László Moholy-Nagy, a course leader at the Bauhaus, used mixed media and emphasised through paintings. His work was abstract, entirely Constructivist in their calculated use of a small number of simple geometric elements.
“The show is a survey of Hungarian, Bauhaus heavyweight László Moholy-Nagy‘s early preoccupation with a full sensorial education, creating what he hoped to be a truly synaesthetic pedagogical model that would help to decrease feelings of alienation.”
Considering the audiences we aim to call out for thought the work we produce through our own personal work as an artist or through the making of our sensorial story’s, Moholy wrote in his diary:
“During the war I became conscious of my responsibility to society and I now feel it even more strongly. My conscious asks unceasingly: is it right to become a painter at a time of social upheaval? Can I assume the privilege of becoming an artist for myself when everybody is needed to solve the problems of simply managing to survive? During the last hundred years art and life have had nothing in common. The personal indulgence of creating art has contributed nothing to the happiness of the masses.”
The reason I mention this is from a conversation between second years and Natasha at out Monday meeting at the Craft in Bay. Discussing the Sensorial Object exhibition and who the artists are communicating with and expressing. Do we keep our creations and expressions to our selves, for our own good? Or do we aim to communicate to others for a conversation between your art work and the individual? I believe a lot of art can relate to people as it may be a familiar material, smell, atmosphere, memory, and so on. It’s difficult not to relate to art. Even if that relation isn’t very strong their will be a connection some how. Arts purpose is to “render the invisible visible” as Klee once said.
As I am interested in the theme of palimpsest I hope to start developing a body of work in wet photography, photograms as you see in this post from the Bauhaus with different objects. But in this case, for my project, I will use my ceramic piece, focusing purely on the form and outline. To then use the photograms as possible enamels on the surface, with multiple layers to steep in history, that of their original forms and functions where it could almost, completely be obscured. Exploring the contradictions of memory such as Emma Rawson in The Sensorial Object. How memory can be built up in layers and changed over time. As an object may be changed through development, processing, constant reuse and change.