THE SCULPTURAL CONDITION (week 10)

Thursday 15th November

Project brief:

Sculpture is most typically associated with three-dimensional form, material manipulation and object making. In the latter half of the 20th century however, sculptural practice became increasingly inseparable from the space in which the forms were conceived and exhibited. Contemporary practice continues this spatial investigation and in this project, we will consider many concepts related to site-specificity and installation.

Your site-specific work will respond to and engage with the studio, or with permission, other sites at Archway. Creating site-specific works involves planning, mapping and organisation. Drawing, measurement and model-making are other frequently used techniques. Research into the history and social context of a site you use is also important. You will be allowed considerable scope for ambition—with there will be a risk assessment refresher.

Heading into uni today, I head the project brief and was looking forward to specialising in sculpture and the idea of interactive/performance sculptures have always interested me. I already had quite a few ideas and started looking at Andreas Zingerle's work which reminded me of Kasie Campbell. I particularly love Kasie Campbell as she uses materials that are dominated and associated with men- during the lecture, I kept her in the back of my mind. From the lecture, I was drawn to Lygia Clark as I love how her interactional work has no instruction yet invites audience participation; she invented the term “relational objects” and this concept really intrigued me and I was thinking how I could involve it my own work during the next few weeks.

Physical interaction has always attracted me to certain art as there is a sense of taking the art of the plinth and out of the gallery, almost allowing it to exist in our world instead of keeping it alien to the public. My communication is very much physical in the way that I’m attracted to sculptures and installations that allows the viewer to step into the artist's mind and physically pick up on their emotions and intentions.

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Part 2

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