Worksheet 3 – Martha Still – Workshop: VISUALSE [2D / CREATIVE PRACTICES]

1.Pipilotti Rist

Considering the Sculpture and Lens workshop, Looking at the work of Pipilotti Rist was very inspiring. Pipilotti Rist creates beautiful, provocative work that emphasises similarities between the natural world and our organic bodies, as well as exploring how our bodies act as a camera. Her work is almost dream-like, often playing with perspective; allowing us to experience the natural world in a different way. She also has an interesting way of displaying her work, for example projected onto the roof in ‘4th Floor to Mildness’ or staring up at you in ‘Selbstlos im Lavabad (Selfless in the Bath of Lava)’; which forces you to experience her work from a different perspective – I enjoy this interaction between artist and viewer that is thought provoking and interactive. 

Pipilotti Rist, ‘4th Floor to Mildness’, 2016  

Pipilotti Rist, ‘Selbstlos im Lavabad (Selfless in the Bath of Lava)’, 1994

2.Stefan Visan

Another visual artist that I love is Stefan Visan. He creates delicate visual sculptures, often using ordinary household objects ‘incorrectly’; misleading the viewer by throwing off their expectations, as well as creating a sense of tension or unease. In an article for The Colossal, Grace Ebert interprets his work as ‘’…a series of interventions that merge the ephemeral aspects of nature with enduring, manufactured objects.’’ Which I’d agree with; I see his work as an uneasy alliance between natural and manmade objects. Interestingly, all of his works are ‘Untitled’, which I interpret as emphasising the anxiety captured in his works.

Stefan Visan, ‘Untitled’, 2020

Stefan Visan, ‘Untitled’ 2020

3.Florence Hutchings

I am more interested in Florence Hutchings’ process, rather than the subject of her work. She creates collages in preparation for larger paintings almost like thumbnails, which is an interesting way of working that I’d love to incorporate into my own practice. I took inspiration from Florence Hutchings when creating my own collages based on our assemblage; using a limited colour palette and simple shapes. Her work often includes mixed media, for example oil paintings including collage – this is soemthing id’ also like to explore, as I haven’t used collaged aspects in my own paintings before.

Florence Hutchings, ‘The Window Sill”, 2018, Oil and Collage on Canvas

Florence Hutchings, Collage Sketchbook, 2022

4.Cecily Brown

Cecily Brown’s untitled monotype series (2012) is a point of interest for me, as it helps to open my eyes to the very fluid and painterly way monotype printing can be used, which is something I failed to consider during the print workshop. Cecily Brown’s works are explosive in form and colour, with fragments and subtle representations of animals and figures melting together on the page. There is also a sense of energy and movement in these prints that are very engaging. Her fluid, confident use of line is also intriguing to me, as line is important to me in my own work.

Cecily Brown, Untitled, 2012, Monotype ( Watercolour and Pencil on Lanaquarelle Paper)

Cecily Brown, Untitled, 2012, Monotype

5.Robert Rauchenberg

Robert Rauschenberg’s combine ‘Monogram’ is a very literal interpretation to combining sculpture and painting. This is something I’m interested in exploring further, and investigated in my response to the transformation brief at the end of the visualise workshop; using my own found objects in my piece similar to Rauchenberg’s goat. My interest in this piece stems more from the technical aspect and less from the concept, although I do find the tire wrapped around the goat very visually striking – the paint on the goat’s face also adds to this, as well as emphasising the approach of combining paint and sculpture.

Robert Rauchenberg, ”Monogram”, 1955-2959

References;

 Louisiana Channel – ‘Get inside the colourful mind of visual artist Pipilotti Rist’, 2021

https://www.youtube.com/watch?v=k1vZgXYioTs&t

[Accessed 30/10/2022]

Stefan Visan – Instagram https://www.instagram.com/visanstefan/ 

[Accessed 30/10/2022]

Grace Ebert – ‘Unusual Interventions by Artist Stefan Visan Juxtapose Leaves, Cutlery, and Everyday Objects, Published June 15, 2020

 https://www.thisiscolossal.com/2020/06/stefan-visan-interventions/ 

[Accessed 30/10/2022]

Saatchi Gallery – Florence Hutchings 

https://www.saatchigallery.com/artist/florence_hutchings

[Accessed 31/10/2022]

Florence Hutchings – Instagram https://www.instagram.com/florencebh/

[Accessed 31/10/2022]

Two Palms – Cecily Brown Monotype Series

https://www.twopalms.us/series/monotypes3#tab:thumbnails

[Accessed 01/11/2022]

Allison Rudnick – ‘Cecily Brown’s Monotypes’

https://artinprint.org/review/cecily-browns-monotypes/ 

[Accessed 01/11/2022]

Robert Rauschenberg Foundation – Monogram

https://www.rauschenbergfoundation.org/art/art-context/monogram

[Accessed 01/11/2022]

Student Name: Martha Still

Did the introduction / outline for the workshop provide a clear idea of
what to aim for? Yes, I knew what I was expected to do and had a clear goal for each workshop.

Was there enough direction / feedback provided? Yes

Was I aware that I could seek out and ask for advice if I required it? Yes

Which part of the workshop did I enjoy the most? Which part of the workshop
did I least enjoy? I enjoyed painting from the assemblage, it was new and challenging to paint quickly with a life model – and I achieved interesting outcomes with the added aspect of projected images onto the assemblage. Unexpectedly, I really enjoyed experimenting within the sculpture/lens workshop and I am very happy with the final result of my video work. I didn’t enjoy the print workshop as much as I thought I would.

In hindsight, were there aspects of the workshop that I could have handled
better / improved upon? (Give examples) In the print workshop I tended to copy the same image over and over (too many crabs). I think I had the idea in my head that print should be multiples of one image – and was comfortable with this having done lino/block printing a lot in the past. I should have been more open and experimental with my mono-prints – as the whole idea is that there is only one print created. I feel I somewhat wasted my opportunity for experimentation in this workshop.

Were there activities in the workshop that provided transferable experiences
and skills which could have relevance to future and specialist disciplines? (For example, time management, preparatory and research work, thinking outside the box, pushing outside of comfort zones etc.) I learned lots of valuable brainstorming skills in each workshop, for example in the sculpture lens workshop we used simple words that stemmed from each other to form ideas. In the photography workshop we learned how to change our perspective on ideas, by imagining them from the viewpoint of a different character. I will definitely use these skills in future projects and workshops.

Would I consider re-visiting this discipline area when it becomes an option in
Semester 2? (If so, specify) I am definitely considering continuing fine-art into semester 2, I have always enjoyed fine art and this workshop helped open my eyes to more possibilities within that discipline; for example sculpture and painting together.

Any other comments / reflections : In this workshop, specifically with the transformation brief, i really tried to push myself out of my comfort zone, and consider sculpture rather than taking the easy way out and doing a painting. I wanted to experiment further with sculpture/assemblage and investigate whether I could see myself re-visiting the discipline later. I have always liked sculpture and I enjoy the final outcome, I think a sculpture can be more unique and versatile compared to painting.  However, I definitely enjoy the process of creating a painting more, and want to focus on painting in the future.

Transformation

”Still Life 1” Martha Still, Mixed Media (Sculpture/Paint)

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I want the viewer to recognize that this is not truly a ”Still Life”, but an imitation of one. At first glance, it is a bowl of misshapen fruit, but the longer you look you can see children’s shape toys, Christmas baubles, and even a dog. It is a counterfeit.

I wanted to represent the idea of in-congruence within this concept; a discrepancy between the true self and the ideal self. The true self in my sculpture being the toys, and the ideal self being the fruit. These objects are trying to be something that they are not.

Physically I have transformed found objects into something different using paint. The idea of transformation is also linked with my experience with adolescence; I often feel I am trying to be something I fundamentally am not.

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Painting

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5 min each, Indian ink

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15 min, Gouache

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3o min, Gouache

Photobook

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Photos Used;

Print Workshop

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Monoprints, A4

Pinch Press Prints/Relief Prints, A4