{"id":1521,"date":"2019-03-23T15:16:14","date_gmt":"2019-03-23T14:16:14","guid":{"rendered":"http:\/\/www.ian-latham.com\/blog\/?p=1521"},"modified":"2019-03-23T15:16:14","modified_gmt":"2019-03-23T14:16:14","slug":"how-i-look-at-sculpture-the-same-way-that-i-make-it","status":"publish","type":"post","link":"https:\/\/www.ian-latham.com\/blog\/2019\/03\/23\/how-i-look-at-sculpture-the-same-way-that-i-make-it\/","title":{"rendered":"‘How I look at sculpture (the same way that I make it?)’"},"content":{"rendered":"

some thoughts about making and looking<\/em><\/strong><\/p>\n

The Yorkshire Sculpture International takes place in June 2019 in four venues and across two cities, Leeds and Wakefield. Each of the venues is interpreting a ‘provocation’ by Phyllida Barlow – \u201csculpture is the most anthropological of the artforms\u201d. At the Aesthetica Future Now symposium – 7th<\/sup> and 8th<\/sup> March 2019 \u2013 Jane Bhoyroo, Producer of YSI, delivered a session in which she referred to the Hepworth Wakefield concentrating on ‘Material Literacy’ in their interpretation.<\/span><\/span><\/p>\n

At the symposium I had a portfolio review with Bhoyroo in which I showed photographs of some of my sculptures \u2013 the Ptolemy’s Garden series [link to gallery, put a picture in!] \u2013 that are made from used or waste materials. In this case an old bathroom floor and a randomly torn and re-purposed set of drawings. During this review I was confronted with the need to explain the gestation of the sculpture, which inevitably led to talking about the materials they are constructed from. In this case the connection between the source of the material and the finished work is quite clear, they are built, in part, from flooring removed from the bathroom which is broken and used to represent views of the garden. The cat, Ptolemy, is present as part of the material, as are myself and my wife, having walked on and interacted with the flooring and also as a memory alluded to in the representation.<\/span><\/p>\n

\"Ptolemy's<\/a>

Ptolemy’s Garden 1<\/p><\/div>\n

It strikes me that there are a series of questions asked consciously or unconsciously when contemplating a sculpture, does it represent, how does it occupy space, what does it feel like, does it have a front view, should you be inside it or more distant from it? Does it want you to touch it, and do you want to touch it? Does it confront or invite? Should these questions be asked and perhaps answered before any sense of meaning is addressed, or is meaning inevitably a precursor to, or at least concurrent with the approach to the object? Essentially the language we use parses from Pestalozzi’s schools through Elizabeth Mayo’s Lessons on Objects to the Bauhaus courses of Moholy-Nagy. We are asked to learn the formal elements of art through experiential encounters with materials and through analysis of these encounters develop a language to describe them. <\/span><\/span><\/p>\n

I continually question myself about these resonances in the things I make. Whilst they are obviously necessary in the making of the object are they at all significant in the understanding of the object for the audience? Is too much explanation an attempt to cover a weakness in the work and\/or does it add to the viewers appreciation of it? Given that the work is addressing a memory that is specifically mine, does revealing this disavow a more personal response, a different evocation, from a viewer? <\/span><\/p>\n

\"Three<\/a>

Three Graces Hexthorpe 2012<\/p><\/div>\n

Ann-Sophie Lehmann quotes Moholy Nagy in her<\/span> <\/i>2017 essay in<\/span> <\/i>Bauhaus Zeitschrift – ‘Material Literacy’<\/span><\/span><\/p>\n

\u201cEveryone is equipped by nature to receive and to assimilate sensory experiences. Everyone is sensitive to tones and colours, everyone has a sure \u2018touch\u2019 and space reactions, and so on. This means that everyone by nature is able to participate in all the pleasures of sensory experience, that any healthy man can become a musician, painter, sculptor, or architect, just as when he speaks, he is \u2018a speaker.\u2019 That is, he can give form to his reactions in any material.\u201d <\/i><\/span><\/span><\/p>\n

she goes on to state that ‘this quote summarizes the core of L\u00e1szl\u00f3 Moholy Nagy\u2019s seminal book Von Material zu Architektur. Published in 1929 in the Bauhaus series and translated with revisions into English as The New Vision a couple of years later .Lehmann, A. 2017. Material Literacy. Bauhaus Zeitschrift . Nr 9 (“Substance”), pp. 20-27<\/span><\/span><\/span><\/p>\n

She suggests there is ‘…<\/span><\/span>a collective urge to grasp\u2014 intellectually and physically\u2014the substances of which this world and the things within it are made. This urge is channelled into a call for material literacy, a term that denotes a broad sensitivity to materials and their diverse meanings<\/b><\/span><\/span>. Lehmann (2017)<\/span><\/p>\n

Starting with this need to think and to feel the things the world is made of, sculpture should thus be <\/span><\/span>designed<\/i><\/span><\/span> to be touched intellectually and physically, rendering it at least transient if not ephemeral. [<\/span><\/span>There is an aside here about curating ‘experiences’ rather than exhibitions and the development of \u201crelational aesthetics\u201di<\/sup><\/a> in driving cultural experiences.<\/i><\/span><\/span>] <\/span><\/span><\/p>\n

Lehmann discusses the tangibility of materials bent to a purpose through the design process in line with Moholy-Nagy’s Bauhaus course which ‘created a unifying experience through the exploration of materials. The interaction with a wide variety of materials\u2014 wood, glass, metal, wool, paper, etc.\u2014enabled students indeed to \u2018form experience in any material\u2019 and resulted in countless Materialstudien (material studies), only a couple of which survived.’ She goes on to state that ‘Moholy-Nagy\u2019s manifesto-like style reads like a blueprint for contemporary discourses on sustainability and their inherent intentions to change the world for the better. This ideal (prone to abduction by commercial interests) often resurfaces when materials are at stake. Materials, of course, are always at stake, because everything in and around us is material.’ Lehmann (2017)<\/span><\/span><\/p>\n

\"\"<\/a>

Three Sculptures 2004<\/p><\/div>\n

My inarticulacy around making is apparent and it has taken me a couple of weeks to write this vague and erratic text, but this lack in and of itself reflects the way that I make things. Thoughts piled over thoughts, things read and interpreted, understood or misunderstood, reflection, rejection and grudging acceptance delivered through attempts to control media, to overcome perceived limitations it has and then to backtrack and accept the way the material asserts itself despite my efforts to control it. I appreciate the practice that suggests you develop understanding of the material, learn to work with it and build something in concert with it, but I find myself consistently engaged in a battle with all sorts of forces that eventually ends in an exhausted acquiescence. <\/span><\/span><\/p>\n

Bibliography<\/span><\/span><\/span><\/p>\n

Young , A. 2013. Material Wisdom. Cabinet. (50),pp. 16-18<\/span><\/span><\/span><\/p>\n

Lehmann, A. (2016). <\/span><\/span><\/span>Cube of Wood. Material Literacy for Art History.<\/i><\/span><\/span><\/span>.<\/span><\/span><\/span><\/p>\n

\n

i<\/a>\u201cRelational aesthetics\u201d is a term coined by curator Nicolas Bourriaud for the exhibition \u201cTraffic,\u201d held at the CAPC mus\u00e9e d\u2019art contemporain de Bordeaux in 1996. It refers to installations and interactive events designed to facilitate community among participants (both artists and viewers). Rather than producing objects for individual aesthetic contemplation, Relational artists attempt to produce new human relationships through collective experiences. Artspace editors. 2016. What Is Relational Aesthetics? Here’s How Hanging Out, Eating Dinner, and Feeling Awkward Became Art. [Online]. [10 March 2019]. Available from: https:\/\/www.artspace.com\/magazine\/art_101\/what-is-relational-aesthetics <\/span><\/span><\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

some thoughts about making and looking The Yorkshire Sculpture International takes place in June 2019 in four venues and across two cities, Leeds and Wakefield. Each of the venues is interpreting a ‘provocation’ by Phyllida Barlow – \u201csculpture is the … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":1391,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[10,6,24,15,26,23,8,39,32],"class_list":["post-1521","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-3d","tag-art","tag-construction","tag-creative","tag-prevarication","tag-rhubarb","tag-sculpture","tag-text","tag-thinking"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.ian-latham.com\/blog\/wp-content\/uploads\/2019\/01\/IMG_2921.jpg?fit=5152%2C3864&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2me3G-ox","jetpack_likes_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/posts\/1521","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/comments?post=1521"}],"version-history":[{"count":3,"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/posts\/1521\/revisions"}],"predecessor-version":[{"id":1524,"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/posts\/1521\/revisions\/1524"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/media\/1391"}],"wp:attachment":[{"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/media?parent=1521"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/categories?post=1521"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ian-latham.com\/blog\/wp-json\/wp\/v2\/tags?post=1521"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}