The Ready Made

'An everyday object, selected and designated as art' (Encyclopaedia Britannica) 

The term ready made was originally coined by French Artist Marcel Duchamp. Duchamp created the first ready made 'Bicycle Wheel' in 1913. Through his ready made works, Duchamp attempted to destroy the notion of the uniqueness of art and subsequently a new controversial definition of art emerged, that had more of an intellectual as opposed to material focus. 

How this has influenced my practical development and project concept

I have been influenced by the theory of the ready made, in that it has made me consider not just using found materials to draw from and take casts from, to produce work, but how they can also be used as part of the outcome intrinsically. Considering this I have revisited the proposed mapped rout within my proposal, being mindful of the everyday sights that are often overlooked. I particularly noticed the street signs and how they they have become so familiar to me that I no longer read the words and letters, yet am still aware solely by the context what the sign means. With this, I have decided to move away from the casts and relief moulds that I have been working with, but returned to the patterns and textures from the environment, thinking about how I can incorporate these with found objects from the environment. 

Developed Idea

This is a piece of work that I have developed, working from my drawings which I have used to create my drypoint plates, that focus on the textures and patterns found within the urban environment. I think that the text adds a three dimensional perspective to the overall image, drawing the viewer in by the familiar lettering and format that they recognise. The viewer becomes more focused on the familiar object as the purpose has been changed, giving it a fine art context, in the same way that they ready made forces the viewer to analyse an object by changing its context and putting it into a gallery. 

Arte Povera

Throughout this project I have been working with found object from the urban environment, constructing collograph plates, taking rubbings, relief mould, photographing etc… 

Similarly, during the 1960's an art movement aroused called Arte Povera, otherwise known as impoverished art. The term Arte Povora was coined by Germano Celant in 1967, for the group of Italian artists whom during the late 1960's attempted to break down the dichotomy of art and life. This was mainly achieved through the creation of sculptures and 2D relief works using everyday materials. 

How this link to my ideas and concepts

The materials used by the Arte Povora group were largely pre-industrial materials such as earth, rocks, clothing, rope, and anything that they could find in their day to day environment. These artists saw the potential in these everyday objects to be beautiful. Supporting my concept that beauty can be found in everything and is loved in everything. 

Giovanni Anselmo- Torsion - 1968

Development of Silicone Prints

Silicone Print with Inks 

Silicone with Collage and Screen Print 

These are developed silicone mould prints. I prepared abstract screen print backgrounds, to add a depth to the prints, as elements of the colour from the screen print is drawn through the negative space of the silicone print. The bold colours of the screen print, juxtapose the dark shadows of the silicone mould, highlighting the intricate lines and patterns of the surface texture. Collaged tissue was then added to conceal elements of he print, with shapes cut away to mimic those outlined by the silicone mould. I think that these prints are successful in that they emphasise the intricate lines and textures, and draw the viewer in through their soft mottled and fractured lines. However, to develop these further, I think that a series of varying silicone moulds should be constructed, to create a sequence of prints mapping an urban area and the aesthetic beauty that can be found within it. 

Printing with the Silicone Moulds

I have developed a series of prints using my Silicone mould. I inked up the Silicone mould and run the plate through the press. A very abstracted organic shape was created, full of juxtaposing lines, tones and textures. It is unrecognisable what the print is of, which allows the audience to pay greater attention to the formal elements. 

The print has areas of greater intensity which are then juxtaposed by large areas of negative space, guiding the viewer around the image so that it can be observed intensely. To develop, I would like to experiment by adding layers of collaging or perhaps even drawing into the print, as I think that this will add a depth and an additional layering to the print, forcing the viewer to search through the layers, in the same way that in order to observe the aesthetically beautiful within a mundane environment, it is essential that the viewer uncovers layers and pre conceived contextualisations to reveal the real beauty. 

Silicone Outcome

Silicone Outcome 

Silicone Outcome 

Tactile Silicone Relief 

Silicone Profile 

This is the silicone outcome that I have produced. It has moulded to the cracks, patterns and textures of the surface, making it have a very tactile and abstract aesthetic. I think that it could be presented as a series of silicone reliefs, tracking the suggested rout that I have mapped in my proposal. Alternatively because of its flexible and subtle make up, I also think that it could be used to develop a series of abstract relief prints, emphasising the potential beauty in everything. 

Silicone Relief Construction

After researching Jorge Otero Pailos, and his works with latex, I have decided to experiment with more industrious materials.

After much consideration and experimentation, I think that Silicone will be an appropriate material to create impressions/ reliefs of a surface. In theory the silicone should take the mould of a surface, whilst at the same time be able to dry solid, whilst mainintaining a flexible, rubberlike posture. I am hoping that this will mean that the mould can then be used to develop a series of relief prints. 

To make the silicone mould, I covered the chosen surface with concentrated washing up detergent to work as a lubricant to stop the silicone from sticking to the surface. 

Silicone was then squirted and pressed firmly onto the surface to ensure that the silicone was pressed into all of the cracks and markings of the surface. I then left it to dry for a few hours before removing .  

Silicone pressed and left to dry

Grayson Perry

Today I have been listening to some brilliant radio broadcasts of interviews with Greyson Perry. There are a series of four lectures called the Reith Lectures produced by the BBC.

click here to listen to the radio lectures with Grayson Perry

I have found these lectures fascinating to listen too, and they have made me reconsider my use of materials and indeed how I have gone about my investigation into the beautiful.

Jorge Otero Pailos- Influential Artist

Jorge otero Pailos is a New York based artist, historian and architect, that has become known for his works presenting the remnants of ancient buildings by encapsulating the dust from the walls, demanding that the surface dust of the artworks are as intrinsically important to the aesthetic and history of the building as the walls themselves. In the same way that through the development of my work I celebrate the pattern and detail of a wall, section of floor, a rusting railing, as the intrinsic beauty to an environment. 

click here to read article and view works by Jorge Otero Pailos

Salt Dough Experimentation

Following my work with plasticiene, I have been considering materials that I could use that have the same dough like qualities, that will maintain the imprint of a surface, but at the same time will go rock solid, so could potentially be utilised in the production of prints. 

I have researched into making plasticiene and play dough and have discovered salt dough, which can be made using equal measure of flour and salt with a table spoon of water. 

I have made some dough and experimented imprinting surfaces of walls, floors and iron works on a short walk along Dover sea front. The dough does take the imprint of the surface, as the plasticiene did, however once I had baked the imprints in the oven, they rose slightly meaning that some of the detail has been lost, in addition to becoming so hard and brittle that they would not be able to go through the press. 

On the other hand, I think that the relief imprints are successful in that due to their monochromatic colour they allow the viewer to focus solely on the patterns and textures and not the contextual purpose of the original surface. 

Making the Dough

The Imprint 

Baking it in the Oven 

Project Concept

The underpinning concept of this project, is centred around the basis that beauty can be found in everything, if sought. It is the aim that the project outcomes will provoke an awareness in the viewer to the beauty in their everyday environment, making them mindful to the potential beauty in everything that they encounter. In addition it is aimed that the viewers take more responsibility in their noticing of the beauty in their environments, that when they are confronted with a mundane scene or landscape that they encounter daily, that opposed to just looking, they begin to see, experience and explore it. 

Walter Benjamin and the theory of Flaneur 

Flaneur is a 20th Century Sociological and aesthetic theory. Originally popularised by German Philosopher Walter Benjamin (1892-1940). Flaneur was a concept that originally applied to rich gentry men who walked the city streets examining and exploring. 

'The Flaneur is free to probe his surroundings for clues, and hints that may go unnoticed by others'. 

(Walter Benjamin)

It is from researching the theory of Flaneur that I have realised that this is what I am requesting of my audience, that they become more aware to the environment that they are in, and have more of a conscious awareness to they beauty that they are being confronted with every day. Aiming to remove the blinkers of society, so that looking can become seeing. 

The Flaneur 

Experimenting with taking a relief print

Through experimentation with print, I have decided to return back to the urban environment to study the beauty within the everyday, however this time instead of drawing a response to what I have seen, I would like to take 2D relief imprints. I think that this will be a more effective way of bringing importance to the patterns and textures, lines and tones that are present within everyday life that are often overlooked. 

I have been out experimenting with plasticiene. I think that the relief imprints that I have taken are bold, and draw the viewer in to focusing on the markings and the movement within the relief. I think that the abstract colours of the imprints draw attention away from the original context, thus allowing them to focus on the formal elements.

I have however discovered, that the plasticiene will not dry completely solid and will stay partially tacky. For this reason, I think that I would like to find a similar doughy material that will take the imprint of a surface, but will dry firm and solid without becoming brittle. 

Drypoint Outcomes

Today I have experimented largely with my two drypoint plates, working with them both individually and separately, layering them on top of one another, in addition to combining them with layering of image transfers to create very distorted textured images, which allow the viewer to become lost in the subtle lines and tones of the ghost prints, whilst at the same time become overwhelmed by the vibrancies of the photographic image transfers. 

In addition to layering the same plate over and over to crate several short prints, I also worked with the plates together to create large combination prints, which I think are very successful in that the industrious mechanical aesthetic on plate one juxtaposes the subtle organic lines of plate two creating an overall abstracted dynamic, which requires a detailed search to decipher the intention of the image as one. 

Photographic Image Transfer

Today I have been experimenting with a photographic image transfer process, whereby acetone is applied to the back of a photograph, which is then run through the etching press so that the ink transfers. Through working with this process I have learnt that it is important to work quickly and efficiently, otherwise the images can become stuck together. Also, when the image is transferred, some of the quality of the image is lost, leaving a mottled and distressed appearance. However, the loss in quality in the transfer of the image, combined with the added textures of the paper abstract the image, reinforcing my concept that beauty can be found when sought. 

Direct Photographic Transfer 

Two Images Layered and Transferred

Imaged increased by 400% with a wash of colour to draw some textures forward. 

Development of Drypoint

Following on from my experimentation with my drypoint plate, layering it onto several prepared backgrounds, and still not managing to achieve the abstract and patterned appearance that I had aimed for. I have developed a second drypoint plate, working again from my photographic imaged, I have selected a very small section, which I then enlarged on the photocopier by 400%. I have transferred this onto the aluminium plate. I am hoping that the print outcomes are or a much more abstract nature thus allowing the viewer to focus more on the lines, tones, and textures of the images, as opposed to the contextualisation of the subject matter, with the ambition of provoking an awareness to the possible beauty in the everyday. 

Completion of Utopia Assignment

As a requirement of the contextual studies element of this brief I have completed an essay around the subject of Utopia. Throughout this essay I have referred closely to my current studio developments and aesthetic theory, studying the works of Immanuel Kant, and Plato, in addition to teachings of Clive Bell and many more. It has been the teachings of Plato that have had the most significant impact on the development of practical work, as it was Plato that said: 

'Divine beauty shines through everything and is loved in everything'

Supporting the underpinning concept of my project, that beauty can be found even in the mundane and everyday.

Combination of Mono Screen Print Backgrounds and Drypoint Prints

Mono screen prints have been prepared as backgrounds for the drypoint to be printed over the top. Elements of the same digital photographs that were used to compose the drypoint drawing, have been simplified. 

Mono Screen Print Combined with Drypoint

Mono Screen Print

However there is a concern that the technical capabilities of layering the two prints together might cause  some problems, as the mono screen prints are created using water based inks, which may run when the paper is soaked for the etching process. 

The inks did bleed slightly when put in to soak, however I think that this only added to the layering and texture of the final print outcome. Despite this I think that there is still some development to be made with these drypoint prints, as they need abstracting further, focusing only on on the line and tones. 

It is intended to return back to the original digital prints and observational drawings that were taken on my visit to Dover in attempt to rediscover and unveil the hidden beauty that I originally observed in the town. 

Etching Press with Mono Screen Prints

Regeneration of Dover

It is important to highlight the reasons for choosing Dover as the location for my investigation throughout this project. Firstly, it is a town that has great historical importance to the country, in addition to being a place that I have a strong personal connection to, as it is a town that I have visited daily since secondary school. Dover gives a tired and worn first impression when observed from a surface glance. 

However, there are many new regeneration plans for Dover, which include a redevelopment of the social, residential, retail, communication, and transportation facilities. It will take many years for this entire redevelopment to take place, so through my artwork it is aimed that the community begin to appreciate the town for it's already present beauty, reinstating a sense of pride and respect that has been lost within the population. This project will explore this beauty from macro level observations of surface and texture, making the invisible, visible. 

Click Here to Watch a Video: A vision of the redevelopment of Dover

Development of Drypoint

Using sections of photographs cut from a view finder and enlarged I have drawn into an aluminium dry point plate, overlapping elements of different images, enlarging them and layering them, to abstract them, with the intention of creating a confusion to the viewer when initially observed, forcing the viewer to search deeper in tot he image to untangle the layers and sections of the prints. 

Drypoint Plate 

I then ran a couple of prints through the press, however, there was a blankness and simplicity to the prints, and the initial layering and confusion that I had aspired for through the prints was lacking. I think that to achieve this, I should combine the same roughness and bold statement that the collograph creates intertwined with the delicate lines and details of the drypoint. I think that this could be achieved by preparing mono screen print backgrounds for the drypoint to be reprinted over the top. 

Printing of Collograph Plate- Blind Emboss and Relief Print

I began with a 'Blind Emboss' of the collograoh plate, as I thought that it would remove any preconceived contextualisations, as there would be no link to colour, or place. The emboss focused only on highlighting texture as it created a silhouette of each component of the plate. Its subtle lines and tones that are sunken into the fibbers of the paper making the viewer search deep into the image in order to decipher its abstracted forms. 

Blind Emboss Collograph Plate 

To develop this further, a relief print was taken from the collograph plate. The ink drew focus to even more textures within the plate, capturing the subtle lines and marks imprinted onto the cardboard. However, from here I would now like to develop the concept of capturing these hidden subtleties through a more refined print method. I intend to use my photographs from my visit to Dover to draw into a aluminium drypoint plate. 

Collograph Plate

Relief Print of Collograph Plate

Developing from Print

Developing on from the transformative process of the collograph plate, where found objects were collected then reorganised onto a plate. However, today I have reconsidered this, thinking about the idea of taking objects as they are and aspects of the environment as they are without being changed, as the concept behind the project is about an appreciation of the beauty that already exists.

Studying the Boyle Family and their resin casts of specific grid references and sites all over the world, and their 3D representations of mundane surfaces. It is the Boyle family's truth to the environment that I admire, not excluding any environment as a potential subject. The Boyle family refer to this as 'motiveless appraisal' seeing themselves not as creaters but presenters. 

Click here to view Boyle Family Website

Dover Through a Lens

A day spent photographing the hidden beauty within Dover town, capturing anything that stood out as having intriguing colour, pattern, texture, subject. All images are random, but each individually important to contributing to the unvailing of the towns concealed attraction. 

Emboss of Collograph Plate

A collograph plate has been constructed of found materials and objects from a 1m squared corderned off area. The plate consists of rubber, paint flakes, bark, moss, leaves, eroded metal chips and leaves, wood and paper. It is a composition of shapes and patterns.

A blind emboss has been printed, highlighting the textures and patterns of the objects as they have been removed from their original context and purpose. The reason for doing this is that the formal elements of the materials become more important than the objects themselves. It therefore allows the beauty of the objects to be emphasisd as opposed to being overlooked as discarded items. 

It is then intended that inks will be used to highlight areas of the collograph plate, emphasising finer textures and imprints, as the ink falls into the crevices this creating varying tones and shadows. 

Collograph Plate 

Developing Art Practice

Throughout the Developing Art Practice Brief, there will be an investigation into the BEAUTY behind DOVER, appreciating the historical and contextual stresses that have bore a heavy footprint on the town. Artworks will aim to uncover the beauty that is hidden below the tired and worn mask that fronts the appearance of the town. Development of this project will highlight the aesthetically beautiful that is usually overlooked and passed unnoticed. 

Influential Artists

Research has been done into artists that have tackled the concept of the beauty within an everyday environment.

Studying Cornelia Parker and her attitude towards her everyday environment, her attitude and curiosity towards the landscape, searching for patterns, shapes and marks that often go unnoticed. It is Parker's understanding of her environment and the overlooked that she brings out through her artwork that I want to achieve through the development of my own practice. 

Click Here To View Works By Cornelia Parker

Sydney Cooper Gallery Visit

Today, to inform practical development and to gain inspiration for a possible simulated collaborative or group exhibition, a visit to the Sydney Cooper gallery was taken, where there was a show of MA students from Christ Church University.

From this visit I have gained lots of inspiration about reflecting on local areas and taking aspects of environments such as patterns and textures to create artworks. 

Additionally, I have been to Dover Resource Centre to source local maps from different time periods, so that I can identify changes in structure and patterns of change throughout the town. Additionally having a current map of the town will  mean that I can then start the idea of locating a space for my public art piece. 

Developing Art Practice Brief

Presentation of assignment brief, which requires a search for either a live brief in which to respond to, for example a public art commission or a simulated brief which can then be specifically tailored to suit individual studio specialism. The aim of this assignment is to research and investigate art opportunities available, and the type of opportunities available to artists, weather it be an exhibition, a public art commission, a site specific artwork, a community workshop etc...

From this, research has been undertaken into live bries, to attain information on layout and content, so that a template can be constructed. Through this initial research it has become apparent that there is such a variety of clients with varying expectations, budgets and visions, that it will be less limiting to the development of practical work if a simulated brief is constructed, therefore eliminating the constraints of budget and clients vision form the outcome. Therefore allowing the development and the concept of the artwork to take prominence throughout this investigation.

Additionally a reading on the painting The Garden Of Earthly delights by Hieronymous Basch was completed, studying the representation of utopia and dystopia during this period, where there was a strong focus on religion that ran throughout all societies and whereby utopia was often inferred as being heaven and dystopia, hell.

Today, a project timetable was also compiled to aid with the development of practical study and the planning of project briefs and proposals. This has allowed for forward planning of large scale works and preparation time for presentations, therefore ensuring that all elements of the assignment brief are met within the allocated deadlines. 

New Semester New Brief

On returning to the new semester, a contextual studies brief was set requiring an investigation into the study of Utopia and Dystopia. It has been suggested that an essay title should be chosen with reference to individual studio specialism, therefore adding a depth and context to all practical work in addition to a deeper understanding of contextual topics. Also, this will aid for a smoother transition into the writing of final dissertations as these too will be linked to individual studio specialism. There will be a series of lectures outlining possible topics of enquiry, to assist in choosing an essay title/question.

With presentation of the contextual studies brief, a mind-map has been constructed to begin thinking about the development of practical study. Through this it had become apparent that there is still a large concern for 'beauty' and aesthetics of the everyday and mundane present in practical development, and therefore will have a strong connection to the 'Utopian Ideal' and the concept of an 'ideal beauty' and indeed consequently how this can lead to a dystopian outcome.