,willbediscussedalongsideMarkRothko’spaintingsandtouchingonClementGreenberg’sModernistPainting,writtenin1960.

Fig.1:AmielLogan,Untitled(blackOak),2013.Oak,CanvasandOilpaint,120cm(H)x550cm(L)x5cm(W).

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Fig.2:AmielLogan,Untitled(blackOak)(Detail),2013.Oak,CanvasandOilpaint,120cm(H)x182cm(L)x5cm(W).

Fig.3:AmielLogan,Untitled(firstpainting),2012.OilonCanvas,120cm(H)x400cm(L)x5cm(W).

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Fig.4:MarkRothko,RothkoChapel,1971.OilonCanvas,dimensionsvariable.Houston,Texas.Process

Ithinkofmypicturesasdramas;theshapesinthepicturesaretheperformers.Theyhavebeencreatedfromtheneedforagroupofactorswhoareabletomovedramaticallywithoutembarrassmentandexecutegestureswithoutshame.Neithertheactionsnortheactorscanbeanticipated,ordescribedinadvance.Theybeginasanunknownadventureinanunknownspace.Itisatthemomentofcompletionthatinaflashofrecognition,theyareseentohavethequantityandfunctionwhichwasintended.Ideasandplansthatexistedinthemindatthestartweresimplythedoorwaythroughwhichonelefttheworldinwhichtheyoccur.(Rothko58)

IfeelagreataffinityforthisstatementbyMarkRothkoabouthisprocess.Hiswords

couldalmostbemyown.Allmyworkseemstounfoldinthisway,butespeciallythe

triptych,Untitled(blackOak)thatrepresentedmythirdseriousattemptatcreatinga

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painting.Mygoalofgeneratinganimmersiveexperiencecausedmetopayspecialattention

totheeffectsofmyprocess.WhatwouldIneedtoaddresstogeneratethisexperience?My

earlychildhoodencounterswithRothko’sSeagrammuralsattheLondonTateGalleryled

metorealizeitwaspossibletoworkatthatlevel.Therewasapowerfulcurrentofenergy

pouringfromthecanvasthatsurroundedme,asIstoodtransfixed,lostinRothko’sgreat

works.Iwasabouttenyearsoldatthetimeofthisexperience.IrecognizenowthatRothko

hadachievedinhisownwaytheimmersiveexperiencethatIsoughttogenerateinmy

artwork.ForRothko“art[was]ananecdoteofthespirit,andtheonlymeansofmaking

concretethepurposeofitsvariedquicknessandstillness”(45).Iwashighlyconsciousness

throughoutmysculpturalstudiesofthemulti‐dimensionalandcomplexrelationshipsthat

existinart.Theartobject,beitpaintingorsculpture,inmyexperiencewasasRothko

suggests,suitedtoaddressthespirit.AsIbegantheworkonmypainting,Iwasconscious

ofmyeverymove.

Inmuchofmysculptureinmyundergraduatestudies,Iwasaccustomedtostarting

withaverydetailedplan.ThisplanusuallyinvolvedamodelofthefinishedproductthatI

adheredtoasbestIcould.Thecomplexityoftheprocessesinvolvedinworkinginmy

mediumofstoneandbronzeoftendemandedthissortofplanningtorealizemyideas.

Essentially,thesculpturehadafixedendandallthatremainedwastheworktoachievethe

likenesstotheplans.Idon’tfeelIwasabletorespondtothematerialsortoolsina

meaningfulway.Theprocessofmakingaformwasreducedtofabricationratherthanart.

TherewasaneedtoinjectlifebackintomyprocessasIbeganworkonmyfirstpaintings.I

resolvedtoreduceplanningtoaminimumandtoleaveanypreconceivedideasatthe

“doorway”thatRothkoreferredtoandthatInowwaspassingthrough(58).Ihadentered

newterritorywheremyprocessessignificantlyinfluencedtheshapeofthingstocome.

Withoutdetailedplans,Ilookedtofindnewwaystoguidemyprojecttowardsthe

intendedpurpose.Inthehopeofinjectingnewlifeintomypractice,Ifollowedmydesire.

ReasoningthatifIwantedtoexploreit,thensomethinggoodwouldresult,oratleastit

wouldreturnpleasuretotheactofmakingart.Myextensiveknowledgeofmaterialsmade

thisanobviousstartingpoint,andIselectedseveralsolidoakplanksthatwouldlater

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becomethestretchersformypainting.Materialshavealwaysbeenaninspirationalforcein

myworkandmorethaneverIlookedtorespondtothem.Theoak,cottoncanvasandoil

paintallresonatedwithmeandformedwhatIfeltwasaharmoniousmaterialrelationship.

Thiswastheeasierpart,formaterialshavealwaysbeenmydomain.Whatconcernedme

nowwaswhatformthepaintingshouldtake.Therewasanaturalevolutionthatwas

occurringinmywork.Successfulvisualelementsfrommypreviouspaintingattempts

foundtheirwayintothisnewwork.Iselectedaline,shapeorelementthathadthemakings

ofthefeelingIwaslookingfor.Myemotionalresponsebegantoguidemyhandandmind.

Itseemedpoignantthatemotionshouldbetheguidetocreateanequallyemotional

responseintheviewer.

ImmediateExperience

Theprogressionofapainter’swork,asittravelsintimefrompointtopoint,willbetowardsclarity:towardstheeliminationofallobstaclesbetweenthepainterandtheidea,andbetweentheideaandtheobserver.Toachievethisclarityis,inevitably,tobeunderstood.(Rothko65)

Inthisstatement,Rothkoexpressesthedesirefortheviewertodirectlyexperience

hiswork.Thereisaconcernforimmediacyinthisexperience,becauseRothko“want[s]

pureresponseintermsofhumanneed”(78).Ithinkthisexperienceisbestdescribedasan

embodiedexperience,onethatevadestheanalyticalmindandstrikesatthecoreofone’s

being.Rothkoexplainsthathe“doesnotpaintfordesignstudentsorhistoriansbutfor

humanbeings,andthereactioninhumanterms”(75).Thisreaffirmsthathisdesired

experiencewasnotanintellectualactivity.Withinmyownwork,Irecognizedthat

generatinganexperiencethatimmersestheviewerisnotamatterofengagingthemind

directly,butactuallyindirectlythroughthebody.Iimaginedthatthefeelinggeneratedin

theworkwouldpercolatethroughone’sbodyandintothemind.Rothko’sworkhadtaught

methatifIwantedtobypasstheanalyticalmindandgenerateanembodiedresponsein

theviewer,myworkneededtobetransparent.Everythingwithinmynewpaintingneeded

tobeevidentandinstantlyperceivableataglance.

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Inmyfirstpaintingofthisnewbodyofwork,Ihadleftavisibletrailofmymaterials

andprocess.Atonesideofthepaintingthecanvaswasrawfollowedbybandspaintedwith

successivelayersofgessountiltheintroductionofcoloredpaint.Thiswasasmuchan

attempttoremaintransparentinmyprocess,asitwasadeconstructionofthepainting.It

wasbecomingclearthatmyartisticintenthadarelationshipnotonlywithRothkobutalso

withideasofmodernism.EspeciallyrelevantaretheideasrelatedinClementGreenberg’s

ModernistPainting,writtenin1960.Greenbergwrites“oneseesaModernistpictureasa

picturefirst”(87).Inmyattempttogenerateanimmediateexperience,Itoowantedthe

viewertorecognizethe“pictureaspicturefirst”bymakingitsconstructionplainlyvisible.

Inaway,itwasnotreallynecessarytoshowtherawcanvaswhenitwascommon

knowledgethatpaintingswerecomprisedofcanvas.Asafurtherreductionfrommy

paintingUntitled(firstpainting)Ichosetodealwiththesectionthatwaspainted,roughly

extractingtheshapetobeginUntitled(BlackOak).Therewouldstillbeevidenceofits

construction,whereeachelementthatcomprisedtheimagewasindependentlyvisibleand

recognizablefromthewhole.Oilpaint,oilstick,andwaxpencilwouldallbedistinguishable

insomespaceofthework.

Modernismusedarttocallattentiontoart.Thelimitationsthatconstitutethemediumofpainting‐theflatsurface,theshapeofthesupport,thepropertiesofthepigment.(Greenberg86)

WhatisinterestingisthatIwasarrivingatapredominantlymodernistpointnotas

inthenineteenfiftiesandsixties,“inordertoentrench[painting]morefirmlyinitsareaof

competence”asGreenbergsuggests,buttoservemypurposeofgeneratinganimmediate

experiencefortheviewerinthiscontemporarytime(86).Iwasconcernedwiththe

exposureofthematerialnatureofthepaintasasurfacethatcommunicatedallits

propertiesinaninstantlyperceivablemoment.

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Scale

Ipaintverylargepictures.Irealizethathistoricallythefunctionofpaintinglargepicturesissomethingverygrandioseandpompous.ThereasonIpaintthemhowever‐IthinkitappliestootherpaintersIknow‐ispreciselybecauseIwanttobeintimateandhuman.Topaintasmallpictureistoplaceyourselfoutsideyourexperience,tolookuponanexperienceasastereopticonvieworwithareducingglass.Howeveryoupaintthelargepicture,youareinit.Itisn’tsomethingyoucommand.(Rothko74)

Rothkorecognizedthatifyouimmersetheviewerintheexperienceofthepainting

youcan“createaStateofintimacy‐animmediatetransaction”(128).Inmyownwork,I

wasawareoftheeffectsscalecouldhaveontheexperienceoftheviewer.Manyofmyearly

stonesculpturessufferedfromissuespertainingtoscale.Itwasalwaysdifficulttocreate

large‐scalestoneworksbecausetheygottooheavy.Astonethatwasclosetohalfthe

volumeofabodycouldeasilyweightclosetofourhundredpounds.Logisticallyitjust

wasn’tpossibletomakeastonesculptureathumanscaleasastudent.Thesefirststone

sculpturesweresmaller,neverbiggerthantwosquarefeetofstone.Thescaleinthiscase

wasn’tquiteenoughtotakeyou“into”thembutperhapstherewasastillasenseof

intimacygenerated(74).Paintingofferedthechancetoworkonamuchlargerscaleand

createtheimmersiveexperienceIhopedwouldtaketheviewerwhereIdesired.

Rothkodescribesthatiftheviewer“commands”theworkthentheyarenot“init.”

(74).Itwastruethatwithhislargepicturestheviewerreallydidn’tcommandthem.The

scaleRothkodesiredwas“humanscale”andtohimthismeantquitelargepictures,

typicallyatleastsixfeetwideandninefeethigh.Itwasn’tunusualthatfellowartistsof

Rothko’stimewouldpaintlarge.Itwassomethingthatcametobeacharacteristicofmany

Americanmodernistpaintings.Ifeltthatperhapsthesinglelargeformatpaintinginmy

owntimehadbecomeacuefortheimmersiveexperience.Maybewehavebecome

accustomedtolargepaintingsandtheycan’tbeaseffectivebecauseweareactuallyin

commandofit.IfIwasgoingtogenerateatrulyimmersiveexperience,IfeltIneededto

createaworkthatwaslessobvious.Mysolutionwastocreatethreecanvases,eachcloseto

thebodyinsize,butcombinedtoequalthescaleofRothko’swork.Inthisway,Icould

maketheviewerfeelliketheywerein“command”wheninfacttheywerenot(74).Asthe

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viewerexaminesthecentralpanelofmypaintings,theothertwoflankingcanvasesextend

beyondtheperipheryoftheviewer’sfieldofvisionwrappingaroundthem,andgently

immersingtheminthework.Thissubtleimmersionseemedtoextendmyreach,slipping

pastthementalguardoftheviewerandenteringnewterritory.

MaterialsandCraft

Thiskindofdesignmaylooksimplebutitusuallytakesmemanyhourstogettheproportionsandcolorsjustright.Everythinghastolocktogether.IguessIamprettymuchaplumberatheart.(Rothko134)

LikeRothko,Iputgreatemphasisonthematerialnatureofmypaintings.This

concerngoeswellbeyondthesurface,toitssupport.Iseethepaintingasawholeobject

whereeverydetailneedsspecialconsiderationevenifitisn’tvisible.Theveryfirst

stretchersthatIbuiltweretheproductoffollowingashoptutorialthatwasofferedatthe

school.Ifollowedtheinstructionscarefully,makingthebestexampleIcould.Theend

resultwasafunctioningstretcherthatIshouldhavebeenhappywith,butIwasn’t.Evenif

thestretcherwasn’tvisibleIfeltitstillaffectedthequalityoftheworkonawhole.Theuse

ofmaterialslikehardboard,finger‐jointedpineandlow‐gradefirjustdidn’tresonatewell

withme.MaybeitwasmysculpturalsensibilitytrespassingintopaintingbutIdecidedto

seeiffocusingsomeattentionofthestretchercouldmakeanimpact.Ichoseoakto

constructthethreestretchers.Theoakwasdense,richincolorandhadanappealinggrain

thatIfeltwouldlendaspecialqualitytothefinishedwork.Theuseofhardwoodallowed

metoconstructitwiththinnerbarsthathadthesameweightastheconventional

stretchersandperformedjustaswell.Adaptingtheoriginaldesignfromthetutorial,Icame

upwithamorestreamlinedanduniqueplanforthestretchers.Theresultwasacompletely

solidoakstretcher,fastenedwithbrassnailsandsandedtoasatinsmoothnaturalsurface.

Thereisadynamictensioninawell‐stretchedcanvas.Theoptimalcanvasformy

paintingswasathickercottonduckthathadanicetightweavebutstillretainedsome

elasticity.Theselectedcanvasprovidedasurfacethatabsorbedplentyofgessobutdidn’t

soakrightthroughtotheotherside.Thebackofthecanvaswasasimportantasthefront.

AlsoIdidn’twantthepainttostaintheoakstretchers.Onceprimedwithseverallayersofa

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highqualitygesso,Ihadthemakingsofanexceptional“canvas”.Therewasaharmony

betweenthematerials,oakandcanvas,thatwasverypleasing.Thecarefulselectionof

materials,andtimespentpreparingthemforpaint,madethetaskaheadalittledaunting.

SelectingthebestoilpaintsIcouldfind,Istartedwithathingreyoiltocreateasmooth

mattesurface.ThiswouldbethebaseontopofwhichIwouldpaint.Usingacombinationof

waxpencil,oilstickandoilpaint,Iappliedoneblackontopoftheother.Thelargebrush

markswereclearlyvisibleoverthebuiltuplinesoftheoilstick,creatingvisualdepthtoa

surfacethatwasstillflatoverall.Therewasadefinitecontrastbetweenthegreyandblack

surfaces.

Allthroughoutthisprocess,Ifeltadeepconnectiontothematerialsinmywork.

Therewasagreatsatisfactionintakingthetimetogetthematerialrelationshipsjustright.

Itwaspredominantlyanintuitiveprocess,whereIwassensitivetomyresponsetothe

materialselections.ThisheightenedsensitivitythroughoutthecourseoftheworkmeantI

wasengagedwiththematerialsandalways“present”withthem.Iwasawareofthesubtle

changesthatoccurredaseachelementcametogetherasawhole.Eveniftheoakstretcher

wasnotvisible,itsmaterialcontributioncouldbefelt“through”thecanvas.Icouldn’thelp

butfeelthatthepainting’severysurfaceandsubstancewasherematerially.Thiseliciteda

responsethatwasaimedatgroundingtheviewerinthepresentmomentandenticingusto

engageatadeeperlevel.

Idonotlive[inthestudio]thesameasIdoathome.IdonotwanttoadmireachairasartwhenIsitonit.Thisisaquestionofmeaningversuscraft.(Rothko78)

Ireallywantedtocombine“meaning”and“craft”.Thiswasmyrationalbehind

spendingseveralweeksmeticulouslycraftingeverydetailofmyoakstretchers.The

stretcherswerepartofmyconcernfortheworkasawhole.Everyaspectwouldcontribute

totheforceofthefinishedpainting.Intentionwaseverything.Iwantedeverydecisionand

elementregardlessofvisibilitytobefocusedonthegoal.IthinkRothkowouldhave

approved.Afterallhewasalsoconcernedwithcreating“anewkindofunity,anewmethod

ofachievingunity”(78).Everycutneededtobeperfecttocreateconsistentangles,crisp

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linesandtightjoinery.Iknewfromexperiencethatmostviewershadakeeneyecapableof

detectingthesmallesterrors.Thesetypesofinconsistencieswouldbedistractionstothe

viewer,negativelyimpactingtheexperiencesocrucialtothework.

FormandVoid

ThepicturetooktheshapeofwhatIwasinvolvedin.PeoplehaveaskedmeifIwasinvolvedwithcolor.Yes,that’sallthereis,butIamnotagainstline.Idon’tuseitbecauseitwoulddetractfromtheclarityofwhatIhadtosay.Theformfollowsthenecessityofwhatwehavetosay.Whenyouhaveanewviewoftheworld,youwillhavetofindnewwaystosayit.(Rothko127)

Withinmyownwork,linewasprovingtobeveryusefulinestablishingclarity.One

ofmyfirstbigdiscoveriesinpaintingwasthatifIcarriedanuninterruptedstraightline

acrossthecanvasitsuggestedacontinuityofthislinebeyondthephysicalwork.Theline

hadasenseofextendingfromthepaintingintotheviewersspace.Ifoundthemost

effectivelineranfromthetopofthecanvasoutthroughabottomcornerataslightangle.

Gettingtheanglejustrightwouldproducealeanthatseemedtopullattheviewer.I

recognizedinmyfirstpaintingarealpotentialforgeneratingasenseofmovement,butthe

squarecanvaswasholdingeverythingsteady.Selectingthecentralshapeofthepainting

Untitled(BlackOak)wasbotharesultofeditingfromthefirstpainting,andanintuitive

process.Thegeometryofthisshapefeltjustright.Beingreleasedfromthesquareitalso

generatedmovement.Theflankingrhombusshapedcanvaseswereextensionsofthe

geometryofthecentralcanvas.Therhombuseswereorientedinthesamedirection

creatinganasymmetricalrelationshipwithintheworkandincreasingthefeelofmovement

ofthepainting.

Thepaintedsurfacewithitsenergeticbrushworkaddedtoasenseofmovement.

Thesubtlelinesoftheoilstickwerecomposedtogenerateaverysimplisticsuggestionof

theextensionofspacebeyondthesurfaceofthecanvas.Ithadoccurredtomethatitwas

oftenapushandpullthatwasbeinggeneratedsimultaneously.Thepaintwasofferingboth

anillusionofspaceandgroundinginthematerialityofitssurface.

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Theorientationofthepaintingasawholehadsomeotherunexpectedresults.In

additiontothehorizontalpulloftheworktherewasalsosomeplaywithperspective.The

centralcanvasasaformfeltlikeitwasrecedingbackintospace,andtheflankingcanvases

appearedstretched.Thehorizontalorientationofwork,andthegapsbetweenthe

canvasesfurtherillustratedastretchingofspace.Themostaccuratedescriptionwouldbea

perceptualdistortionofspace.Theworkalsohadarelationtotime,wherethestretched

effecthadasenseofpullingapartoftime.Interestinglythelargergapontheleftofthe

worklookedlikeatearthatwasopeningup.Isawthisopeningasavoid.

Thereforeinthetermsofthedesireforthefrontal,fortheunveiled,fortheexperiencedsurface,Iwouldsaythatmypictureshavespace.Thatisintheexpressionofmakingcleartheremoteinordertobringitintotheorderofmyhumanandintimateunderstanding.(Rothko112)

TherewerereallytwovoidsinUntitled(blackOak),2013.Thepaintedsurfacewith

itsdeepblackoilswasoneformofvoid.Inthiscase,thelayeringofblackpaintpushedout

mostlight.Theexpanseofdarknessincreasedalongtherecedinglinesofthecomposition.

Itwasmyintenttogenerateasenseofstandingincompletedarkness,wherephysical

matterbecomesunifiedintheabsenceoflight.Incompletedarknesswecanfindnewways

ofperceivingthethingsaroundusandourselves.Iwonderedwhatconstitutesthe

knowledgeofselfasidefromthephysicalbodythatweregularlyidentifywith?Ididn’t

reallyhaveanswersbutIwasinterestedinthiscontemplativestatebroughtonby

experiencingthevoid.

Thesecondtypeofvoidwasbetweenthegapsoftheindividualcanvases.These

werehighlightedbyasortofhaloproducedbythetransitionsofblacktogreyspaceonthe

inneredgesofthecanvases.Therewasadeceptivequalitytothearrangementofthework

inwhichtheidenticalrhombusgeneratedadifferenceofspacingintheirrelationshipwith

thecentralshape.Itwasagenerativerelationshipinwhichthecompositionseemedto

openanewspace.TheopposingforcesofthedirectionalmovementdevelopedwhatI

spokeofearlierasatear.Newlygeneratedastheresultofastretchingofspaceandtime,

thisvoidwasoutsideofeverythingIknow,andyetfirmlyrootedintherealityofthewall.

InaflashoflightbroughtonbythecontrastingbrightnessofthewhitepaintIfindmyself

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havingtravelledthroughtheworktothewall.InmyexperiencewiththeworkIfelttotally

groundedinthepresentmoment.Iinstantlybecameawareoftherealityofmy

surroundings.

“Picturesmustbemiraculous:theinstantoneiscompletedtheintimacybetweenthecreationandthecreatorended.Heisanoutsider.Thepicturemustbeforhim,asforanyoneexperiencingitlater,arevelation,anunexpectedandunprecedentedresolutionofaneternallyfamiliarneed.“(Rothko59)

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CHAPTER2:StoneSculptureInChapter2,mysculpturewillbediscussedinrelationtotheworkofIsamuNoguchi,inparticularEndPiece,1970.InadditionIwillexploreseveralpointsofconnectiontoMartinHeidegger’sWhatiscalledthinking?,aseriesoflecturetranscriptspublishedin1954.

Fig.5:AmielLogan,Untitled(Cut),2013.GraniteandBrass,DimensionsVariable.

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Fig.6:AmielLogan,Untitled(Cut)(detail),2013.GraniteandBrass,14cm(H)x28cm(L)x18cm(W).

Fig.7:AmielLogan,Untitled(Cut)(detail),2013.GraniteandBrass,30cm(H)x50cm(L)x20cm(W).

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Fig.8:IsamuNoguchi,EndPiece,1970.BasaltandCortensteel,170cm(H)x150cm(L)x52cm(W).IsamuNoguchiFoundationandGardenMuseum,NewYork.Process

Thereisonlybirthornobirth,andbirthisthattotalthingthatcomesfromwithin.Tobetotallyoneself,creationmustcometotallyfromwithin;andthatkindofconsciousnessis,Isuppose,somethingweshareincommon,amutualpersonality,sothatwhenanyonecreatessomethingitisasifitwereself‐createdbyeachandeveryone.“(Noguchi95)

IsamuNoguchirecognizesthatartcanbeanimportantsitetoreflectonwhatit

meanstobehuman.Theexperienceofanartworkcanbearecognitionofself.Itcan

reaffirmourcommonconnections.Thewaytogeneratethisexperienceisthrougha

“consciousness”ofthesourceofcreationasgenerated“totallyfromwithin”(95).With

respectstomyownprocess,thisstatementsupportedthedirectionthatIwasbeginningto

take.Iwasbecomingmoresensitivetotheimpulsesthatwereadrivingforceinmy

practice.Therewasadesiretotakethisnotionoffollowingmyintuitiontoahigherlevel.

Thistooktheformofatotalabandonmentofadvancedplanning.Iwouldsimplyfollowmy

pathasitunfoldedinfrontofme,respondingtomythoughtsandenvironment.The

18

criticalitythatmademesuspiciousofwhatitmeanttobe“totallyoneself”wasabandoned

inexchangeforthetrustthatIwasgoingtodiscovernewterritory.

Iwasconsciousthatthenewdirectionmyprocesswastakingshouldnotbe

consideredanexercise.NoguchirelatedthatBrancusiwouldsayto“nevermakethingsas

studiestobethrownaway,neverthinkyouaregoingtobefartheralongthanyouare‐

becauseyou’reasgoodasyouwilleverbeatthemoment”(131).Thisinmind,Iresolvedto

acceptallmyartisticactivitiesasimportantwork.Therewasafreedominthisknowledge

thatallowedfortheseriouspursuitofanysculpturalpossibility.Thesimplestcomposition

orrelationshipofmaterialscouldnowbecomeaprimaryfocusofmyworkwithoutbeing

deemedanexercise.Iwasdoingwhatneededtobedone,withoutconcernfornecessarily

creatingasuccessfulsculpture.

MartinHeideggerstates“especiallywemodernscanlearnonlyifwealwaysunlearn

atthesametime”(What Is Called Thinking? 8).Thisseemedincrediblyrelevanttomeinmy

practice,atthispresenttime.IfeltthatinmyprocessIneededtotakeseveralstepsbackto

beabletomoveforeword.Iunderstoodthatgeneratinganimmersiveexperiencewas

goingtorequireextrasensitivitytomyprocess.Ididn’treallyknowhowtoachievethis

end,butIfeltsomethinginthecoreofmedid.Partoffollowingmyintuition,wasto

becomemoreacceptingofallthoughtsastheyarose.Heideggerwritesthat“whatcallsus

tothink,andthuscommand,thatis,bringsouressentialbeingintothekeepingofthought,

needsthinkingbecausewhatcallswantsitselftobethoughtaboutaccordingtoitsessence”

(121).WhileHeideggerisspeakingprimarilytoconcernsaroundlanguage,Ifeltitapplied

tomysculpturalpracticetoo.Iwasbeingenticedtore‐investigatesculpturewithmore

sensitivity.Heideggerfeelslanguage“let[s]ourspeechdriftawayintomoreobvious

meaningsofwords”(118).Inthissameway,Ifeltitwasimportanttoexamineallthe

possiblewaysmymaterialsmakemeaning.IwasconsciousthatIdidn’twanttofallback

intoamoreprescribedwayofworking.

19

ImmediateExperience

Ithinkofsculptureassomethingtobecompletelyexperienced,notjustlookedat.You’reanintegralpartofit.Yourenvironmentisyoursculpture,yourworld.It’stheworld,andtheworldthenbecomesasculpture.Soeverythingissculpture.(Noguchi149)

Iunderstoodthattheviewer’stotalengagementintheworkwasthefirststepto

generatinganexperience.Isawthisengagementasneedingtobeimmediate.Iwantedthe

viewertohaveaphysicalresponse,andnotbecaughtupinthought.Themulti‐dimensional

qualityofsculpturepresentedanewchallengetothetaskofgeneratinganimmediate

responsetothework.Theviewercouldapproachtheobjectfromallanglesmakingiteven

moreimportantthattheybeabletoeasilyidentifyitscomposition.Thisvisibleclarity

wouldfacilitateaseamlesstransitionintotheexperienceofthework.

Inorderforstonetoberecognizable,thereneededtobeevidenceofitsnaturally

occurringsurfaces.Naturalsurfacestogetherwithcutandpolishedareaswouldserveto

giveasenseofthetotalnatureofthematerial.Inthesesculptures,Iextendedthenotionof

leavingarecordofprocess,byselectingstoneandmetalthatretainedmarksassociated

withitsmanufacturingorextraction.Onesideofthelargersculpturehasthemarkofthe

holesusedwhencuttingthestonefromthemountain.Onthesmallersculptureisacut

surfacemadewithadiamondwatersaw,normallyusedtocutablockofstonedownto

usablepieces.Inasensetherewasacompleterecordofallworkingprocessesthat

producedthiswork.Noguchi’ssculpture,EndPiecefrom1970,illustrateshisownconcern

fortheretentionofvisibletracesofhisworkingprocess.Exposeddrillholesfromthe

splittingprocessbecomeimportantvisualelementalongsidecarefullycarveddepressions.

Thereisasensethatallthemarksaretreatedwithequalvalue,whethermadebyadrillor

achisel.ThereisaninherentimmediacyandunityinNoguchi’ssculpture,wherethe

elementsthatdefineitsartisticsurfacealsorevealedthemethodofproducingitsform.

Withinmyownsculpture,therewasanimmediateanddirectrelationshipofone

materialactingonanother.Thebrasselementswerecutfromastockgaugebarthatclearly

registeredasmetal.Ineachsculpture,thebrassbarrestsonthetopsurfaceofthestone.

20

Thisinteractionfocusestheattentionontheforcesatplayinthematerials,inanattemptto

furtherengagetheviewer.

Scale

Ihavetakenanotherattitudeinthat,asIthinkeverythingisrelativeinsizeanditsallaquestionofrelativescale.Ihavecometofeelthatsculpturecanonlybeofsignificancetoarchitectureandtothespaceofhumanenvironmentassomethingconclusiveinrelationtothatspace.(Noguchi50)

Thescaleofmyworkhasalwaysbeeninrelationtothehumanbody,theviewer.

Paintinghadaffordedmethepossibilityofworkinglarger,findingascalethateffectively

engagedthebody.Workingwithstone,Istillwasn’tinapositiontocreatelargeworksdue

toweightandcost.Also,Iwasfollowingadifferentprocess,onewithoutblueprintsand

advancedplanning.Inthiscase,Ididn’tconsciouslychoosethescale,itjustevolvedfrom

anengagementwithmymaterials.Thebrasselementessentiallydetermineditsscale

becomingtheguidefortheselectionofthecorrespondingstone.Theresultingsculpture

wasmuchmoreintimateinitsrelationtothebody.Thebrassbarwasofasizethat

appealedtothegraspofahand,arelationshipthatwasusefulinconnectingtoasenseof

theweightwithinthework.Lookingatthesesculptures,Ifelttheysuggestedthatthey

wouldbemoresignificantatalargerscale.Theydidn’tquitehavethefeelofamodelbut

justseemedtoeasilyprojectintoanewform,closertothatofamonument.

MaterialandCraft

Theverymaterialityofsculptureisperhapsitsmostevocativeaspect‐themysteryatthebaseofmatter.Wefeelitsemanationsinthebestofsculpture,risingoutoftheinterminglingofformandmatterwiththepatinaoftime.(Noguchi38)

LikeNoguchi,Ihaveadeepconnectiontomaterial.Overthepastsixyears,I

engagedinanextensivestudyofstone,discoveringimportantinsightsintoitsnatureasa

sculpturalmaterial.Myworkwithstonehasorientedmetoconcernswithgravity,weight,

density,surface,spaceandtime.Thematerialsinmyworkcomposeoneofthemost

significantelements.Asanimportantcarrierofmyideas,theyareoftenplacedatthe

forefrontoftheexperience,astheyareinNoguchi’ssculpture.

21

NoguchidiscussesBrancusi’sworkwithmaterials,describing“outofthelimitations

ofmatterandtheworkingofitcametheessenceofhissculpture”(115).Brancusi’sconcern

forunityinhisworkextendedintoallaspectsofhispractice.Noguchireflectsthatin

Brancusi’ssculpturethe“concept[ofunity]wasnotimposedbutwasinherentwithinthe

relationshipofartisttohismaterial”(115).InEndpiece,Noguchi’sownconcernforunity

isattheforefrontofhiswork.Therelationshipofartistandmaterialisclearlyvisible

becomingthesubjectofthesculptureitself.Noguchidescribesthatwhenhe“workedwith

stone[he]wantedtofindthatstone,[hewasn’t]usingstoneforsomeotherreason”(142).

Hewantedtofindthebasisofhismaterial.

Heideggerwrites“tolearnmeanstomakeeverythingwedoanswertowhatever

essentialsaddressthemselvestousatagiventime”(What Is Called Thinking? 14).Whatis

“essential”forHeideggerintermsofthinkingistheunderstandingthatmeaningin

languagehasmanymanifestations.Appliedtootherpractices,Heideggerusestheanalogy

that“tobecomeatruecabinetmaker,hemakeshimselfanswerandrespondaboveallto

thedifferentkindsofwoodandtotheshapeslumberingwithinthewood”(15).Atthe

heartofmyownpractice,Irecognizedtheimportanceofengagingwithmymaterialsina

waythatwassensitivetoitsnature.Respondingtothematerialswascriticaltomy

practice.

Muchofmyinspirationstemsfromarelationshipbetweenmaterials.Brassand

stonehavebeenacommonpairinginmysculptureofthepastfewyears.Inmynew

sculpture,Untitled(cut),thispairingisonethatdrawsattentiontothedensityandweight

ofthematerialsastheyactuponeachother.Thepresenceofstonereinforcesthe

understandingofthehigherdensitynatureofthebarofbrass.Incontrast,thebrass

appearsalmostheavierthanthestone.Thestoneisraisedslightlybybrassshimsthatare

notvisible,providingasmallgapallaroundtheloweredge.Thestonehastheappearance

offloating,accentuatingthedynamicrelationshipwiththebrassbarperhapsplacedontop

toholdthestonedown.

22

Asatraditionalsculpturalmaterial,stoneisrichinhistory.Thepermanentnatureof

stoneaddstoitssenseoftimelessness.Stoneisanaturalmaterialthataccountsforalarge

partofourenvironmentbothnaturalandbuilt.Allpeoplehaveaninherentrelationship

withstone.Iamawarethatmyaudiencesharesapotentiallyuniversalconnectionand

knowledgeofstone,andthisinformsthewayIwork.Defyingtheviewer’sexpectationsof

thematerialisaneffectivewaytocapturetheirattention.

Precisionofcraftisemployedtocutthestoneandcreateperfectlystraightlinesor

flatsurfaces.Astraightlinedrawstheeyeandfocusestheviewer’sattentiononthispoint.I

understandthisconvergenceonthelineasagatheringofenergy,asitecontactand

exchangewiththeviewer.Alinecarvedwithcloseattentiontodetail,addstothe

experienceofthesculpture.Inuntitled,theallureoftheprecisiondetailisheightenedin

contrastwiththelooselycarvedsurfacesandfoundmarks.

FormandVoid

Theessenceofsculptureisformetheperceptionofspace,thecontinuumofourexistence.Alldimensionsarebutmeasuresofit,asintherelativeperspectiveofourvisionlievolume,line,point,givingshape,distance,proportion.Movement,lightandtimeitselfarealsoqualitiesofspace.Spaceisotherwiseinconceivable.(Noguchi24)

AsNoguchidescribes,spacerepresentsacomplexrelationshipofparts.Sculptureas

a“perceptionofspace”isequallycomplex.Noguchi’ssculpture,EndPiece,1970,isagreat

exampleofhowheactivatesspaceinallitsdimensionsusingminimalgesturesandform.

Thesimplifiedformofmyownsculpture,servestobringthematerialtotheforefrontof

theviewersexperience.Thestoneandbrasssurfacesgathertheviewer’sgazeand

attention.Thedirectionalqualityoftheworkcomesfromtheplanesandlinesthatare

angledtoconvergeatasinglepoint.Thesiteofthisconvergenceiswherethepolished

surfaceofthebrassalignswiththepolishedsurfaceofthestone.Thereisthesensethatall

surfacesleadtothisfocalpoint.Thepropulsionandcompressioninstillsasenseof

urgency,chargingthisspace.Thealignmentofthesesurfacesgivestheappearanceofthe

workbeingseveredonthisplane.SimilarlyinEndPiece,thecarveddepressionanddrill

23

holesendwiththebreakthatconstitutesthetopsurface.Thereisasuggestionthatthe

sculpturemighthavecontinuedbeyondthebreakaddingtoasenseofabsenceinthis

space.

Interestingly,Heideggeremploysasimilartechniqueinhiswritingwhenhewants

thereadertounderstandtheshiftneededtoengageinthinking.Heideggerwrites“in

contrasttothesteadyprogress,wherewemoveunawaresfromonethingtothenextand

everythingremainsalike,theleaptakesusabruptlytoaplacewhereeverythingis

different,sodifferentthatitstrikesusasstrange”(What Is Called Thinking? 12).Inmyown

work,theabruptnessoftheendingofthesculptureisanattempttocreateaverydifferent

experienceofspace.Incontrasttotheintensematerialityofthesculpture,thespaceafter

thecut“strikes”usasempty.Thisgeneratesavoid.Everyaspectofthesculptureis

organizedtoallowtheviewertoexperiencethisvoid.Onceinhabited,thevoidoffersthe

opportunityfortheviewertoperceivespaceinanewway.Itisamomentofpauseand

reflection.IfinditusefultorelatebacktoHeidegger’swritings,toapassagethatruns

paralleltothisexperience.

Whenmanisdrawingintowhatwithdraws,hepointsintowhatwithdraws.Aswearedrawingthatwayweareasign,apointer.Butwearepointingthenatsomethingthathasnot,notyet,beentransposedintolanguagethatwespeak.Itremainsun‐comprehended.Weareanuninterruptedsign.(Heidegger18)

24

CHAPTER3:SculpturalTablesInChapter3,mysculpturaltablesAsidewillbediscussedinrelationtotheworkofRachelWhiteread,focusingonYellowLeaf,asculptureshecreatedin1989.IalsowilldiscussMartinHeidegger’sconceptofDa‐seinfromhisworkBeingandTimewrittenin1927.

Fig.9:AmielLogan,Aside,2013.MapleWood,80cm(H)x150cm(L)x60cm(W).

25

Fig.10:RachelWhiteread,YellowLeaf,1989. Plaster,WoodandFormica,73.5cm(H)x150cm(L)x94cm(W).CentrodeArteModerna,Portugal.Process

IthinkalotoftheworksthatI’vebeenmakingovertheyearshavebeenpartofacyclicalprocess.Icouldprobablyplotafamilytreeoftheseworks.Thingshavehappened,thingsbranchoff,thingscropupthatIhaven’tthoughtabout,Ioftenfeelacycleisincompleteandneedtotreadthesamepathagain,that’sjusthowIwork.I’vebeenteachingmyselfalanguage…andtheutilizationofthatlanguagecantakeonmanyforms.(Whiteread,Interview by Craig Houser)

Inmuchthesameway,Iwasreturningtoworkwiththetableasthesubjectofmy

sculpture.Inthepast,Ihadcreatedseveralversionsofsculpturaltablesalldealingwiththe

spaceinandaroundthisobject.TherewasasensethatIwaspickingupwhereIleftoff,but

alsoapproachingitdifferently.Myrecentinvestigationsintopaintingandsculpturehad

changedmyperspective.IfoundIhadmoresensitivitytothesculptureasawholeconcept.

Inparticular,thematerialconcernswerebecomingmoreeffectivelyalignedwiththe

conceptualbasisofmywork.Theknowledgeandskilldevelopedinworkingwithstoneand

26

metalwasnolongerrestrictedtothemedium.Iwastakingmyknowledge,andapplyingit

toothermaterials.Mytablesinthepasthadbeenconstructedusingstoneandbronze.This

unusualmaterialtranslationcametodominatethefocusofthework.Iwantedtotakea

moresubtleapproach,wherethesculpturelookedmorelikethevernaculartablesofour

everydayexperience.Inmysculpture,Aside,thismeantmakingitfromwood,atypical

materialusedintheconstructionoftables.

Inmypractice,drawingwasbecomingawayformetoexplorepossibilitiesquickly

andeasily.Thedrawingshadtheirownuniqueperspective,whichwasnotentirely

accuratebutdescribedthegeneralform.Unabletodecideonadirection,Iresolvedto

proceedintuitivelywithoutanydefiniteplan.Thislikebeforekeptmyfocusonmy

engagementwiththematerialsandprocesses.Myexperienceinwoodworkingwas

primarilylimitedtotheworkdonewithpaintingstretchers.InthewoodshopwhereI

worked,Iwasfortunatetohavetheadviceofseveralexperts.Iwaslearningaboutthe

rangeofpossibilitiesasIengagedwitheachprocess.Iadaptedasneeded,findingaformin

conversationwiththetoolsandguidedbymyintuition.Inthisway,Iwasabletoachieve

boththerefinementandresponsivenessdesiredinthefinalform.

Ibecameprimarilyconcernedwiththespaceunderneaththetable.Rachel

Whiteread’ssculptureYellowLeaf,1989,isanhistoricalexampleofasculpturewithsimilar

concerns.Ifoundmyselfinterestedinaddressingthespaceunderthetable,buttakinga

differentapproach.InAside,thesculpturetooktheformofatable,carefullycomposedto

drawtheviewer’sattentiontothespacebeneaththesurface.Whitreaddescribesthat“with

thefirsttablepiecethatImadeIwantedtogivethespaceunderneaththetablesomesort

ofauthority.”(Whiteread,Interview by Michael Archer)Incastingthespaceunderneaththe

table,Whitereadfeltthatitwas“monumentalizingaspacethatisignored”(Whiteread,

Interview by Michael Archer).Herworkevokesacomplexrangeofresponsesand

reflections.ForWhitereadcastswerealsoaway“tothinkaboutthepropertiesthatdefine

whatweknowtobeourobjectsofmaterialculture”(Hornstein58)InYellowLeaf,the

residuesandimprintsspecifictothistablebecomeevenmoreimportantwiththe

knowledgethatitisacastofhergrandmotherstable.However,thereisanemotional

27

contenttoWhiteread’sworkevenwhenitisnotspecifictoherpersonalhistory.Hercasts

tendtoevokeasenseoflosscommunicatedbothinthesurfacetraces,absenceoftheobject

andthe“sarcophagus‐likeformscastfromarchitecturalandhouseholdobjects”(Gross35).

Whiteread’sworkisfurtherdescribedasthe“deliberateacttoawakenour

automatizedperceptions,[through]highlight[ing]thepiecesandpartsofthewholethat

eventuallycontributetohowweperceivethecontent”(Horstein67).Ialsofeltthespace

beneaththetablewasawaytoaddresswhathadbecomeinvisibleinoureveryday

existence.Perhapsreflectingonthisspacewouldattunetheviewer’sawarenesstothe

narrowfocusofourengagementintheworld.InAside,therewasanattempttogeneratea

transformativeexperiencefortheviewerthatrevealedthisotherdimensiontothetable.I

hadchosentocreateasculptureconsistingofapairoftables,whereallelementswere

workingtodrawtheviewerintotheexperienceofthework.Thesubtletyofthese

adjustmentsIhopedchallengedtheviewertoexaminetheobjectcarefully.

Thisdeliberateattempttodirecttheviewerintoare‐examinationoftheknowledge

ofsomethingasbasicasatable,leadstoaquestioningofthefundamentalbasisofour

knowledgeitself.ThereisaninterestingconnectiontoHeidegger’snotionofDa‐seinas

relatedinhiswork,beingandtime,writtenin1927.Inposingthequestion“whatisbeing?”

Heideggerconcludesthat“toworkoutthequestionofbeingmeanstomakeabeing‐one

whoquestions‐transparentinitsbeing”(Heidegger,Being and Time6).Heideggerdefines

furtherthat“thisbeingwhichweourselvesineachcaseareandwhichincludesinquiry

amongthepossibilitiesofitbeingweformulateterminologicallyasDa‐sein”(6).Inasense,

Iwasattemptingtoevoketheviewer’sownnatureas“Da‐sein”throughtheengagement

withthesculpture.

28

ImmediateExperience

Allofmyroompieces‐oranyarchitecturalpiecesI’vemade‐reallyhavetodowithobserving.Thereisasenseofpuzzlementinjustlookingatthemandthinking:“weliveinthatkindofplace.Howdowefunctionphysicallywithinaplacelikethat?”ThisisdefinitelywhatIdowhenIlookatmyworks.Ithinkabouthowtheyeffectmephysically.(Whiteread,Interview by Craig Houser)

Ihavecometounderstandthathavinganimmediateexperiencewithaworkofart

haseverythingtodowithengagingthebody.Itcouldbedescribedasagutreactiontothe

objectinfrontofyou.Isawmaterialsandweightasanimportantwaytophysically

engagingtheaudience.Whiteread’sworkhasbeendescribedasevoking“avisceral

responsetothetactilityofthematerial;itspresenceandsheerimaginedweightwholly

engagesoureyeandsharpensourfocusonthenatureofmaterialityaltogether”(Hornstein

67)Thisnotionof“imaginedweight”isthecriticalaspectofthisprocess.Itshouldbe

pointedoutfirstthatinmostofWhiteread’splastersculpturetheactualweightislessthan

the“imaginedweight.”Thisisbecausethesculpturescomponents,inYellowLeaffor

example,arehollow.Theformshavetheappearanceofsolidity,whilestillremaining

manageableinthislighterform.Evenso,imaginingweighthasapowerfuleffectonthe

bodyinwhichweasviewersengagealloursensesinanattempttogaugeit.Aviewer

essentiallyliftstheobjectintheirbody,afeattheycouldneveraccomplishinreality,evenif

thegalleryallowedit.Thekeytounderstandingthesculptureassolidisinitsreductionto

ahomogeneousmass.Theplasterneedstobeoutwardlyunifiedinformandsurfacetobe

carriedthroughandsolidifiedintheimaginationoftheviewer.

InmyworkAside,theoutwardsurfacesofthesculptureareallvisiblythesame.The

sculptureiscompletelyconstructedfromwoodwithaconsistentsurfacetreatment

throughout.Thisallowsforaninstantcommunicationofitsmaterialcompositionand

solidity.Thesculpturalweightisperceivedinamuchmoresubtlemannerthanthatof

Whiteread’ssculpture.InAside,theweightisdistributedacrossthesculpturalframework,

understoodasheaviestintheouterlegsandprogressivelybecominglightertowardthe

centreofthework.Thereisanattempttoengagethebodyandalsodirecttheviewer

29

throughatransitionofweight.ThisisquitedifferentfromtheexperienceofWhitereads

castswhere“movementislimited[and]rare”(Hornstein61).

ThesculpturalforminAside,isbasedonamirroringofthetableandispositionedto

achieveatotalsymmetry.Myplacementoftheworkseveralinchesfromthewallprevents

theviewerfromwalkingaroundit.Thishelpstoestablishabackandfront,concentrating

thefocusonasingleview.Myideabehindthisconfigurationwastorevealallcritical

dimensionsoftheformanddrawtheviewerintotheexperienceoftheworkinasingle

glance.

Scale

I’malwayslookingforwaysofrepresentingthebodybutnotactuallyputtingitthere.(Whiteread,Interview by John Tusa)

Whitereadrepresentsthebody,inYellowLeaf,bytakingacastofthespace

underneaththetable,aspacenormallyoccupiedinpartbythebody,ifonepulledupa

chairforexample.Sheisinterestedincastingthespacesbeneathtablesandchairs“fora

numberofreasons;onethatthey’re…quitearchitecturallumpsoncethey’remadeso,and

theyalsostandfortheabsenceofthebody”(Whiteread,Interview by John Tusa).

Interestingly,thesolidnatureofhercastingsforcesoutanypossibilityofprojectingoneself

intothespaceitnowoccupies.Thecastbecomesaplacemarkerforthebodyandwithits

newlygivenmasshasadirectrelationshipwiththescaleofthebody.

Whitereaddescribesthatshe“see[s]furniture,especiallythesortoffurniturethat’s

kindofchuckedoutinthestreet,[as]almostlikepeople.“(Whiteread,Interview by John

Tusa)WithinmyownworkIamwellawareoftheanthropomorphicqualitiesofthetable.

Infact,Aside,pushes,thisrelationshiptothebodyalittlefurther.Thethicktrunkofthe

outertablelegsincontrasttothethininnerlegs,hasacloserrelationshiptohumanlimbs.

Alsomyadjustedtableformwiththeextendedinnerleg,suggestsmovementorwalking.

Thisbothaddstothedirectionalqualityoftheworkandalsospeaksdirectlytothescaleof

30

thebody.Iseethisparticularscaleasreinforcingthenotionthatthisismeanttobea

personalexperiencefortheviewer.

MaterialandCraft

ThedifferentmaterialsthatIusedtoboxthingsinbecamequiteimportant.WiththebathpiecesIusedshuttering,whichisveryroughplywoodusedwhendiggingholesintheroad.Iliketheideaofthisspacethatyoudiginto,butIwaskindofdoingtheoppositewithit.I’malwaysverycarefulwiththosekindofdetails.They’renotaccidental.(Whiteread,Interview by Michael Archer)

ThematerialityofthesculptureanditscraftwasextremelyimportanttoWhiteread.

Inthebathpieces,likeEther,thematerialsthatsheusedtoframethecastingwouldbe

criticalbecauseoftheimprintitwouldleaveonthesurfaceoftheplaster.However

minimalthetexture,theoutersurfacewasoneoftheprimarylocationsofvisualperception

andcommunication.Whitereadspeaksaboutherunderstandingofplasterasbeinga

materialthat“picksupmeticulousdetail.”(Whiteread,Interview by Michael Archer)The

surfaceofmyownmaterial,maplewood,haditsownincredibledetailinitsuniquegrain

patterns.Workingwiththetoolsandthematerial,requiredaspecialattentiontothegrain

anditsorientation.Achievingstructuralstrengthandreducingwarping,required

constantlyconsideringthegrainandaligningitwiththeforcesatplayinthestructure.This

methodofworkingwasconcernedwiththepracticalimplicationsofcreatingformthat

wouldmaintainitsintendedstructure.Inadditionthewoodgrainwasalsothevisual

surfaceofthework,notonlydescribingthematerialcompositionbutalsolendingitsown

pattern.Thedirectionalqualityofthegrainpattern,hadpotentialtoaddtothesenseof

movementinthework.Properlyaligned,thegrainemphasizedthesymmetryofthework,

directingtheviewerupthroughthecentreofthesculpture.

Thegrainpatternofthemaplewoodalsopointedtothelivingqualityofthisnatural

material.Itshowstherecordofthetreesgrowth,illustratingitstransformationovertime.

Thegrainbecamealinktomypurposeofcreatingatransformativeexperienceforthe

viewerandperhapsaformofmetaphorforpersonalgrowth.Thematerialhadasenseof

stillbeingalive,slowlyshiftingandtwistingintheprocessofconstruction.Eachcomponent

31

neededtobecutandthenre‐cutafterrestingforseveraldays.Itwasaprocessofworking

withtheenergyandforcesstillresidingwithinthematerial.Thistechniqueallowedmeto

achieveconsistentlinesthataddedtotheclarityoftheform.Themaplewasincredibly

dense.Itisahardwood,oftenusedinfurnituremakingforitsstrengthanddurability.Like

certaingranites,themaplecouldalsobecuttoholdthesepreciseandstrongedges.The

processofworkingwiththishardwoodwasverydifficult.Specialattentionandcare

neededtobetakentonotdamagethetoolswhencuttingandshapingthistoughmaterial.

Theendresultisanintensitythatisconcentratedintoeveryfacetofthefinishedsculpture.

Thephysicalweightofthetableissurprisinglyheavy,addingtothesenseofsignificanceto

itspresence.

Whitereadmakesthingsmatter.Shetakesobjectswethinkweknow‐abed,atable‐andmakesthemintosomethingmaterialthatwenolongerrecognize.Notonlyissheafterdefamiliarizingthefamiliar,Sheheightensthematerialityofthething,makingitseemtobemorethanwhatitisinitsphysicalform.(Hornstein51)

InmanyrespectsthisisaclosedescriptionofwhatIamdoing.Myownattemptto

“heightenthemateriality”isfoundthroughadetailedconcernforthesmallestaspectofits

materialform.Workingwithmytools,Iimbueeverysurface,lineandanglewith

considerationforthesculptureasawhole.Themaindifferenceinmyworkwhen

comparedtoWhiteread’s,YellowLeaf,isaninversionofthemethodto“defamiliarizethe

familiar.”Inbothcases,thefocusisonthespaceunderneaththetable,butinmyworkthe

tableisfullypresent.

“Da‐seinunderstandsitselfinitsbeinginsomewayandwithsomeexplicitness.Itispropertothisbeingthatitbedisclosedtoitselfwithandthroughitsbeing.UnderstandingofbeingisitselfadeterminationofbeingofDa‐sein.”(Heidegger, Being and Time10)

Iwantedtodrawtheviewerintoaparticularengagementwithmysculpture.My

attentiontothematerialandcraftwasanattempttoimmersetheviewerintheexperience

oftheworkandtobringawarenessofthenatureofourengagementwithoursurrounding.

IncloserelationtoHeidegger’sDa‐sein,Iwascreatingasituationinwhichtheviewer’s

“being[is]disclosedtoitselfwithandthroughitsbeing”(10).Iwasaskingtheviewerto

32

engagewhollywiththephysicalintheworldandtoseewhatawarenesscouldbe

generated.Heideggerdescribesthat“theverybeingtowhichDa‐seincanrelateinoneway

oranother,andsomehowalwaysdoesrelate,existence”(10).Heideggerstatesclearly“we

cometotermswiththequestionofexistencealwaysthroughexistenceitself”(10).

Forme,Heidegger’sdiscussionofDa‐seinpointstotheimportantroleofthe“ontic”

orphysicalnatureoftheworldandourengagementwithit.Theintensityoffocuson

materialandformwithinAside,reflectmyunderstandingthatthroughthephysicalcomes

anunderstandingofbeing.Reflectiononthisbeinghasthepotentialtorevealadeeper

awarenessofself.

“Da‐seinaccordinglytakespriorityinseveralwaysoverallotherbeings.Thefirstpriorityisanonticone:thisbeingisdefinedinitsbeingbyexistence.Thesecondpriorityisanontologicalone:onthebasisofitsdeterminationasexistenceDa‐seinisinitself“ontological.”ButjustasoriginallyDa‐seinthereforehasitsthirdpriorityasanontic‐ontologicalconditionofallontologies.”(Heidegger11)

FormandVoid

Theworksoftenareverysortofformallooking,butIthinkthatwasneveranintention.Youknowit’snotthatI’mtryingtomakethestraightestlineorthemostbeautifulcurve,itreallycomesfromthethingthatI’mphysicallycastingandhavechosentocast,somaybetheformalismcomesfromtheactualspacesandtheinterpretationformebutnotfinallythesculpture.(Whiteread,Interview by John Tusa)

Whiteread’scastsaregenerallyunderstoodastheresultofcastingthespacesinand

aroundfoundobjects.Shestates,“I’vealwaysusedfoundobjects,thingsmadeforsimple

everydayusage”(Whiteread,Interview by Michael Archer).InYellowLeaf,thecastingof

spaceunderneaththistypicaldiningroomtable,resultsinseveralplasterblockswitha

simpleshape.Thereisassheexplainsa“formal”qualitytotheshapesthatresultfromthe

structureofthetable.Thereisadefiniterelationshiptoarchitecture,inwhichthemoldis

comprisedofsupportwalls,theceilingofthetabletopandthestructurallegs.Whiteread’s

manyothercastingoftheinsidesofbuildingsandvariousarchitecturalspaces,pointsto

herextensionofthisrelationship.

33

Ialsorecognizedtheformalqualityofthespacebeneaththetable.InAside,my

choicetoconstructthetableinsteadofusingafoundobject,affordedmetheabilityto

becomeanarchitectofthisspace.Thisapproachallowedmetousealltheformalqualities

inherentinthespaceunderneaththetableandorchestratetheminawaythatcontributed

totheviewerexperience.Iwasalsointerestedindistortingthestructureofthetable.Ithad

tobeasubtleshiftintheformtostillremainrecognizable.Inthisway,thetablebecamea

distortionofthefamiliar.

EveryelementinAsideisdesignedtodrawtheviewerintotheexperienceofthe

artwork.Theinwardandupwardmovementsdirectustotheconvergencepoint,thespace

betweentheinnermostpointsofthetabletops.Itisaprogression,startingwiththestable

outerlegsandacceleratesalongtheascendinglinesofthetable.Thetaperonthelegs

servestolightentheweightofthetable,creatinganupwardmomentum.Similarly,the

angleoftheskirtingdirectstheviewertowardsthecentralpointinthework.The

distributionofweightprogressesfromtheheavierouterlegsandbecomeslighteratthe

centre.Theshapeofthetabletopinvolvesaplayonperspective,wherethelinesuggestsa

recedingintotheconvergencepoint.Thecarvedbandsonthelegsarethetransitionpoint

tothetaperbutalsosetuparhythm,markingtheprogressionthroughthework.

ThesenseofmovementintheworkItrustdestabilizestheviewer.Myintentionisto

sweepthemupintotheexperienceofthework,creatinganembodiedresponse.Drawn

intotheconvergencepointofthework,thereisbothacompressionandthenexpansion

openingupontothesurfaceofthetable.Thisprocessisaimedatopeningaspaceofpause

andreflection.

34

ConclusionWhiletravellinginNovemberof2013,IencounteredCilindroConstuitro,asculpture

createdin1983byItalianSculptorArnaldoPomodoroinstalledattheSanFrancisco

Airport.

Fig.11:ArnaldoPomodoro,CilindroConstruito,1983.CastBronze,487cm(H)x45cm(W).SanFranciscoAirport.

Iwasdeeplyimpactedbythiswork.TheSolidityofArnaldoPomodoro’ssculpture

wastrulyimmense.Itsdelicateinteriorwasincontrasttothesolidityofthebronzeand

seemedtoheightentheimpactofitsmateriality.Bronzeisaheavymaterial;weightwasa

keyfactorinmyexperience.IidentifiedweightasanothercriticalelementthatIwantedto

emphasizeinmynextsculpture.CilindroConstuitroisasculpturefromwhenPomodoro

wasclearlyatthepinnacleofhiscareer.Forme,Isawitassomethingtoworktowards.

35

Fig.12:ArnaldoPomodoro,CilindroConstruito(Detail),1983.CastBronze,487cm(H)x45cm(W).SanFranciscoAirport.

Theheightenedimpactoftheimmensematerialityofthissculptureresultedinme

wonderingwhatimpactsolidityhasontheviewer?WhileIdidn’thaveananswer,Isensed

therewerelimitstotheimpactofsuggestedsolidityinmanyofWhiteread’sworks.

Unfortunately,Ihavenotactuallyphysicallystoodinthepresenceofanyofhersculpture.I

hadonlyexperiencedthemthroughreproduction.Theknowledgethatasculpturewas

hollowseemedtoemptyitofthepossibilityofperceivingitassolidagain.Iwasreminded

ofmyneedtomakerealoakstretcherbarsformypaintingsandIfeltthatimpliedsolidity

wasfalseandonlyhadlimitedeffectiveness.Iwasbeginningtorealizethatifsoliditywas

trulyimportantinmywork,itneededtobethere.

ThroughthisresearchandmyreflectionontheartworksofMarkRothko,Isamu

Noguchi,andRachaelWhiteread,Iamnowmuchmoreconsciousoftheimportanceofmy

ownengagementwithmaterials,theimportanceofscaleandthecraftofmakinginmy

artworks.ThroughreadingHeidegger’swritings,Iambeginningtoseehowbeing

groundedinthepresent,couldrevealknowledgeofself.Itrytoremainpresent,responding

tothephysicalmediumandflexibleinmyprocess.Inowunderstandthattoimmersethe

36

viewerintheexperienceoftheobjectrequiredmyownimmersionincraft.Thereisaunity

inasculpturethatiscreatedwithattentiontodetail.Myreductiveapproachisinthe

serviceofclarity,wheresimplicityofformfocusestheattentiononthecriticalideasinthe

work.

Fig.13:AmielLogan,Untitled(BlackWalnut),2014.BlackWalnutWood,95cm(H)x95cm(L)x38cm(W). Myfinalproject,Untitled(BlackWalnut),isasculpturaltablethatistheculmination

ofallmyideasintoasingleobject.Thereisacloseattentiontothealignmentand

proportionwithintheform,wherethespacearoundtheobjectisasimportanta

considerationasitsphysicalpresence.Therelationshipofformanditscompositionis

revealed,whereeachsurfaceisavisualrecordofitsconstructionandmaterialproperties.I

37

wasinterestedinemphasizingthesenseofunitywithintheworkthroughbuildinga

strongerrelationshipbetweenitsparts.Inthiscase,thetopvalanceandlowershelfarecut

fromapieceidenticaltotheuppersurface.

Theintroductionofthecurveintheshelf,valanceandturnedfrontlegsisan

attempttocreateamorebalancedwork.Thereisaharmonyinthesymmetrywhere

straightandcurvedlinesgentlypulltheviewerintotheexperienceofthesculpture.In

previouswork,myintentwastodestabilizetheviewerbutinthisnewsculptureIwanted

totryamoresubtleapproach,centeringandsettlingtheviewer.Inaddition,thesurfaceof

thewoodwasleftraw.Thisnewapproachaccentuatestheabsorbentqualityofthesurface,

puttingnothingbetweentheviewerandtheexperienceofthematerial.Asadeparture

frommyworkinAside,theedgesofUntitled(BlackWalnut)areallleftsharpandnot

softenedthroughsandingorroutering.Thesharpedgeshelptodefineandarticulatethe

spacesoccupiedandcreatedbytheobject.Thesespacesarechargedbecomingavoid.In

myexperience,thevoidcreatedbetweenthetopandthelowershelfseemstochannelthe

airandenergyoftheroom.Itismyintentiontocreateafeelingofbothexpansionand

stillnessinwhichtimeisperceivedashavingbeenstopped.Thisisnottheslowedtimeof

mypreviousworkbutasuspensionoftimeaimedatprovidingaspaceforself‐reflection.I

wasbeginningtorecognizetheartobjectsIcreatedoverthetimeofmyMastersstudies

wereusefulprimarilyasaspiritualtool.Theexperiencegeneratedinthepresenceofthe

objectwasthemostimportantcomponentoftheartwork.

38

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