Sketchbook 1, Page 6, 7, 8
So, taking us back to the 60’s where the artistic movement of Process Art was happening. The act of Human dynamics, action and movement can be just as much as a piece of ‘Art’ as well as the ‘Art’ itself. I feel any act of Expression is art. Whether its ‘good’, ‘bad’, ‘aesthetic’ or ‘non-aesthetic’.
Actions : Cutting, Hanging, Dropping, Organic processes of decay and decomposition growth, condensation, freezing…
Materials : Wax (&beeswax) Latex Felt, egg tempera, resin, glass
The most important thing for me throughout this project is documentation, as it should be, but especially to show the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings within my project. To show and in a way, prove the work that goes in the ‘Process’.
I started to look at abstract expressionists such as Jackson Pollock, his work interested me with how I could repeat his techniques into layering a ceramic object over and over again with glazes possibly with firings in-between and continue to see the end result alike to his paintings.
Eva Hesse is a huge character for leading the movement of Process Art. Her examination with mixed media is very influential, it also leads me onto wanting to start doing more wet photography within my project as extra layers of support and experimentation.
Whilst I was still interested in Process Art I looked at artists such as, Alice Stockwell, an MA graduate from Cardiff, Barry Le Va, Robert Morris and Claudi Casanovas.
Due to these huge characters and works it’s a lot of information, dipping into the/their different worlds.
As I have moved away from the topic of Process Art I still find it useful to dip back into artists work as support and inspiration for their free-thinking, alike to Dan Arbeid.
I started to look at Process Art in the first place due to my hand piece I made out of anxiety and frustration.
Firstly I wanted to start working from clay. So I let my hands do the work and created with these small pieces as a result.
Thumbs in the clay then cradling the body in the palm of both my hands.
Same again but now my fingers have dug into the back creating a ribcage effect.