Using Mozilla Spoke, I have been looking at means of display for the virtual exhibition on Friday. I found I could change the collages from 2D to 3D shapes on the programme. I love how you can walk into the spheres with the avatar and enter the dystopian interior virtually. It really brings them to life!
I also really love how they float in space- like thought bubbles- exaggerating the fact that these interiors have been derived from the mind, from a psychological standpoint.
I feel like the three-dimensionality also draws the collages closer to my sculptural practice, which I haven’t been able to practice fully over lockdown. It brings a bit of familiarity back to my work.
I think the shape of the collages will work well distributed across the exhibition, cutting up the rigidity of the space, made up of largely two-dimensional work- therefore adding a bit of contrast and animate the space a bit more.
The work of Georges Braque and Pablo Picasso. I love the disordered, hap hazard appearance and how they have used found pieces of paper or rope to create collages mediating on the realness and messiness of everyday life. It is tactile and immediate- unlike most paintings or drawings before them, which seems to make it more relateable, approachable and human.
I decided to make the hand made collages digital by experimenting with photoshop and stamping sections of the collage into the background. They work well in creating rather dystopian interior landscapes, which reflect the chaos and disorder of the pandemic and the claustrophobia of our interior spaces at the moment.
Buggenhout produces work which resemble ruins using easily accessible material.
Certainly- his work resembles the remnants of a site, of an aftermath of an explosion, eruption, earthquake or fire. I like how he has used something which upsets or unsettles as his source of inspiration, the result of a disaster. He reproduces it as if that memory is worth saving- as if it is something to be celebrated or valued.
There is certainly a very rough and ready, rustic feel about his work. The sculpture looks distressed. Yet at the same time, being placed in a pristine white space and usually elevated, they become treated as if beautiful and poetic- like artefacts in a museum.
However they are not artefacts- but fakes. Perhaps one day they will be considered artefacts? What makes an artefact?
Her works often use found materials and draw on the concept of time and quantum physics.
For ‘Indecisive angles’, the artist cut and reassembled found metal trolleys to make them functionless. Such sculptures seamlessly blend together in unusual angles- as if they have been cut and placed in front of a mirror.
Likewise, in a more recent piece, ‘Ok ok ok ok ok’ in 2019, Hultén elevated two step ladders joined together with steel bearings rendering them useless. The sculpture seems to tip forward, playing with time, as if about to rotate, and seems to resemble the wheel of a mill.
I love how Hultén cuts and reassembles objects as well as her minimalistic approach. Whereas in the past I have largely kept my found objects whole (perhaps excluding my greenhouse sculpture), it may be interesting to experiment taking apart objects and cutting them before reassembling them. It may make my work seem even more unsettled and alien.