Bridging the gap between crafts, sculpture and fine art

Through my sketches, hand building, throwing, acrylics and outline work, i’m looking at the balance of work, determining the viewers angle, for myself and others to seek the tensions in my work. I’ll be looking at asymmetric balance, one large piece balanced by several smaller ones. It is possible to push the envelope of balance with asymmetry. A small visually interesting object can balance a much large less interesting object.

Megan Puls, very visually pleasing piece of work with delicate pieces. Unusual space and balance.

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I’ve started with a few large shapes that break up the background, keeping them different proportions for more interest. Then adding smaller shapes as I go, being careful to keep the overall image both balanced and interesting. I want to create a flow and rhythm in the composition. The shapes should look like they are placed in relationship with each other and not just randomly distributed.

By having an all round balanced piece, there will be several different directions of angles to look at it from. Being slightly heavier on the bottom. Even negative space has visual interest if nothing is used to balance something. With exact amounts and the correct placement

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Jiang Yanze, an artist from ahead of the curve exhibition in Bristol concentrates on assemblages of ceramic work after a kiln incident fused a stack of different vessels together, the fusion  looks as though an invisible force is holding them together. Although she creates objects of functional work, they lose their original usage within a new emerging form. In my work I may not create functional work, but i’m creating confusing and random forms that question what their functionality/environment could be. A sculpture, decoration, gallery, building site- scaffolding assemblage to hold the pieces together, within layers and balance of work. My work reassembles a rebirth of ideas, form and new life. As Yanze does, I hope to compose a life and a spirit within the material of ceramics. Giving it life through layers and connection. The scaffolding could be a restrain of how close people can be to he work, or a frame for people to step into.

A form that can also be altered and changed through personal preference. Within the viewers alternation, they can make a piece created by somebody else, their own piece of work in the way that they assemble and present the work. Whether they deform each piece and lay them next to each other, or layer them with balance.

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Phyllida Barlow strengthens my intentions of creating a  bold, and experimental collage of shapes forms and colours. Her unstable sculptures touch upon traditional sculpture. Barlows work never entirely finds their final resting place in the world, least of all in the gallery space, nothing is to be hidden, everything is transparent, unfinished, provisional, subject to change at any given moment. Her work hovers over the process art in the 60s with Eva Hesse. She believes the world is to do with a manifestation of things, and her work becomes to be a space invader, it’s interesting how to use the space, fill it, leave it.

 

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