contextual statement for drawing

In this drawing paper, I chose CLAY as my main material, also tried to add both wax (from 

candle) and oil pastel, the choices I made by the previous idea of "bring colours in", but 

after times and times' experiments, results always did not turn to something I expected, I 

gave up around three weeks before the deadline. Only play with clay was not simple too, 

less material brought more challenges, I need add ideas and concepts to my work instead of 

other materials.


The ideas of my final two pieces clay works are "Trace of  time" and "labour". Time is 

something invisible but involved in daily life, I use clay as a trace material, it can leave 

marks on to present the time which become perceivable, also shows during the period how 

the clay changed. My labour is connected with reputation and perticipation, repeat this 

movement sometimes be defined as a boring and irritable action, same as labour, but in my 

works I can see the playfulness and endless joy, not only from the finished works but also 

in the process of appreciation by audience. There are three ways about labour from my 

viewpoints, when mix clay with tissue and mould clay to shapes are the first "labour", 

myself plays the participant, when create the pattens, grids on the wall and layer stick clay 

sheets together are the second "labour", also myself as the perticipant, the third one is not 

from me/artist, audiences come to view the works, they are perticipate to the process, the 

"labour".

random artists for drawing brief (drawing)

Yee Sookyun

Korean artist, YS's artistic practice deep into korean consciousness, uncovering fragments of historical memory that she process into new manifestation of contemporary life.

She did a series of ceramic sculptures known as Thanslated Vessels, 2007, Ceramic shards, epoxy, 24K gold leaf, 24K gold powder.

It is comprised of broken ceramic pieces that have been reimagined into biomorphic "mautant" sculpture. Collecting discarded shards of ceramics from waste piles of present-day Korean ceramicists, each organically-shaped from emerges from a painstaking jigsaw-puzzle process in which the artist instigates new connections between disparate shards.

Andres Basurto

Mexican born artist. Because of the tradition of mosaicked skulls, the mosaic "is believed to represent the god Tezcatlipoca, one of the most important gods in the Mexica pantheod".

The pieces of glass bottles that at one time held wine or beer be reunite together as a skull, you can see it follows different orders as originally words, lines and colours, AB represented "specific shapes that evoke the human skull and skeleton as a container of the soul". Also as a painter and sculptor, AB used a wild range of materials to explore this "soul container" experiences, his idea on the other hand is made of refuse, some of the original bottles were used contain toxic, "...his sculptures represent the essential and primitive human desire to preserve and hold life together with the inutile need to control death, making evident the fragility of our existence."

Tanaka Atsiko

Japanese artist, she was a member of the Japanese Avant-Garde Artistic Performance Group - Gutai, but she was well known as individual after the work "Electric Dress", 1957.

In that time, this dress was a very powerful conflation of the tradition of the Japanese komono with modern industrial technology. She did this work after her group presented a series of dress performances, like a larger than life paper dress that was peeled away layer by layer. Electric dress  made by hundreds of light bulbs painted in primary colours lit up along the circulatory and nerve pathways of her body.

Wayne Higby

American artist working in ceramics. He used four years in the making, it is the world's largest porcelain installation, 56-foot-long, 30-foot-high, it installed at the Miller Performing Arts Centre at Alfred University in New York, whole installation consists of 8000 hand-carved porcelain tiles of varing sizes, textures and finishes, nearly 40,000 ponds of porcelain are embedded in the reinforced art centre wall with 16,000 brackets, which WH designed specifically for this project.

Barbara Hashimoto

American artist working with ceramics. She is very good at combine ceramic with books, several solo shows of hers were about this combination. My favorite work from is this "110 pages" 2002, 35 inches in length, low-fired clay, book, encaustic and maple box. The pages were ripped from the binding of a paperback edition of Shakespeare's All's Well that Ends Well, I like the simpleness and the attractive idea, and the maple box is brilliant.

Pekka Paikkari

Finland artist. 

Barbro Aberg

Sweden artist, she is inspired by nature and science as well as light which filter through her pieces. Her works have strong sense of architectural integrity in all, she attempts like molecular diagrams, her usual choice of black and white surface treatment gives dramatic constrast and counterpoint.

"A recurrent theme in my work is a kind of search for the universal, my work is not private, of course I am an ingredient in the work. And the intensity of the work process is related in the work. If I wasn't really present, you can tell by the finished work then, it's of less consequence. A good piece has its own language, it's own story, it's alive somehow."

                                                                                                                    —— Barbro Aberg

Translated Vase by Yeesookyung | Recent Acquisitions | Collection | Spencer Museum of Art

http://www.spencerart.ku.edu/collection/recent/yeesookyung.shtml

The Mosaic Skulls of Andres Basurto | Mosaic Art NOW

http://www.mosaicartnow.com/2011/03/the-mosaic-skulls-of-andres-basurto/

Media Art Net | Tanaka, Atsuko: Electric Dress

http://www.medienkunstnetz.de/works/electric-dress/images/4/

Wayne Higby / American Art

http://americanart.si.edu/collections/search/artist/?id=2209

barbara hashimoto | chicago tribune

http://www.barbarahashimoto.com/press_ChicagoTribune.html

barbara hashimoto | chicago tribune

http://www.barbarahashimoto.com/press_ChicagoTribune.html

Interview: PEKKA PAIKKARI | It's Only Art?

http://danielferris.wordpress.com/2006/12/07/interview-pekka-paikkari/

abergstudio

http://www.barbroaberg.dk/

Ceramic Arts Daily – Barbro Åberg: Lightweight Sculpture

http://ceramicartsdaily.org/ceramic-art-and-artists/ceramic-sculpture/barbro-aberg-lightweight-sculpture/

something about clay 12 (drawing)

Hopefully this work also can have a good result, I'd like display it in the assessment. 

This idea is from the tiny brown pieces, after the brown clay pieces didn't get a kind of good response in the critic, I just crushed all of them left it behind, one day the idea popped out, what if I reunite them together? I tried but there is out of time, so again I made some squares, use melted clay to stick them onto clear plastic sheet, it gives an opportunity to ignore the holding stuff, the result turns well I think, when I pushed the square onto sheet harder, it just cracked but stuck tightly, another word is it created a nice drawing, and the idea of use clay reunite clay is a very subjective experience.

These are experiences, I need figure out in which way put the orders can get nice drawing, also the holding sheet need be test, can't use paper, after the melted clay brushed on paper just directly collapse; can't use special paper like tracy paper, brushed liquild paper would just bubbled terribly; After few times tests, I found that 80mm plastic sheet is a good choice, strong enough and transparent...

something about clay 11 (drawing)



This is a continuing work which aimed the concepts of time and labour, also about the subject matter "clay", my this idea came from the critic of the grey clay paper, I just want make a massive one if time is enough.

Normally I mix water with one and half roll of tissue and amount of clay, directly roll it on the wall, try to make it flat and stable, it is wet and get textual so quite easy to change forms, I have the authority to control the directions and thickness of each area. Then take a photo to record the process and changes everyday, I see it as a child, he is growing and become ampler and ampler every day.

As you noticed, some parts I cut grids, it just more and the second way about labour, through the horizontal and vertical lines, let the audience get the man-made and reputation sense. If the grid is below, the artist must be sited or kneeled; if the grid is in vertical eye view , the artist much be stand right in front of it; if the grid is in high position, the artist mist be on tiptoe or with the help of outside force etc. I want audience to participate to my artwork, it is the third way of labour, the power will not from the artist herself but the viewers, the subjective experiences, the autobiography need "others" involved in somehow.

something about clay 10 (talk) (drawing)

As you can see, yeah, this was the critique set up, my idea was the contrast between bring colours in and out, also an experience of brown clay and grey clay.

Also another main idea was the labour.

In my critic group, people felt very confused by this work, too many things going on, colourful clay sheets, busy background, the photo of a performance, the rolling pin...

 After I introduce people started get my ideas, they suggested that: take off the two photos on the wall, put them lower, give the real laboured work more space, the rolling pin is very intense and related to either the work or the idea, the centre photo is quite attracted, can not stop looking at it, but the problem is dismissed the clay sheets as the subject matter not the body or the clothes.

People really do like this work, it made by clay mixed with tissue, totally hand made clay paper, the grid I cut depends on how much the mixes wet/dry it appeared different effects, also in that time people found a phenomenon that the eage was totally dried, more centre the drying speed slower.

I like and enjoy this work, so I will do a massive one....

 

Artist Andy Goldsworthy (drawing)

Andy Goldsworthy
Time,Change,Place (Clay Wall, November 1996)
. "...making and accounting for my time and creating a momentum which gives me a strong sense of anticipation for the future"
. "...each piece is individual,but I also see the line combined as a single work"
.Im really interested in seeing this work change and decay every single day, in AGs work he surferred the challenge "has been not simple to wait for things to decay,but to make change an integral part of a work's propose"' but in my work, I do not really need think or decide too much, it can do own work, peel off,dry,crack etc.
"...make a clay way with parts when the clay was laid deeper in a river from that would relate to the dug-out canoes places in front of it"
.AG used natural clay, I mixed clay with tissue, disgusting process but the well mixed clay paper has the nice texture
.from my experiences,smug the mixes onto wall and roll it until flat,leave for two days,just two days (less than two days would too wet can't cut the grid,more than two days would too dry),then grid it
."you can not tell where the deeper part is until the wall begins to dry out,and then the join between the different depths of clay reveals itself as two,continuous,parallel cracks,drawing a sinuous meander across the wall"
.because my clay mixes is man-made,it wouldn't like AGs clay wall can seen depths,but I quite enjoy the different dark/light from photos day by day, it is a continuing process,you can see the changes always which is an exciting thing
"Also he did another clay wall which had a snack/river inside,the spirit was from his previous work Hazel Leaves 1991, also it was continuing effect his later works"
.My grid idea was come from a concept of my studio work,I'm very happy to see the idea go cross briefs
.Through the time period,some parts of grids started peel off, crack and shrink,it need close distance to view,also this action has connection of my studio works,distances audiences' experiences
."This Clay Wall which made in November 1998 was very intense, who knows when you open the door just a clay wall appears, could be a shock and surprise in the same time"

artist C.M

Claude Monet


"I am driven more and more frantic by the need to render what I experience. Working so slowly I become desperate, but the further I go the more I see that one must work very hard to succeed in rendering what I am looking for: 'Instantaneity', especially the envelope, the same light that diffuses everywhere and, more than ever, things come easily and at once disgust me."

"Once more I have undertaken things which are impossible to do; water with grasses waving in depths...It's wonderful to see but it drives you mad to want to do it. But I am always trying things like that." 

I can see Monet was an adventor from his quotes, he liked explore new things and got new experiences, then allowed them involve with his paintings, things seem impossible to deal with, but if you dig deeper and further you will get something valuable.

"In his later years, Monet also became increasingly sensitive to the decorative qualities of color and form. He began to apply paint in smaller strokes, building it up in broad fields of color, and, in the 1880s, he began to explore the possibilities of a decorative paint surface and harmonies and contrasts of color. The effects that he achieved, particularly in the series paintings of the 1890s, represent a remarkable advance towards abstraction and towards a modern painting focused purely on surface effects. "

"Monet's extraordinarily long life and large artistic output befit the enormity of his contemporary popularity. Impressionism, for which he is a pillar, continues to be one of the most reproduced styles of art for popular consumption in the form of calendars, postcards, and posters. Additionally, his paintings command top prices at auctions. Monet's work is in every major museum worldwide and continues to be sought after. While there have been major internationally touring retrospectives of his work, even the presence of one Monet painting can anchor an entire exhibition for the audience. The impact of his experiments with changing mood and light on static surfaces can be seen in most major artistic movements of the early twentieth century."

http://www.theartstory.org/artist-monet-claude.htm     "Claude Monet Biography,Art and Analysis of works", The Artstory.org

Combination 6

      NO.16

That day I was surf the websites, viewed many pieces of Cloud Monet's paintings, as you can see, the overlapped dots just so impressionism, in Monet's paintings always filled with colours, light and atmospheres, I do admire him and his works, they are so casual so wonderful. 

I quite like the bottom section, still the family colours of dots, magnified and overlapped, parts of colours mixed created a transparent feeling.

something about clay 9 (drawing)

The quality of these clay pieces are really nice, each of them are different even I tried to roll them in the same direction and use same power, this is the shotage of man-made, but also it is the beauty of hand making, never be the same, always something new and surprise. 

When I hold the hundreds' pieces, I did not define it as made by clay, it more like thin pan cakes, cookies or dyed leaves, especially the lovely small eages around each pieces, who could imaging these are clay sheets, even the touching, smooth, fine and niceeee, at least in my mind the feeling of clay was not like this.  

I was too frustrated to find a suitable pedestal, unfortunately I could not find one. I got the idea of me as the pedestal of my artwork, it came from an article which is about self-identity and autobiographical, who involves my artwork the most? Me. who has the authority of the way to deal with my artwork? Me ...

How to bring colours into this work? It really bothered me alot, tried melted wax, melted oil pastels and pigment, they were not working at all, at least the resaults were not what I expected. After that acticle reading (again), I feel that myself as the power to give whatever I want was a good and interesting thought, so I chose a top with colourful dots on it, as the background of the "clay tower" did bring colours into this work, reflection or visual illusion either way.

These just some ramdon works I found online without creater's name, I do not know what he mixed into the normal clay, the new quality is kind of cool, seems like waxed and forged somehow, but it truthfully made by clay.

d