Final Statement - to be used in show
Artist Statement 2 revisited
The direction of my practice has evolved into a visual exploration of reflective surfaces. My work investigates different view points in how we can interpret art, and how we see ourselves in relation to the work. The intention of my work and choice of medium is to question how we, read, and understand conceptual art. My investigations into the properties of domestic media address a specific trait that is unique to a given mass-produced material. By experimenting with the more phenomenological aspects of a material, my process develops through a kind of dialogue that leads to a specific repetitive action that builds the work. The breadth and diversity of the consumer landscape has expanded to such a degree that the supply of materials that can be adapted to an artistic context seems limitless. My work explores the idea that art can be manufactured, or that it can radically complicate, the standard notions of value attached to mass-produced objects.
Reflective surface material is explored in my art as a sculptural and psychological response. The reflections can often represent a different order of space, and light, a fragmented illusion, creating morphed duplicates. I often use this psychologically charged, metaphorically rich material as a tool of thought. In response to my work, my intention is for my art to be interpreted not only as a sculpture, reflective surface, and mass produced domestic material but also as a phenomenological experience. Which is a philosophical approach concentrating on the study of consciousness and objects of direct experience? Just how consciousness are we, of the object/sculpture, or reflective surface, compared to that of our own reflection and image.
Artist Statement 2 revisited
Kirsten Evans Level 6 Full Time
The direction of my practice has evolved into a visual exploration of reflective surfaces. My work investigates different view points in how we can interpret art, and how we see ourselves in relation to the work. The intention of my work and choice of medium is to question how we, read, and understand conceptual art. The work is presented, but also is the space in which it is situated. Reflective surface material is explored in my art as a sculptural and psychological response. The reflections can often represent a different order of space, and light, a fragmented illusion, creating morphed duplicates. I often use this psychologically charged, metaphorically rich material as a tool of thought. In response to my work, my intention is for my art to be interpreted not only as a sculpture, or surface, but also as a phenomenological experience. Which is a philosophical approach concentrating on the study of consciousness and objects of direct experience? Just how consciousness are we of the specific object/sculpture, or reflective surface, compared to that of our own reflection and image.
Kirsten Evans Level 6 Full Time Statement 1
Throughout studies my work has also been highly influenced by site specific artists and the many formations of art work associated with site/location/place/space. In my opinion I feel that site specific art, acts as a pedestal today, communicating through many mediums as an open invitation for the public to interact, react or involve themselves (physically or mentally). My work has often challenged the very ideas and concepts associated with the frame works and intentions of art, questioning the white cube gallery space itself. The importance of ‘site’ and, intention of ‘medium’, being it’s context or location in which it is located/placed or represented, often raises the question, who is an artist, what is art? Thus challenging our view point such as, the way we navigate, view or interpret the art as well as how we view ourselves in relation to the work. I have investigated how the medium of mirror is used in art not only as a sculptural response but as a site specific response. In my opinion the location and medium of my work re-defines how we approach/read, and understand the work, and look at the context of which the work is shown. The work is presented, but also is the space in which it is situated. In my use of mirrors, the mirrors represent a different order of space, a fragmented illusion, my intention is to physically move around the work, implying you are just as much aware of the physical work, just as much as you are of the work in relation to the moving body/viewer and the site/location.
Summary
What had begun as an exploration into mirror glass and the historical connotations and heighten psychological charge that that this metaphorically rich material holds, of which the Renaissance period owns a lot to the development and revival of cultural achievements including the Venetian glass mirror. This had expanded and developed into an investigation into reflective surfaces in art. In my research and practice I had played around testing and working with a multitude of materials, wood, roll on mirror, Venetian mirror, cork, polystyrene, blue Styrofoam. I had also been analyzing the repeated production and domestic use of concave and convex reflective material in our everyday life, such as hospitals, offices, stores, sun/reading glasses, motor vehicle use, security aid, magnifying glass, and light concentration. I had then quite accidentally started to play around with a box of drawing pins, and sometimes the best products can come from play. I began to pin the drawing pins together just on a simple piece of spare wood, I was astounded and impressed with this mini- microcosm convex structure and reflection. With the pins together, an illus ional, multiple, psychedelic effect is produced, reflecting the light, the site/location/surroundings, and the viewer from many different angles. I then began to produce larger scale pieces of work, for me it was about the material and its effect. I didn’t want my work to be seen as an object but an experience, a tool for looking. I wanted to encourage a relationship between the viewer, location, and angles of light. Although yes my work is built upon by a repetitive action and process that in fact builds the work, I did not want people to get lost in the mass production but of the experience and work itself. Also in my chosen use of mass production of drawing pins, I was questioning and challenging the idea that art can be manufactured or that it can radically complicate the standard notions of value attached to mass-produced objects is no longer a point of serious contention in contemporary debates. I think the new fertile territory, for myself at least, encompasses a range of practices that capitalize on the iconic identities of commercial and industrial materials by pressing them further into the realm of abstract seduction.
Here summed up well by Robin Irwin
“What appeared to be a question of object/non-object has turned out to be a question of seeing and not seeing, of how it is we actually perceive or fail to perceive “things” in their real contexts. Now we are presented and challenged with the infinite, everyday richness of “phenomenal” perception (and the potential for a corresponding “phenomenal art,” with none of the customary abstract limitations as to form, place, materials and so forth) – one which seeks to discover and value the potential for experiencing beauty in everything.”
-- Robert Irwin, Being and Circumstance: Notes Toward a Confidential Art
-- Robert Irwin, Being and Circumstance: Notes Toward a Confidential Art
For my work I feel that it’s all about the perceiving this material from a distance and close up and how the light interacts with it. I had decided to produce organic, cellular forms in my final productions of work, as these are parallel to how my work like organic things grow, so too, does my work in it’s physical production. Also the circular forms and layers/ or sculptural shapes to my pieces of work also mimic a similarity our solar system, the galaxy, the sun, life, and the earth. This was a decision I made to echo the historical western development of the reflective materials, and how it transformed the way human beings looked at the world. I think you even say it changed our relationship with the world forever, it juggled light, destabilizing vision, which greatly helped the arts, changing, and developed four major areas forever:
Investigation into optics
Art - destabilize the eye.
Science - enabled humans to see into space - successful in the development of powerful telescopes.
Human conception of themselves. Conceiving of self of separate human being, different from each other and in society, individualism, self being separate one from the other. Eastern culture when seeing one's reflection did not see self, but thought to have seen through the image into a inter spirit of soul. Just as once the Renaissance artists had used reflective material to bring attention to the art of looking, this also is my intention in my art. Seeing is a dynamic process. If we stare directly at an object for a long time, we cease to see it. Only if we change our angle of vision, sweeping the eye across the object, do we continue to see it. The reflections present contradictions in the order of space, which is unstable thus redefining our perception of the gallery space, and the work. Our encounter with objects in space forces us to reflect on ourselves, which can never become, ‘other’, which can never become objects for our external examination. . It is the notion that the object recedes in its self-importance, which is my goal for my final piece. My work is an experience that includes the object, your body, the space, light and the time of your experience. It’s all locked in together.
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