MBBCManifest 2021 - IA3 Art As Alternate Matte

IA3 Art As Alternative Project — Inquiry phase 3 Art as alternate (General syllabus) Inquiry question: How do artists use artworks to communicate their own personal experiences and identity?

Context/s: Personal, Contemporary Media: Resin, Clay, Acrylic paint, Colour Photographs

Contents • Focus — Inquiry phase 1 • Annotated illustration of IA2 resolved work • Resolved work • Artist statement • Resolved work — display • Resolved work — details • Annotated illustration of resolved work • Supporting evidence

Focus — Inquiry phase 1 The focus for the future body of my work will be about how an artist’s experiences affect them, resulting in a personal perspective and understanding of the world which they inhabit. I intend to create work to help show an audience my emotions throughout my final year of school and how what I endure daily, effects my view on the world around me. Pushing limitations to what is considered ‘beautiful’ and ‘right’ in the society which we live to demonstrate my true self and to encapsulate feelings that I value. The innate quality of emotion and memory, summarised, will be the crux of my unit.

Annotated illustration of IA2 resolved work

Matte Dixon Reflection of Person? (2021) Acrylic Paint on Paper 180cm x 80cm

Resolved work

Matte Dixon Anatomical Construction of Self (2021) Resin, Clay, Acrylic paint, Colour Photographs

Artist statement Matte Dixon Anatomical Construction of Self (2021) Resin, Clay, Acrylic paint, Colour Photographs

Our personal experiences are truly unique to us. They create the foundation for the emotions and responses within our world. Experiences are what make us human, and unique. We can all identify with another human, hence the introduction of human bones and flesh, coated in personal symbolism. The placing of them on isolated tables, allows the viewer to witness my experiences and how they structure what I present to the outside world. Like a hand, I can touch and feel, but without the bones of my past, I would not be who I am today. A hand can’t function without bones, a person can't function without genuine experiences. The outside flesh of my hand its simple in its form, but the experiences which structure it, are truly unique.

Resolved work — display

Resolved work — details

Resolved work — details

Resolved work — details

Annotated illustration of resolved work Develop - Personal context: Artists use artworks to communicate their own personal experiences and identity.

- Personal Context: The concept of using knowledge, experience and viewpoints to create shared experiences and understandings of self and others.

- Experimenting in creative mediums (clay, resin) - Utilised space and unnatural materials to simulate organic material - Takes up real space and imitates life - Explores personal contexts and encourages broadening of skill, while remaining true to contexts Research - My key artists all had elements with use of their body (identifiable and relatable to all people) - Key artists also utilised real space by use of sculptures - Explore similar themes of self, experiences and how influence (See slide 12) Reflect - Small images and colours on the bones represent all emotions, and experiences which I find valuable. I also include things which other people find valuable and how that meaning translates to me - The translucent yellow give the hand an eery quality, and further disembodies it. Placing the audience in an awkward situation of Absence in Prescence (art concept). The hand does not belong, but its form does not change.

- The distancing of the tables separate the two pieces, expressing the idea that the hand is contextless without the introduction of its bones. Therefore, a human is contextless without introduction of experiences.

- The images on the walls further remove context and allow the viewer to perceive my experiences in their own way, creating an image of me which is more than just a physical representation.

All connected and compliment each other

Supporting evidence 1 – Key Artists Julie Fragar Piercing the Membrane (2011), bronze, polymer modelling clay 24.5 x 30 x 19cm Retrieved from JulieFragar.com, 2011 Robert Gober Untitled Leg (198990) 28.9 x 19.7 x 50.8 cm Beeswax, cotton, wood, leather, and human hair Retrieved from MoMA, 2021

Supporting evidence 2 – Planning/Research

Supporting evidence 3 – Practices with Pinkysil Casting Process/Experiments Silicon and resin.

Right hand was cast in Pinkysil, resin poured in with sand to compact and keep shape of mould.

Bones were hand moulded out of clay, fired, sanded and varnished.

Finally, taking pictures of pieces to print and frame. Followed by setting up Display.

Supporting evidence 4 - Display

References Julie Fragar Piercing the Membrane (2011), bronze, polymer modelling clay 24.5 x 30 x 19cm Retrieved from JulieFragar.com, 2011, https://www.juliefragar.com/2011 Robert Gober Untitled Leg (1989-90) 28.9 x 19.7 x 50.8 cm Beeswax, cotton, wood, leather, and human hair Retrieved from MoMA, 2021, https://www.moma.org/collection/works/81067