Art as Knowledge - Phase 2_Ruby T 2021

Year 12 Ruby T Art as Knowledge Phase 2

Project inquiry phase 2 Contents • Focus from Inquiry phase 1 • Resolved work:

Layers of identity 60 x 80 x 46 cm Card, projected image Driving to your identity 12.5 x 9 x 6cm Nuts, bold, washers, crap pieces of metal and copper wire o Artist’s statement o Display view o Individual pieces

• Documentation:

o Annotated details of the resolved artworks including: developing and reflections. o Supporting evidence including: experimental works and researching.

Focus – inquiry phase 1 The focus for my body of work is how identity is communicated through use of media in art. Internal and external aspects of a person’s life influence the development of their identity. Factors include: life experiences, relationships, interests and surrounding environment.

Identity as a concept is defined as “the distinguishing character or personality of an individual” (Merriam-Webster 2021). Family and loved ones are often the most significant influencing factor in an individual’s life (Y Studios 2020). Growing up, people reflect back on their family for support and advise, aiding in the establishment of the foundation of identity. Serious romantic relationships can greatly underpin the changes in the concept of self. Relationships bring positive and negative influences having the potential for individuals to gain or lose traits dependent on the new influential person in one’s life (Y Studios 2020). Personal interests and hobbies often reflect how an individual see’s themselves, reflecting core components of their identity (Y Studios 2020). The last key element that influences the evolution of identity is life experiences. Trauma or distress evident at a young age can negatively shape identity, however overcoming the negativity aids in the development of resilience (Y Studios 2020).

Artist Statement Layers of identity 60 x 80 x 46 cm Card, projected image

Driving to your identity 12.5 x 9 x 6cm Nuts, bold, washers, crap pieces of metal and copper wire

Identity is a complex idea of what characterises a person as themselves. Several influencing layers in an individual’s life affect the evolution of identity. My body of work explores a variety of determinants which have influenced the development of my Dad’s identity.

‘Layers of identity’ depicts the array of relationships he has built with people and interests which have sparked these relationships. The card cut-outs are depicted as background layers, granted photos are projected over the top, casting patterns and shapes onto the pieces of black card. The projection alludes to how underlying factors influencing an individual’s identity are not always clear and are often clouded by exterior appearance. To further develop the individuality of my Dad’s identity, a motorcycle was made out of his personal collection of nuts and bolts to create a physical connection to his interests and hobbies. Both works explore the multi-faceted concept of self, depicted through layers of influences, both internal and external.

Resolved Work – Installation • Display View

Layers of identity 60 x 80 x 46 cm Card, projected image

Resolved Collection of Work Layers of identity 60 x 80 x 46 cm Card

Resolved Collection of Work

Layers of identity 60 x 80 x 46 cm Card

Resolved Work – Sculpture

Driving to your identity 12.5 x 9 x 6cm Nuts, bold, washers, crap pieces of metal and copper wire

Annotated Details of the Resolved Artworks Developing: Personal context – inspired by my Dad’s interest in motorcycles and hobby of making and doing up car and motorcycle parts. The design is based off an old Triumph motorcycle he owned where the capped nut represents the headlight.

My focus on identity was communicated through the exploration of how identity is developed through personal interests.

Reflecting: The pieces of metal are my Dad’s personal belongings, creating a deeper sense of recognition to his hobbies, interests and life experiences.

The bright copper wire contrasts against the dull coloured metal.

These twisted and wound copper wire pieces reflect the connections with people and the development of my Dad’s knowledge which have influenced and enabled the development of his identity. The shadow of the bike depicts what the outside world sees, however, the bike itself reflects the complex making of his identity.

Researching: Shigeo Fukuda’s illusion shadow art ‘Lunch With a Helmet On’ (1987) explores this idea of how a complex assemblage of materials can depict a shadow of something recognisable to society.

Jack N’s ‘Mini Harley 3 Sculpture’ (2021) utilises nuts, bolts and other pieces of scrap metal to create a motorbike sculpture.

Driving to your identity (details) 12.5 x 9 x 6cm Nuts, bold, washers, crap pieces of metal and copper wire

Developing: Personal context – inspired by relationships my Dad has developed over years and interests which have influenced his identity.

‘Layers of Influence’ depicts the multifaceted concept of self where the multiple cut-outs represent the several layers of influence which contribute to the evolution of an individual’s identity. Shadows cast upon each of them represent connection between each layer. Primary sourced materials such as bark and photographs enable the development of further connection to the personal context of identity.

Researching: Sandy Smart’s ‘Family Tree House’ (1993-2003) explores the use of light to cast shadows, creating an abstract depiction about the meaning of the world. The shadows highlight the multiple lines, shapes and colours of the fabric pieces, reinforcing the assemblage of parts used to make the composition.

Reflecting: Utilising the dark card to create the cut-outs was effective at highlighting the projected shapes and designs of the photograph. At first the pictures were placed at the back of the installation as a background, however, this prevented the photos to be easily recognised.

The variety of cut-outs depict relational influences, environments and interests to explore the focus of identity.

Layers of identity (details) 60 x 80 x 46 cm Card, projected image

Supporting Evidence • Preliminary studies - experimentation

Initial experimentation with types of wire and thicknesses. This informed the conclusion that even though the copper wire was thicker, it was more malleable and also contrasted against the grey steel – proving to be the preferable wire.

Preliminary manipulations of materials, techniques and processes to communicate identity focused more on a 2D representation of layers of influence. This later developed to installations to further explore each layer through the use of lighting and shadows while portraying a physical sense of each layer of influence.

Drawing and layering over pictures to create more depth and evoke more emotion.

Initial experimentation of shadow installation. Later decided to project photographs onto the cutouts to provide a clearer image.

I initially started to copy photos of places my Dad has been through drawings, however, later realised I would like to explore the use of primary sourced photographs to create a deeper personal connection.

Supporting evidence Sally Smart’s installation ‘Family Tree House’ largely influenced the development of my work ‘Layers of identity’. Smart’s artwork explores the internal and external aspects of the world, depicted through the layers influencing the evolution of an environment.

Smart’s exploration involved the details of clothes, housing, furniture and landscape. The overall assemblage creates an abstract interpretation of the meanings of the world.

Sally Smart’s work inspired me to cut materials into shapes and hang them to explore the physical depiction of layers of influence and utilising light to cast shadows.

I explored the layering of shapes and materials including leather, felt and woven material to communicate environmental factors which may influence the development identity.

This process used to communicate the factors behind a multi-faceted concept was continued in my work ‘Layers of influence’.

Sally Smart, ‘Family Tree House (Shadows and Symptoms)’(above), synthetic polymer paint on felt and fabric with collage elements, 1999-2003, SOURCE: <https://www.sallysmart.com/cms-work/family-tree-house-2000-2005/index.phps>

Supporting Evidence Similarly to Fukuda’s work, as I progressed in the making process of my motorcycle sculpture, I added old scrap pieces of metal and elements that would not actually be found on a motor bike.

Shigeo Fukuda’s illusion shadow art was my main inspiration for the idea of what is reflected to society is not always what is happening internally or what has made that shadow to develop. Fukuda’s work ‘Lunch With a Helmet On’ (1987) made from forks, spoons and knives casts a detailed depiction of a motorcycle despite the structure being composed of trash.

Concept Behind Work Fukuda often utilises objects and materials which are completely unrelated to the shadow the instillation casts.

His idea is to first draw the viewers’ attention to the odd use of materials, then make the connection to the shadow. In my sculpture, I explore this concept of how what people think they see may be different to the reality. Despite the more simplistic identity society perceives, there are often different influencing factors in the evolution of an individual’s identity. The complexity of influences on one’s identity is portrayed in my sculpture through the variety of sizes and forms if metal.

Shigeo Fukuda, ‘Lunch With a Helmet On’, (above), sculpture made of metal utensils, 1987, SOURCE: <https://www.spoon-tamago.com/2015/08/03/illusionistic-shadow-art-by-shigeo-fukuda/>

Use of Materials The materials used do not allow for a realistic depiction of a motorbike, however, still convey the idea of a bike.

The use of a variety of junk and scrap metal pieces enables the formation of a complex, abstract sculpture. The process of manipulating wire by weaving and twisting pieces around objects portrayed a more detailed shadow. This is evident on the handlebars, where copper wire has been twisted around thick steel wire to outline the grip. Adding thin pieces of wire and intricate manipulation of materials is similar to how Fukuda developed comprehensive details in the shadow through the variety of materials used.

Supporting evidence

Jack N, ‘Mini Harley 1 Sculpture’(below, left), ball bearings, sheet metal, bolts, nuts, bike chains, cable, 2021, SOURCE: <https://www.etsy.com/au/listing/179535169/miniharley-1-sculpture?ref=shop_home_active_19>

The materials Jack N, owner of Metalsoulsusa utilises in his metal sculptures influenced the making process of my work ’Driving to your identity’. Jack’s abstract portrayal of motorbikes in ‘Mini Harley 1 Sculpture’ and ‘Mini Harley 3 Sculpture’ through the use of nuts, bolts and other pieces of metal influenced the selection and placement of materials used in my works.

Jack N, ‘Mini Harley 3 Sculpture’(above, right), ball bearings, sheet metal, bolts, nuts, bike chains, cable, 2021, SOURCE: <https://www.etsy.com/au/listing/179522362/miniharley-3-sculpture?ref=related-2>

Jack’s selection of materials had a significant influence on my sculpture to further develop identity in a personal context where my Dad’s belongings were utilised to create a sense of recognition and connection.

I used nuts and bolts positioned similarly to ‘Mini Harley 3 Sculpture’ to represent elements of the engine.

References Merriam-Webster, (n.d.). “Identity”: Merriam-Webster. https://www.merriam-webster.com/dictionary/identity Y Studios, (2020, July 2). “What Factors Really Influence Identity?”: Y Studios. https://ystudios.com/insights-people/influence-onidentity#:~:text=Identity%20formation%20and%20evolution%20are,sel f%2Dexpression%20and%20life%20experiences.