4th Year Fine Art Painting Final Presentation of Work
Sinead McKillican K00143286 May 2020
CONTENTS CONTENTS
SECTION SECTION
ARTIST STATEMENT AIRTIST STATEMENT NSPIRATIONAL ARTISTS INSPIRATIONAL ARTISTS A REFLECTION ON A COLLECTION APRRELIMINARY EFLECTION ON A COLLECTION MINIATURE MAQUETTES PRELIMINARY PROTOTYPESMINIATURE MAQUETTES PROTOTYPES CAD (COMPUTER GENERATED DRAWINGS) OF PROTOTYPES CS ADTUDIO (COMPUTER SPACE GENERATED DRAWINGS) OF PROTOTYPES STUDIO SPACEOF PROTOTYPES IN LSAD EXHIBITION EXHIBITION ROTOTYPES ARTWORKOF ‘OPRANGE PEEL’INONLTSAD OUR @ HOME AC RTWORK ‘ORANGEGPENERATED EEL’ ON TDRAWINGS OUR @ H)OME AD (COMPUTER CON AD T (COMPUTER GENERATED DRAWINGS) OUR @ HOME RELEVANT READING MATERIAL
1 21 32 43 54 65 76 87 98 109 10 11
ARTIST STATEMENT
ARTIST STATEMENT ETERNAL OPTIMISM
Sinead’s practice involves the emancipation of simple geometric shapes (circles, squares, rectangles and triangles); ultimately transitioning formal 2D shapes into 3-dimensional minimal abstract relief objects. Explorations and investigations focus on Illusions / optics, scale, folds / pleats, 2D & 3D, harmony & tension, whilst other essential aspects of the work include rhythm, patterns, repetition, layering and composition. Simple and accessible materials play a key role in composing works that comprise of clean lines, reduced artistic vocabulary, simplicity of form and multiple facets. This work also explores colour, reflective materials, light, spatialisation and standardisation. The core of Sinead’s process involves the manipulation of shapes (materials) to achieve colourful playful 3-dimensional objects. This is achieved by utilising mainly folds, pleats and / or curves in the work, features that stem from intuition rather than a philosophical perspective. Ultimately these techniques offer not only an opportunity to transform ‘things’ but also to express one’s own individuality. Generally, the combination of distorted shapes with layering culminates in the ability to capture several facets of the work simultaneously. Facets either emerge during the creative process or arise due to the installatizon process. Hence permitting the exploration of what lies beyond; as expressed in the following quotes by Gerhard Merz; ‘Art gives us the chance to think absolutely idealistic beyond any pragmatic considerations; it is a statement of what life should be, and not what it is.’
The execution of this creative process is dependent on many factors including, but not exclusively: custom made tools, templates, paint, placement / positioning, photography, investigations and research. Initially objects created emerged from looking and seeing details that occupied the environment, however Sinead’s latter works were inspired by several artists, principally the Irish artist Patrick Scott and the Dutch artist Jan Maarten Voskuil. Other influential artists include Hermann Glöckner (Faltung I, ca. 1980), Robert Smithson (Mapping Dislocations, 2001), and Charlotte Posenenske (BlaueFaltung (Blue Fold, 1965). These are synonymous with folded reliefs / relief paintings and / or structures.
KEY ELEMENTS RELATINT TO THE EVOLUTION AND EXECUTION OF THE WORK: Research, investigations, explorations and experimentations of both mediums and materials are fundamental to the development of all work. Some works begin with basic outline drawings, others following the construction of tools, templates and / or maquettes, and other works evolve by chance. The scale of a work is often dictated by the materials selected. A multitude of materials have been explored in Sinead’s work including (but not exclusively), the following; flexi plywood (short grain), plywood, softwood timber, wood veneer strips, vacuum forming plastic sheets, a variety of metals, plastic paperclips / pushpins, recycled fluorescent tubes, led panel light diffuser, canvas, spray paint, acrylic paint, metallic paint, wax, varnish, primer, gold-leaf and a variety of cards and papers. Other materials are specified on sketches and CAD drawings (computer generated drawing). OBJECTIVE: The objective of the minimal and colourful abstract objects created is to stimulate optimism, an outcome wholly dependent on the viewer’s engagement with the work and the environment in which they are placed to be fully realised. Ultimately the objects created are just simply objects, yet an alchemical reaction occurs when the works are assigned a title; suddenly they seem to breathe life and develop a quirky playful personality. COLOUR: Colour plays a significant role in the work due to its ability to enkindles a variety of emotional reactions and sensations, while also energising and sustaining the work. Orange is a colour that remains a constant in the work. This effervescent colour inspires optimism and creativity. It is associated with joy, energy and happiness. Orange is also a spiritual colour, a colour often associated with Buddhist monks. It comprises a mixture of yellow and red, with yellow representing happiness and red representing energy. REFLECTIVE MATERIALS: Reflective surfaces also feature in the work as its inherent properties fuel a perpetual visual transformation, owing to environmental flux. Consequently with the work continually mirroring its environs the viewer’s perception of space, shadows and colours will also be in a state of constant flux. SCALE: Both scale and proportions are elements that are given careful consideration to create balanced and harmonious composition. Experiments to date have explored a variety of scales: small, medium and large. However, the scale of a work is guided by several external factors including the availability of suitable materials, space to work in, access to tools and finances etc.. While these factors may seem limiting, they also play a significant role in fostering creativity.
PLACEMENT: Placement is fundamental to the works as some compositions are dependent on light (natural and / or artificial) to traverse their surface and to transition their aesthetic. The result of which provides the viewer with an additional and unexpected illuminated visual. Consequently, the configuration of a composition and its placement is key to achieving the intended outcome. DOCUMENTING THE WORK: Documenting the work is an essential part of Sinead’s practice. Photographic (digital) records facilitate the potential for the work to be tracked, reviewed and analysed. OUTCOMES: Outcomes are driven by the desire to achieve a personal composition and aesthetic. Some works require the construction of custom-made tools, templates and maquettes in advance of the making of the work. Other works evolve simply through the physical engagement with materials. However the outcome of a work is not truly recognised until its placement and fortunately multiple outcomes can be achieved by repositioning the artworks. The celebrated artist Sol Le Witt was a master at producing ephemeral, reinstallation works producing multiple outcomes (e.g. ‘Wall Drawings’). Outcomes vary, some entities appear to float, some suspended while others infer light, illumination and or transparency. Each work embodies its own unique characteristics, some works are capable of being placed in a variety of locations (repositioned) while others hang on a wall similar to conventional paintings. Placement plays a significant role in the work; it according to Richard Artschwage ‘… generates a new experience for the viewer, a fresh reading / interpretation’. GOALS: The long-term plan is to continue to create simple colourful, light-hearted relief works that blur the boundary between painting and sculpture, works that can happily occupy and blend into a variety of architectural places and spaces. Works that stimulate the viewer to question the work, its placement and its intended message if any. It is anticipated that recontextualising the familiar, merging art and architecture will continue to trigger fresh ideas for new innovative works. The aim is to create visuals free from words and literal expression, visuals that stimulate optimism. Ultimately artists create work that is unavoidably an extension of themselves therefore the work is principally about the ‘self’, self-fulfilment, self-satisfaction and self-expression, as expressed by Matisse in the following quote, ‘Art as a personal expression...based on the intuitive synthesis of sensation from nature.’
ON REFLECTION: On reflection, several elements are continually at play within the work including colour, line, form, contour, illusion, shape and space. These elements play a key role in composing a composition aimed at achieving a personal aesthetic. Many works appear to emerge intuitively, some at variance, others harmonious; yet all worthy of exploration, a practice akin to the following extract from essay titled Colour, Time and Structure by Hélio Oiticica's: ‘…the geneses of the work of art is to such a degree connected to and experienced by the artist, that it is no longer possible to separate matter from spirit, because as MerleauPonty points out, matter and spirit are dialectics of a single phenomenon. The artist guiding and creative element is intuition as Klee once said, ‘in the final analysis the work of art is intuition, and intuition cannot be suppressed.’ (Essay in book titled: Colour After Klein, pg 168) Retrospectively much of the work created, exhibits characteristics associated with the Cubist Art movement, a movement that marked the beginning of the modern art movement. Similarities include geometric themes and the ability to view multiple facets simultaneously. The elusive entities created within Sinead’s work abandon ‘Traditional Painting’ styles and lean more towards ‘Expanded Painting’. This is a more dynamic approach to ‘art’ focusing not just on painting (if even) but on materiality, process and outcomes. The intention for the work is to achieve an aesthetic, a composition that deliberately alters the perception of space and provoke the viewer to interact with it. Happily this was the outcome achieved as was evident from the responses received. However it is acknowledged that for some the works are meaningless, while others may attain a unique visual experience. The intention for the work is similar to that referred to by John McLaughlin: ‘to communicate only to that extent that…’works‘…will serve to induce or intensify the viewers natural desire for contemplation without the benefit of a guiding principle’ It was the works of the Dutch artist Jan Maarten Voskuil that inspired Sinead’s final body of work in LSAD. Other inspirational artists included Hercules Barsotti (Brazilian), Carlos Cruz-Diez whose work focuses on Kenetic energy and colour, Lygia Clark (Brazilian) associated with the Brazilian Constructivist movement and Jesus Soto (Venezuelan) whose work dealt with pure abstraction, colour theory, and the dynamic between background and foreground. Other notable artists of influence include (but not exclusively): Dan Flavin, Donald Judd, Sol LeWitt and Robert Morris.
ARTIST RESEARCH (Most Relevant)
INSPIRATIONAL ARTISTS While I drew inspiration from many artists, two greatly impacted on my creative process; Irish artist Patrick Scott (1921 – 2014) and the Dutch artist Jan Maarten Voskuil (b. 1964). Each artist explores geometry in a dramatically different fashion and produced non-objective oeuvers that ooze exuberance and liveliness. While some similarities exist between the works of Scott and Maarten Voskuil many visual discrepancies are also apparent. Scott’s formal geometric work is serene and remains true to graphical representation of the shapes, the dominant shape being the circle. While Jan Maarten Voskuil’s work involves the manipulation of geometric shapes, predominantly the circle to create playful sculptural forms. The images below provided an intresting visual conection between each of the artists artworks.........different yet similar!!!!! WORK BY PATRICK SCOTT
Patrick Scott Meditation Series Tempera and gold leaf on ash 85.5 x 86.5 cm, (33.7 x 34.1 in.)
Patrick Scott Gold Painting 12.94 Gold leaf & tempera on unprimed canvas 96'' x 48''
WORK BY JAN MAARTEN VOSKUIL
Jan Maarten Voskuil Flat-Out Pointless Blue, Improved & Renewed, 2017 Acrylic on linen
Jan Maarten Voskuil Studio Sunset I, Painting 2012–2019 Acrylic on linen 70.75 x 47 x 12 in. (179.7 x 119.4 x 30.5 cm.)
BEAT ZODERER UM 5 ECKEN HERUM Installation View, 2017 Von Bartha, Basel Beat uses everyday items/materials (generally sourced from DIY shops), items with no sentimental value. He attempts to create order in the chaos. Work comprises of repetition, structures and colourful abstract compositions. Chance plays a large part of his work as too do imperfections and mistakes. Works include sculptures, large-scale installations, assemblages & collages explors shapes, colours and materials. Words to describe his practice include, constructivism, abstraction, colourful (bright), playfulness, minimalism, perception of space. SOL LE WITT Wall Drawing 462 Image: https://massmoca.org/event/walldrawing462/ Work conceptual art / Minimalism (Known for his wall drawings and ‘structures’) Mesmerising abstract works in both colour & black & white The versatility of scale is intriguing The combinatizon of shapes linear…geometric, curves...grids…add fantastic effects. Order among chaos Participation…. instructions…. Is the hand of each artist evident in the resulting works or not??? TOMMA ABTS Epko, 2002 Acrylic & Oil on Canvas 48cm x 38cm Winner of the Turner Prize 2006 Small scale, hard-edge paintings, each the same size (48 x 38 cm) in acrylic and oil paint. She neither has any preconceived idea of her finished piece nor does she use any source material to generate her work. HÉRCULES RUBENS BARSOTTI Nº 8, 1994 Acrylic on canvas on wood 33 1/2 × 33 1/2 in, 85 × 85 cm Work: Radical geometric works devoid of any trace of his hand or brush, simplified to the extreme. Linked to Concrete Art, Op Art, Latin American Art, Modern and Impressionist Art, Hard-Edged, Brazil, 20th Century Art, Math, Linear Forms, Line, Form, and Colour and Painting. Initially painted abstract works circa 1940 and later embraced some of the concepts of Concrete art yet never fully embraced its philosophies. Toward the late 1950 he joined the Neo-Concrete movement and began to create and exhibit work that manipulate space through subtle interruptions of the pictorial plane.
DANIEL BUREN Conceptual Artist) De travers et trop grand - bleu, 2013 Blue adhesive vinyl large (8,7 cm on white wall) Work: Encapsulates sculpture, installation &painting, Explores the relationship between art & its perception and Focuses on repetition, abstraction
HERMANN GLÖCKNER Faultung 1, 1967/75 Brass alloy, Ed. 6/6 - 21 x 56 x 20 cm Work: Minimalist Art, collage-like paper folding’s – folded cardboard panels examining the spatial potential of systematised & reduced geometrical forms. Faltung I is based on the diagonal folding of a rectangle that balances on the tip.
DAN FLAVIN Untitled (to Tracy, to celebrate the love of a lifetime), (1992) Pink, green, blue, yellow, daylight, red, and ultraviolet fluorescent light, Dim: Variable Work: Fluorzescent bulbs & industrial light fixtures, with consideration given to the following; Placement, Relationship with architectural spaces, Altering the viewers perception of space, Shadows and Dramatic colours
Charlotte Posenenske (Minimal and Conceptual & Modern artist.) Work in Progress (18 October 2019 - 8 March 2020), Museu d'Art Contemporani de Barcelona, Spain. Work: Investigates and explores: spatialization and standardisation of works. Modular sculptures / elementary forms and primary colorus, Works linked to their surrounding architecture. Concave and convex shapes.
A REFLECTION OF A COLLECTION
PRELIMINARY MINIATURE MAQUETTES
PRELIMINARY SKETCHES OF MAQUETTES
PROTOTYPES
STUDIO SPACE
EXHIBITION OF PROTOTYPES AT LSAD
ARTWORK ‘ORANGE PEEL’ ON TOUR @ HOME
COMPUTER GENERATED DRAWINGS OF PROTOTYPES
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.1 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour)
TITLE: FUN FOLD
SCALE 1:10 780
@ A3 780
780
1060
Front Eleva�on
Diagramma�c Views of Spray Painted Ar�st Paper MATERIALS · · · · ·
2No. SHEETS OF HAHNEMUHLE OULD-MADE PRINT PAPER (1060mm x 780mm (w) SPRAY PAINT: RUST-OLEUM HIGH GLOW FLOURESCENT MATT FINISH SPRAY PAINT: RUST-OLEUM METALLIC BLUE SPRAY PAINT GOLD ACRYLIC PAINT PEN (for use on exposed edges of paper), PAPER GLUE
PROCESS · · ·
SPRAY PAINT EACH SHEET OF ARTIST PAPER A DIFFERENT COLOUR, WHEN DRY, GLUE THE UNPAINTED FACES OF THE PAPER TOGETHER THEN FOLD THE PAPER AS INDICATED.
NOTE: PAPER RELIEF WORK INVESTIGATES CONTRASTING COLOURS, SHAPES & FOLDS. NEON & METALLIC SPRAY PAINTS PROVIDE A RICH STIMULATING AESTHETIC WHILE THE SUBTLE APPLICATION OF GOLD PAINT TO EXPOSED EDGES ADD AN ILLUMINATING QUALITY TO THE WORK.
Diagramma�c Views
Front Eleva�on
Side View
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.2 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour
TITLE: COPPER REVEAL
SCALE 1:10
@ A3
389
FABRIANO FINE ART PAPER (700mm (h) x 650mm (w)
PAPER MARKED-UP, INDICATING LOCATIONS TO BE OUTLINED WITH A GOLD ACRYLIC PEN.
530
HAHNEMUHLE MOULD-MADE PRINT PAPER (2No. SHEETS)
DIAGRAMMATIC VIEW OF COPPER SPRAY PAINT FINISH
DIAGRAMMATIC VIEW OF NEON SPRAY PAINT FINISH
CL PORTION OF COPPER PAPER REVEALED 50
Layout of Slit Loca�ons
Front Eleva�on
Diagramma�c Views
MATERIALS
35 17 17 17
330 280 230 190 150 110 80 50
· · · · · ·
MIRROR LAYOUT/ DIMENSION ABOVE
25 17 17 17
Layout of Slit Loca�ons (indica�ng dimensions)
CL
HAHNEMUHLE MOULD-MADE PRINT PAPER (530mm x 390mm (w) SPRAY PAINT: RUST-OLEUM HIGH GLOW FLOURESCENT MATT FINISH SPRAY PAINT: ‘CARAT’ CHROME EFFECT COPPER SPRAY PAINT GOLD-LEAF SHEET, SIZE AND SATIN VARNISH GOLD ACRYLIC PAINT PEN (For Use On Exposed Edges Of Paper) PAPER GLUE
PROCESS · · ·
SPRAY PAINT EACH ARTISTS PAPER A DIFFERENT COLOUR (NEON & COPPER) WHEN DRY CUT-OUT SLITS IN THE NEON PAPER REVEALING AS INDICATED THEN LAY THE NEON SLIT ARTISTS PAPER OVER COPPER ARTISTS PAPER TO CREATE A CURVED AESTHETIC REVEALING A SECTION OF THE COPPER PAPER AT THE BOTTOM PORTION OF THE WORK, AS INDICATED.
NOTE: WORK EXPLORES THE MANIPULATION OF HAHNEMUHLE MOULD-MADE PRINT PAPER. CURVED SURFACE FASHIONED WITH SLITS TO REVEAL SPACE BEHIND & PERMIT LIGHT TO RADIATE THROUGH AND ILLUMINATE THE BACKGROUND NEON AND CHROME EFFECT SPRAY PAINT PROVIDE A RICH STIMULATING AESTHETIC. WHILE GOLD PAINT WAS APPLIED TO EXPOSED EDGES TO ACHIEVE SUBTLE ILLUMINATING QUALITIES.
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.3 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour
TITLE: RETROFLEX
SCALE 1:10
@ A3
310
250
TREATED, SPRAY PAINTED AND VARNISHED MDF SUPPORT
PROFILED ALUMINIUM SECTIONS
1210
Front Eleva�on
Aluminium Sec�on
DIAGRAMATIC VIEW OF NEON SPRAY PAINT FINISH
MATERIALS · · · · ·
10mm THICK MDF SUPPORT (1210mm (h) X 310mm (w) 2No. COATS OF RUST-OLEUM, PAINTERS TOUCH SPRAY PAINT: BRIGHT ORANGE METALLIC PAINT 2 No. PROFILED ALUMINIUM SECTIONS (50mm WIDE) 70No. WOOD VENEER STRIPS (10mm (h) x 350mm (w)) 1No. COAT OF RUST-OLEUM, PAINTERS TOUCH CLEAR VARNISH
PROCESS · · ·
SAND, PRIME AND CLEAN MDF PRIOR TO APPLICATION OF SPRAY PAINT SCREW FIX ALUMINIUM SECTIONS TO MDF FIX WOOD VENEER STRIPS TO ALUMINIUM SECTIONS USING EITHER GLUE OR DOUBLE SIDED VELCRO TAPE (COLOUR WHITE)
NOTE: THE WORK COMPRISES OF NUMBER OF COMPONENTS CAREFULLY CONSTRUCTED AND ASSEMBLED TO REVEAL AN ELEGANT, FLUID PROFILED COMPOSITION. THE VIBRANT PAINT FINISH SELECTED FOR THE MDF BACKGROUND CONTRASTS DRAMATICALLY WITH ITS PROFILED FACADE, THIS NEON COLOUR WAS SELECTED TO STIMULATE OPTIMISM. THE FRONT ELEVATION SUBTLY REVEALS THE VIBRANT BACKGROUND AS IT PEEPS THROUGH THE OPENINGS BETWEEN THE WOOD VENEER STRIPS. THESE OPENINGS ALSO PERMIT LIGHT TO PASS THROUGH, A DESIGN FASHIONED TO ENABLE THE AESTHETIC OF THE WORK TO ALTER DUE TO THE FORMATION OF A VARIETY OF SHADOWS ASSOCIATED WITH ENVIRONMENTAL CONDITIONS. THE SHAPE CREATED FORM THE SHADOWS ARE REVEALED THROUGH THE SIDE VIEW OF THE WORK.
Diagramma�c Views
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.4 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour
TITLE: ORANGE AND GOLD ROLLY
SCALE 1:10
@ A3
700
650
50
CL
FABRIANO FINE ART PAPER (700mm (h) x 650mm (w) 11No. Equal Divisions PAPER MARKED-UP, INDICATING LOCATIONS TO BE OUTLINED WITH A GOLD ACRYLIC PEN.
650
FABRIANO FINE ART PAPER MARKED-UP
30
11No. Equal Divisions eq eq eq eq eq eq eq eq eq eq eq
CUT-OPEN VERTICAL LINES (Dashed Lines) TO REVEAL VIBRANT COLOUR WHEN PAPER IS LOOSELY ROLLED
GOLD-LEAF TO BE APPLIED TO CENTRE SHAPE AND SEALED WITH A SATIN VARNISH
Front Eleva�on Diagramma�c Sketch Indica�ng Proposed Layout
MATERIALS FABRIANO FINE ART PAPER (700mm (h) x 650mm (w) SPRAY PAINT: RUST-OLEUM HIGH GLOW FLOURESCENT MATT FINISH GOLD-LEAF SHEET, SIZE AND SATIN VARNISH GOLD ACRYLIC PAINT PEN (For Use On Exposed Edges Of Paper) PAPER GLUE
PROCESS · · · · ·
Diagramma�c Side View
MIRROR LAYOUT/ DIMENSION ABOVE
CL
DIAGRAMMATIC SKETCH INDICATING DIMENSIONS
· · · · ·
50
OUTLINE PAPER FRONT FACE SPRAY PAINT REAR FACE APPLY GOLD-LEAF TO UNPAINTED SURFACE AND SEAL CUT OPENINGS ALONG VERTICAL LINES, AS INDICATED ROLL FINISHED RELIEF AS INDICATED
NOTE: WORK EXPLORES THE MANIPULATION OF FABRIANO PAPER, CUTS AND VIBRANT COLOURS
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.5 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour
TITLE: THE PUSH & PULL OF TRIANGLES
SCALE 1:10
300
@ A3
300
300
300
5mm FLEXI PLYWOO (SHORT GRAIN)
425
5mm FLEXI PLYWOOD (SHORT GRAIN) CUT INTO 2NO. EQUAL TRIANGLES
10mm WIDTH TO BE PROTECTED WITH MASKING TAPE PRIOR TO SPRAY PAINTING
SPRAY PAINT FINISH COLOUR: METALLIC BLUE
SPRAY PAINT FINISH COLOUR: SUN YELLOW
DIRECTION OF GRAIN (V)
30
DIRECTION OF GRAIN (H) 10mm UNPAINTED SURFACE
75
SPRAY PAINTED SURFACE
30 x 100mm PLYWOOD BRACING ELEMENT TO SECURE TRIANGLES IN PLACE
FIT MDF BEADING TO CONTORT FLEXI PLY
CLEAR WAX TO BE APPLIED TO FINISHED WORK
Front View
Rear View
Plan View
MATERIALS · · · · · · · ·
5mm THICK FLEXIBLE PLYWOOD (SHORT GRAIN) 300mm (w) x 300mm (h) 5mm THICK PLYWOOD BRACING ELEMENT (3Omm (w) x 75mm (h) 2No. MDF DOWELS TO CONTORT RELIEF WORK (10mm Diameter) SPRAY PAINT: 'RUST-OLEUM' HIGH GLOW FLOURESCENT MATT FINISH SPRAY PAINT: 'QUICK COLOUR' MULTI-SURFACE PAINT (SUN YELLOW) WOOD GLUE RESIN CLEAR WAX
PROCESS · · · · · · · ·
SAND, CLEAN AND APPLY 1NO. COAT OF PROTECTIVE RESIN TO FLEXI PLYWWOD CUT FLEXI PLYWWOD INTO 2NO. EQUAL TRIANGULAR SECTIONS SPRAY PAINT FLEXI PLYWWOD WITH THE EXCEPTION OF THE AREAS INDICATED APPLY A CLEAR WAX FINISH FLEXI PLYOOD SURFACE SECURE TRIANGULAR SECTIONS TOGETHER BY GLUING A PLYWOOD BRACING ELEMENT TO THE UNPAINTED REAR SURFACE, AS INDICATED FINISH WORK WITH A CLEAR WAX FIX MDF DOWELS BETWEEN THE LONG LENGTHS OF THE TRIANGULAR SECTIONS TO CONTORT THE MATERIAL
NOTE: WORK EXPLORES THE MANIPULATION OF 5M FLEXI PLYWOOD (Short Grain) CURVED SURFACES FASHIONED THROUGH THE USE OF MDF DOWELS TO REVEAL SPACE BEHIND.
Diagramma�c Views Note: Choice of Colours May Vary)
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.6 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour
TITLE: ORANGE REVEAL
SCALE 1:10
610
10
@ A3
475
MDF BEADING
ORANGE VACUUM FORMING PLASTIC SHEETS
525
610
505 5mm PLYWOOD SUPPORT MDF BEADING
Front Eleva�on Plywood Support (5mm Thick)
2No. LENGTHS OF MDF BEADING
SECURE MDF DOWELS TO TOP AND BOTTOM OF PLYWOOD & SECURE ORANGE VACUUM FORMING PLASTIC SHEET TO PLYWOOD AS INDICATED
ORANGE VACUUM FORMING PLASTIC SHEETS (Other Colours are Op�onal)
610
450 350 300 230 170
EQ
120
CL
610
M IR ROR LAYO UT/ DIM EN SION ABOVE
50
14
18 EQ
22
26
30
70
Front Eleva�on
Front Eleva�on
Pre-Cut Flexi Plywwod (5mm Short Grain)
Indica�ng Elongated Oval Cut-out Loca�ons
DIAGRAMMETIC SKETCH OF SLIT LOCATIONS NOTE: SLITS TO BE CUT IN ELONGATED OVALS OVAL SLITS TO REVEAL BACKGROUND ELEMENTS
MATERIALS · 5mm THICK FLEXIBLE PLYWOOD (SHORT GRAIN) · 5mm THICK PLYWOOD SUPPORT · TIMBER BEADING (10mm) · ORANGE VACUUM PLASTIC FORMING SHEET (Other Colours are Op�onal) · MULTIPURPOSE GLUE · RESIN · CLEAR WAX PROCESS · PLYWOOD SANDED, CLEANED AND COATED WITH A PROTECTIVE RESIN FINISH · ORANGE VACUUM FORMING PLASTIC FIXED TO PLYWOOD WITH MULTIPURPOSE GLUE · FLEXI PLYWOOD MARKED-UP WITH ELONGATED OVAL SHAPES TO BE CUT-OUT · SAND, CLEAN AND PPLY PROTECTIVE COAT OF RESIN TO FLEXI PLYWOOD & FINISH A CLEAR WAX · SECURE MANIPULATED FLEXI PLYWOOD BETWEEN MDF BEADING, CREATING A CURVED PROFILE. NOTE:
Front Eleva�on & Diagramma�c Views of Relief Work
WORK EXPLORES THE MANIPULATION OF FLEXI PLYWOOD. CURVED SURFACE FASHIONED WITH SLITS TO REVEAL SPACE BEHIND & PERMIT LIGHT TO RADIATE THROUGH AND ILLUMINATE THE BACKGROUND. NEON REFLECTIVE FORMING PLASTIC PROVIDE A RICH STIMULATING AND ILLUMINATING AESTHETIC.
CL
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.7 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour
TITLE: CIRCLE SQUARED
SCALE 1:10
@ A3
600
Ø600
600
600 X 600mm PLYWOOD 600mm DIAMETER CIRCLE OUTLINE
2No. CORNERS TO BE REMOVED
DIAGRAMMATIC SECTIONS TO BE REMOVED
280
300
REMOVED COMPONENTS TO BE GLUED TO PLYWOOD REVERSING THE DIRECTION OF THE GRAIN AS INDICATED
FIX 2No. MDF BEADING SECTIONS TO PLYWOOD AS INDICATED
SECURE ALUMINIUM SECTION BETWEEN MDF BEADING AS INDICATED. (REFLECTIVE SURFACE)
300
300
Ø200
REMOVED CIRCLE REMOVE 200mm DIAMETER CIRCLE FROM THE CENTRE OF 5mm FLEXI PLY SHEET AND COVER WITH ORANGE VACUM FORMING SHEET NOTE: OTHER COLOURS ARE OPTIONAL
MATERIALS · 5mm THICK PLYWOOD 600mm (w) x 600mm (h) · 5mm THICK FLEXI PLYWOOD (SHORT GRAIN) 300mm (w) x 300mm (h) · ALUMINIUM 280mm (w) x 300mm (h) · ORANGE VACUUM FORMING PLASTIC SHEET 280mm (w) x 300mm (h) (OTHER COLOURS ARE OPTIONAL) · MDF BEADING (2NO. 300mm LENGTHS) · WOOD GLUE, PROTECTIVE RESIN & CLEAR WAX
SECURE CIRCLE TO ALUMINIUM AND SECURE 300 X 300mm FLEXI PLYWOOD BETWEEN MDF BEADING
PROCESS · PLYWOOD BOARD MARKED-UP AND CUT INTO A SQUARED CIRCLE AS INDICATED. · 2No. TRIANGLE CORNERS TO BE REMOVED · REMOVED COMPONENTS TO BE GLUED TO PLYWOOD REVERSING THE DIRECTION OF THE GRAIN TO · THE ORIGINAL BOARD, AS INDICATED · GLUE MDF BEADING SECTIONS, AS INDICATED · SECURE ALUMINIUM SECTION BETWEEN BEADING · REMOVE 200mm DIAMETER CIRCLE FROM THE CENTRE OF 5mm FLEXI PLY SHEET & COVER WITH · ORANGE VACUM FORMING SHEET · FIX ORANGE CIRCLE COMPONENT TO ALUMINIUM, AS INDICATED · SECURE 300mm SQ FLEXI PLYWOOD BETWEEN TIMBER BEADING · ALL TIMBER ELEMENTS TO BE SANDED, CLEANED, COATED WITH PROTECTIVE RESIN · APPLY CLEAR WAX TO TIMBER COMPONENTS NOTE: 3D RELIEF WORK EXPLORES THE MANIPULATION OF FLEXI PLYWOOD, CURVED SURFACES FASHIONED TO REVEAL SPACE BEHIND.
Front Elevation
Diagramma�c Views
DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.8 Note: Design Elements of the Work May Be ModifieD if Required e.g. Scale. Materials and / or Colour
TITLE: ORANGE PEEL
SCALE 1:10
@ A3
605 5 300
300
MDF DOWELS TO CONTORT FLEXI PLYWOOD
10 10
5
550mm DIAMETER MDF RING (10MM THICK)
285 R220
5
R220
575
R275
600
R220 285 FLEXI PLYWOOD (SECTIONS TO BE SECURED TO MDF RING
Front Eleva�on
Rear Eleva�on
SIDE VIEW
MATERIALS · · · · · · ·
FLEXI PLYWOOD (SECTIONS TO BE SECURED TO MDF RING 550mm DIAMETER MDF RING (10MM THICK) MDF DOWELS TO CONTORT FLEXI PLYWOOD
5mm THICK FLEXI PLYWOOD (short grain) 2 No. CIRCA 285 (h) x 300mm FLEXI PLYWOOD (short grain) 1 No. CIRCA 600 x 600mm FLEXI PLYWOOD (short grain) 1 No. 550mm DIAMETER MDF RING 10mm (Thick/Depth) 4No. 10mm DIAMETER MDF DOWELS (Circa 300mm length) TO CONTORT FLEXI PLYWOOD SPRAY PAINT: BRIGHT ORANGE METALLIC PAINT (RUST-OLEUM, PAINTERS TOUCH), 2No COATS
PROCESS ·
PLAN VIEW
· · · · · ·
SAND, CLEAN & APPLY PROTECTIVE RESIN TO 600mm x 600mm SHEET OF FLEXI PLYWOOD (SHORT GRAIN) MARK-OUT 425MM DIAMETER CIRCLE FROM THE CENTRE OF THE FLEXI PLYWOOD SHEET CUT SHEET INTO 3No. PARTS AS INDICATED PAINT THE CIRCLE WITH METALLIC PAINT (ORANGE) APPLY CLEAR WAX TO FLEXI PLYWOOD SECURE THE FLEXI PLYWOOD TO A CIRCULAR MDF RING (ORIENTATING THE GRAIN IN DIFFERENT DIRECTIONS) FIT 4NO. DOWELS BETWEEN THE FLEXI PLYWOOD AND THE MDF RING, AS INDICATED SO AS TO CONTORT THE FLEXI PLYWOOD
NOTE THIS WORK TRANSITIONS 2D COMPOMENTS INTO A 3DIMENSIONAL WORK, REVEALING MULTIPLE FACETS SIMULTANEOUSLY. MDF DOWELS TO CONTORT FLEXI PLYWOOD
Diagramma�c Views
COMPUTER GENERATED DRAWINGS OF PROTOTYPES ON TOUR @HOME
RELEVANT READING MATERIAL
Specific Objects, Donald Judd http://atc.berkeley.edu/201/readings/judd-so.pdf Shapes of Inhabitation: Painting in the expanded field, Mark Titmarsh https://www.academia.edu/1576105/Shapes_of_inhabitation_Painting_in_the_expanded_field Painting in an expanded field, An interview with Laura Owens by Robert Enright Border Crossings, Issue 147, August 2018 https://bordercrossingsmag.com/article/painting-in-an-expanded-field Painting in the Expanded Field, Gustavo Fares, Lawrence University http://www.janushead.org/7-2/Fares.pdf Painting Beside Itself, David Joselit http://www.ocopy.net/wp-content/uploads/2016/04/joselit-david_painting-beside-itself.pdf A Comment On David Joselit’s Painting Beside Itself, 19 Augusti, 2011 | Jan RydÊn https://janryden.wordpress.com/2011/08/19/a-comment-on-david-joselits-painting-beside-itself/ Rethinking Seriality in Minimalist Art Practices, Zhou, Y. H. (2015). Canadian Social Science, 11(7), 148-154. http://www.cscanada.net/index.php/css/article/view/7277 DOI: http://dx.doi.org/10.3968/7277 Politics of Installation, ZZBoris Groys (e-flux: Journal #02 - January 2009)Z https://www.e-flux.com/journal/02/68504/politics-of-installation/ Art School (Propositions for the 21st Century) Edited and with an introduction by Steven Henry Madoff. Chapter 4: Aesthetic Platforms Brendan D. Moran https://epdf.pub/art-school.html Minimalism and After II Daimler Contemporary, Berlin February 14 - May 18, 2003 Renate Wiehager Foreword https://art.daimler.com/media/2003_MaA-II_engl_22-5.pdf ZZZZ Pedestrian Colour, John Luna (Marlene Bouchard, page 2) https://marlenejess.ca/resources/ped1.pdf
Conceptual Art 1962-1969: Form the Aesthetic of Administration to the Critique of Institutions Benjamine H.D. Buchloh, October, Vol. 55 (Winter, 1990), pp. 105-143 (Jstor archive) http://www.professores.uff.br/ricardobasbaum/wp-content/uploads/sites/164/2019/04/1a_conceptual_art_1 962_1969.pdf Materiality as the Basis for the Aesthetic Experience in Contemporary Art, Christian Murdoch Mills, The University of Montana, 2009 https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2308&context=etd Art and Architecture: A Place Between, Jane Rendell http://www.janerendell.co.uk/wp-content/uploads/2009/03/Art-and-Architecture-prepublication.pdf Art of Perceptual Experience: Pure Abstraction and Ecstatic Minimalism by Alexandra, Munroe on April 4, 2009. Originally published in The Third Mind: American Artists Contemplate Asia, 1860–1989. © 2009. The Solomon R. Guggenheim Museum, New York. Used by permission. http://www.alexandramunroe.com/art-of-perceptual-experience-pure-abstraction-and-ecstatic-minimalism/ Painting Space Is the space of painting made by abstraction, illusion or the sculptural qualities of the canvas? Frieze Magazine, Issue 6, 1st published in Issue 6, Autumn 201 https://frieze.com/article/painting-space Jesus Rafael Soto http://www.sicardi.com/artists/jesus-rafael-soto The Value of Liveliness Painting as an Index of Agency in the New Economy, Isabelle Graw http://s3.amazonaws.com/arena-attachments/2405937/320ac8ed044bb5e9431ffea5f619af17.pdf?153116 8309 Grids, Rosalind Krauss, October, Vol 9, (Summer 1979), pg. 50-64 (Jstor archive) http://art.yale.edu/file_columns/0000/2996/krauss.pdf “Art and Objecthood” (1967), Michael Frie http://atc.berkeley.edu/201/readings/FriedObjcthd.pdf “Art and Objecthood” (1967), Essays & Reviews, Shapes as Form, Michael Fried, The University of Chicago Press .. https://smartnightreadingroom.files.wordpress.com/2015/02/michael-fried-shape-as-form.pdf
WALLWORKS: Looks at the medium of the installation & the concept of an artist's edition. Showcases a variety of different installation in a variety of different locations (opulent historic & contemporary / innovative spaces). 29 contemporary artists are referenced including Sol LeWitt, David Flavin, Frank Gehry etc. Including essays contextualize wall work DAIMLERCHRYSLER COLLECTION: February 2003, Minimalism and After II DaimlerChrysler AG and Renate Wiehager: Fascinating read looking at the seeds of minimal art and its effects, its origins and the type of works that emerged including sculpture, wall reliefs, paintings and drawings.
ABSTRACTION: Looks at the revival of abstraction in contemporary art, exploring formal, economic and social abstraction strategies.
COLOUR AFTER KLEIN: Explores the use of colour and provides an interesting insight into the emotional, conceptual and aesthetic significance of colour.
ABSTRACT AMERICA: Provides an insight into the recent world of American abstract art from a gallery point of view. It pays homage to 21st Century abstract artist by representing a
Edited and Produced by Sinead McKillican
May 2020 EXHIBITION OF PROTOTYPES AT LSAD