Unit 3: Art as Knowledge Investigation – inquiry phase1
Inquiry Question How canart aid in self-discovery through processing subconsciousemotions?
Introduction: My investigation is in response to my experience at Hemmant Quarry, in which I considered my reactions to this place and how I later processed these through art. While in this space, I subconsciously focused on the beauty and aesthetic of the natural environment, as well as that of the neighbouring cemetery. My experiments in response to the stimulus, which were primarily drawings of items or spaces that I found pleasing, allowed me to come to this realisation. This prompted me to consider how art can aid in self-discovery through processing subconscious emotions. Two artists that have been influential in my investigation are Joseph Cornell and Glen Skien. Both artists explore a range of concepts in a personal context, such as nostalgia and memory.
Key artist 1: Joseph Cornell Joseph Cornell was an American artist best known for creating shallow wooden boxes in which he assembled a variety of found objects. These artworks were commonly characterised by dream-like imagery and nostalgia, stemming from his interest in opera, ballet and Fine Art. Surrealism had a significant influence on Cornell, which is particularly evident in the juxtaposition created by his placement of objects (DiTolla, 2012). Cornell often collected items from New York thrift stores and flea markets, as well as cutting them out from magazines. He stored his immense collections in folders, which he called, “A clearing house for dreams and visions” (Laing, 2015). When creating his box artworks (or ‘shadow boxes’), he often built the frame himself and aged the wood with layers of paint and varnish. Cornell chose and assembled objects in each box based on how they conveyed the feelings he experienced whilst wandering through New York, such as nostalgia. Joseph Cornell’s Surrealist work Cassiopeia 1 is a shadow box containing a scrapbook-like arrangement of objects. Cornell explores his interest in outer space by including objects such as images of constellations, a white ball resembling a moon and an image of Taurus. The representation of outer space carries connotations of alienation. This alludes to Cornell’s reserved nature. He creates a sense of depth by implementing black as the background colour and using white in the foreground, successfully prompting audiences to feel as though they are viewing another world. The use of muted blue and grey tones suggests a melancholy feeling, potentially reflecting Cornell’s emotional state at the time. This artwork was created in 1960, during which his mother and brother experienced a decline in their health. Cornell’s exploration of outer space and otherworldliness in his artwork indicates discontentment with his life, as well as a subconscious consideration of what comes after death (Senior, 2017). Cornell’s use of found objects to represent dream-like states is relevant to my investigation in that it links closely to exploring the subconscious. As can be seen in Cassiopeia 1, the artist’s work primarily reflects his interests and feelings. This is something I want to represent in my work in order to explore my psychology.
Key Artist 1: Joseph Cornell
Cassiopeia 1, 1960
Wood, metal, paper, glass, box construction
Key artist 2: Glen Skien Glen Skien, an Australian artist based in Brisbane, has been greatly influential in my investigation. He is well-known for his box works, which are small tin boxes that contain mysterious items and found objects. He also creates art through printmaking, etching, and collaging, often combining these techniques. His work is influenced by the sensory experience of living in an inner-city environment (Nash, 2010). Skien collects a variety of objects, such as photographs, envelopes, feathers and old books, which he uses as both inspiration for and materials in his work. His practice is closely linked to Joseph Cornell’s work, as they both manipulate and compartmentalise found objects. The idea that objects have their own history and memories attached to them is explored throughout Skien’s work (Nash, 2010). Another constant in his artwork are the symbols that resonate with the artist, including birds and umbrellas. His art practice involves maintaining a sense of ambiguity, which allows audiences to form their own interpretations. Glen Skien’s work All of the things I could have told you about birds 1 is a collage work housed in a tobacco tin. The brown tones of the artwork convey a time-worn, historical aesthetic to viewers, suggesting that the objects in the work have a rich history. This also creates a sense of nostalgia and invites viewers to apply their own experiences to interpret Skien’s work. The bird takes up the majority of the tin, making it the central focus. Through this, Skien communicates how he connects to birds because of their functionality and “exquisite” nature (Nash, 2010). Skien has created the bird using paper, and the fragility of this material suggests that he views birds as precious and in need of preservation. The bird represented in this artwork is a North Queensland honeyeater, suggesting that Skien has a strong connection to where he grew up in Mackay. Similar to Cornell, Skien’s use of found objects and collage allows him to explore the meaning attached to these items and the concept of nostalgia. I have been inspired by his practice, and I intend to collect objects and combine numerous techniques in the artmaking aspect of my investigation.
Key Artist 2: Glen Skien
All of the things I could have told you about birds 1, 2010 Collage and resin in tobaccotin
Experimental research My experimental research had a personal context focus, in which I explored my interests and personal objects as an integral aspect of my psychology. Through taking this approach, I found that emotions and feelings I had not previously been aware of began to surface in my work. I was able to make connections between my interests and subconscious emotions. I created two experiments that draw on techniques and concepts explored by Joseph Cornell and Glen Skien. To emulate Joseph Cornell’s dream-like imagery and exploration of found objects, I created a shadow box. The cardboard box was spray-painted a dull bronze to convey a historic, nostalgic aesthetic. This also served to engage viewers, as the metallic paint reflects light in an eye-catching manner. I utilised a variety of objects I had previously collected such as books, crystals, wrapping paper and magazine clippings. I abstracted book pages and patterned wrapping paper by tearing them into pieces and rearranging these within the cardboard box. The contrast created from the placement of the darker turquoise paper over the beige book pages generated a sense of depth within the box. I further manipulated this by hanging a crystal in the centre of the box, providing viewers with a focal point. I initially created the shadow box by considering my interest in aesthetic objects but later realised that my selection and placement of objects revealed my subconscious thinking. The torn book pages and patterned wrapping paper are representative of how I value both logical and idealistic thinking. These two opposing aspects of my psyche create conflict within my everyday life, as I hold both in high esteem but struggle to focus on one when making important decisions, such as career choices.
In my second experiment, I continue to explore subconscious emotions in a personal context. I was inspired by Glen Skien’s use of collaging to create a series of three small collages. I also drew on his use of found objects and practice of combining techniques, as I combined collaging with drawing. Similar to my first experiment, I used old book pages as a background onto which I layered magazine clippings. I then shaded the outline of each magazine clipping with a black pencil to create contrast and make the images stand out. The images I collected were those that I perceived as aesthetically appealing, and I later realised I had subconsciously grouped them to reflect certain emotions and feelings. For example, the second collage explores my absentmindedness through symbolic imagery. I often find myself lost in thought, which means I become disconnected from the world around me. Once I discovered this hidden layer of meaning within my selection of images, I drew a circle of birds floating above the figure’s head to emphasise this sense of dissociation.
Experimental research Experiment 1 Mindscape, 2019 Collage, pencil, wire and carboard box construction
Experimental research Experiment 2 Dreamscape, 2019 Collage, pencil and ink on paper
Conclusion Joseph Cornell and Glen Skien have been greatly influential in my investigation into how art can be used to explore subconscious emotions. Both artists manipulate a variety of found objects using techniques such as collaging to create dream-like scenes. I have drawn inspiration from their approaches in my experimental research, which enabled me to gain a deeper understanding of my psychology. I created my experiments by exploring my personal aesthetic and discovered that this loose approach to artmaking allowed me to unknowingly process subconscious emotions. I explored interesting aspects of my psyche I had not previously given much thought to, such as my absentminded tendencies and how I struggle to choose between logical and idealistic thinking. I intend to continue exploring how subconscious emotions emerge in art by conducting further experimental research into my personal interests. I aim to choose a particular subconscious aspect of my psyche that surfaces during my experimentation as a focus for my body of work.
Bibliography artnet, n.d. Joseph Cornell. [Online] Available at: http://www.artnet.com/artists/joseph-cornell/biography [Accessed 31 October 2019]. DiTolla, T., 2012. Joseph Cornell Artist Overview and Analysis. [Online] Available at: https://www.theartstory.org/artist/cornell-joseph/ [Accessed 31 October 2019]. Laing, O., 2015. Joseph Cornell: how the reclusive artist conquered the art world – from his mum’s basement. [Online] Available at: https://www.theguardian.com/artanddesign/2015/jul/25/joseph-cornell-wanderlust-royal-academyexhibition-london [Accessed 29 October 2019]. Nash, E., 2010. Depth and Ambiguity. Alter - Glen Skien. Niamh Senior, 2017. Joseph Cornell Analysis – Cassiopeia 1. [Online] Available at: https://niamhsenior.wordpress.com/2017/04/21/joseph-cornell-analysis-cassiopeia-1/ [Accessed 5 November 2019].