Thursday, 26 March 2009

Chickamauga Monument

A monument put on the Chickamauga Battlefeild.

Instead of a tower, what about a monument? using the sourced materials i have already located could i construct my own monument, perhaps leaving the inside of the structure raw and unrefined as to show the process of the construction of the piece, leaving the skeleton of the work visible will incorporate an alternative assessment of the piece itself. Would this concept comply with what i hope to present?

Liam McNamara

Liam McNamara is an artist working with pallets, he constructs his sculptures, usually trees or abstract collections of juxtaposed crates and pallets, both in gallery spaces and urban environments.

Evaluation of Kawamata's practice in comparison to my own

Kawamata creates projects which border on installation and architecture, his artistic interventions are focused on urban sites. The artist refers to the relationship between the artistic creation /material/ existing space, by composing the work into the existing environment and building a structural connection. Kawamata's works are ingenious simulations of urban situations - roads, bridges, passages, "private" spaces - they are unreal, unrealistic and non-functional objects. The artist relates to the urban chaos of modern cities which is invisible at first glance because it is hidden behind rational, planned structures. Kawamata builds over existing urban objects, facades and interiors with complicated labyrinths of scaffolding, creating a resemblance of architectural "cancer". He defies the rules of logic and symmetry, the laws of architectural rhythm and multi-level hierarchy, questioning the systems of habits linked to utility and aesthetics. His projects provoke associations with the polymorphous and equivocal nature of fractals.

Some of the fundamental themes occurring in Kawamata's practice feature heavily within my own practice. ideas of showing the relationship between individualistic artistic creation/ materials/ and already existing space's, the incorporation of these ideas exist as underlying concepts within my practice. How best can i communicate my ideas, and in what form should these concepts be constructed?

Tadashi Kawamata - Venice Biennal 1982

Tadashi Kawamata - Toronto 1989

Tadashi Kawamata - Paris 1997

Artist's - Brennan Buck (with help from Rob Henderson and students from the University of Applied Arts in Vienna)
Title - Technicolor Bloom

What if i built a tunnel, passing through the gallery space for spectators to interact with by walking through it. The experience would be the journey through the tunnel. How would i (if i did), light it? Would i use the pallets to construct it from?

Dan Havel and Dean Ruck

Artist's - Dan Havel and Dean Ruck
Title - The Tunnel House

Olafur Eliasson

Artist - Olafur Eliasson
Title - Tokyo Tiles

Around 7,000 platinum-glazed ceramic tiles in a courtyard of a house in Tokyo.

Monday, 16 March 2009

My experience into carpentry

Each summer i spend working on numerous building sites to raise money for my following year of study, unknowingly the skills i learnt during these times have become dominant in my practice. I feel comfortable working with raw materials and feel the outcomes i produce are increasingly successful. On each new site i spent my time laboring and learning from tradesman across the spectrum of contemporary skills used within construction, from these life experiences i have gained an invaluable knowledge which has both broadened my concepts with how my current practice is developing, and on what i am now able to achieve with my newly gained industrial understanding.

Knock Down Fittings

Knock Down Fittings
There are many different types of knock down fittings. They are usually fixed with screws to the two pieces being joined and are pulled tightly together by a locking screw.
Most knockdown fittings are used for temporary joints which hold pieces together without the use of glue. They are usually used with self assembly furniture.

Cross Halving Joint

Cross Halving Joint
This type of wood joint is used where two pieces of a framework cross. It is similar to the corner and tee halving joints, and can also be strengthened with dowels or screws if necessary.

Dovetail Halving Joint

Dovetail Halving Joint
This joint is much stronger than the Tee Halving as it can withstand pulling of the cross member. It is a difficult joint to cut accurately.

Tee-Halving Joint

Tee-Halving Joint
This is similar to the cross halving joint, but this joint is used to make Tee's or separators in frameworks. It is quite strong but the tee can slide apart if pulled.

Corner Bridle Joint

Corner Bridle Joint
This is a strong joint. It is sometimes called a corner mortice and tenon. The mortice is often cut 'blind' and it is then known as a stopped mortice and tenon.

Corner Halving Joint

Corner Halving Joint
This is a simple corner frame joint that can be made with just four saw cuts. End grain shows on both sides of the joint and although quite strong it is often dowelled or screwed.

Corner Mitre

Corner Mitre
As with the box mitre joint this really needs pinning for strength. The end grain is hidden.
This type of joint is often used on picture frames

Stopped Housing

Stopped Housing
Is more difficult to cut but gives a neater finish. It is normally just glued into place.

Housing joint

Housing joint
Is stronger than as simple butt joint. It is usually used for shelves or partitions but it is difficult to cut accurately. It is usually glued but can also be nailed.

Dovetail Joint

Dovetail Joint
This is a very strong joint but is also a very difficult joint to cut. It has very good mechanical strength which is increased if it is glued.

Comb Joint

Comb Joint
This is an interlocking corner joint. It must be made accurately or the strength and appearance of the joint will be severely limited.

Dowel Joint

Dowel Joint
This corner joint is essentially a butt joint which is strengthened by wooden pegs called dowels which are pushed into both pieces of wood as they are glued. Dowel joints can also be used to make partitions. If the dowel holes are 'blind' (they do not go all the way through) the dowels are completely hidden

Mitre Joint

Mitre Joint
This joint is used on corners. It is useful because it hides the end grain and also provides a larger gluing area. Like the butt joint it is weak unless the joint is strengthened. This is often done by cutting slots and gluing veneers in between. Mitres must be cut at 45O we use a mitre box for this purpose.

Rebate Joint

Rebate Joint
This corner joint is stronger and more rigid than a butt joint, but some end grain shows. You will need a saw, chisel and mallet to cut this joint by hand

Butt Joint

Butt Joint
The butt joint is the simplest of all joints. It is rather weak unless strengthened by using glue, nails or corner blocks. Butt joints can be used on corners or as partitions.

Friday, 13 March 2009

Overview of the Babylon Exhibition

I discovered this exhibition online and decided to visit as it strongly supports my practice. The story of the mythological tower is something i read about as a child, myths and fables have always interested me and were always a dominating theme within my childhood, so i am not surprised that my practice has (perhaps subconsciously) turned down this route. Personally i find historical architecture interesting to learn about, and find it visually stimulating. The thought of these amazing structures once having existed, having been built purely by hard labour under immense visionary skills, is something i enjoy researching and am sure will benefit my concepts positively.

The Story has reached us most widely through the Bible, the most extensively read book in the world. This is what gives the Babylon fantasy its remarkable reach. From the destruction of Jerusalem by the Babylonians; the taking into captivity of the Jews; the psalmist laments about sitting by the rivers of Babylon, the Tigris and the Euphrates, and remembering Zion, have all entered our consciousness on a primary level through the education of the Bible. When stalking the halls of the British Museum i find myself engrossed in all and everything it has to offer.
The show consists of a thoroughly absorbing display of relaxed revisionism that sets out to tackle the myths about Babylon. Its not filled with ancient treasures, and marvelous wonders from the old world. Instead, an interesting array of maps, models, texts and photos, accompanied by a precious selection of battered artifacts make up the source of the exhibition, in a comprehensive telling of Babylon’s fantastical story. An exciting display of hopeless western pictures, desperately trying to visualize the distant Metropolis present some of the exhibitions most interesting work.

The most exciting artworks on display are western pictures trying hopelessly to visualise distant Babylon.

Babylon Myth and Reality - Installation View of One Room

Myth and Reality
British Museum, London

View of the British Museum's exhibition showing glazed brick reliefs of lions and a model of ancient Babylon. For 2,000 years the myth of Babylon has haunted the European imagination and inspired artists, writers and philosophers. The exhibition at the British Museum in London explores the Babylon of our imaginations alongside artefacts from ancient Mesopotamia to build up a picture of one of the greatest cities of antiquity.

Babylon Myth and Reality - Ziggurat Etemenanki

Scale model of the ziggurat Etemenanki. Ziggurats were built as stairways to heaven.

Babylon Myth and Reality - Installation View of Three Paintings

A view of various paintings of the Tower of Babel. The Biblical story has inspired artists from Brueghel to Rembrandt and continues to be a source of great debate amongst Historians

Babylon Myth and Reality - Lucas van Valckenborch

Title - The Tower of Babel
Artist - Lucas van Valckenborch
Date - 1595
Medium - Oil on panel

Babylon Myth and Reality - Cornelis Anthonisz

Title - Fall of the Tower of Babel
Artist - Cornelis Anthonisz
Date - 1547
Medium - Etching

Babylon Myth and Reality - Michael Lassel

Title - Tower of Babel/Der Turm Babel
Artist - Michael Lassel
Date - 2001
Medium - Oil on canvas

A modern interpretation of the tower by artist Michael Lassel

Babylon Myth and Reality

Barbed wire surrounding the archaeological site of Babylon, about 50 miles south of Baghdad, Iraq. The British Museum protested at the use of the site as a military base
Photograph: Karim Kadim

Babylon Myth and Reality - Julee Holcombe

Title - Babel Revisited
Artist - Julee Holcombe
Date - 2004 Julee Holcombe

Tuesday, 10 March 2009

Tree-House Studio

Dawn DeDeaux has been wind tossed by Hurricane Katrina to a Tree House on the Fish River a few miles from the Gulf of Mexico in coastal Alabama. American Artist Dawn Dedeaux relocated her studio after her original space was destroyed by a hurricane, making her new live and work in studio a piece of work itself.

Worlds Largest Tree-House

Built for Lord Northumberland. Located on the grounds of Alnwick Gardens just 95 miles south of Edinburgh. The 6,000-square-foot tree house soars 56 feet above the ground and is connected with 4,000-square-feet of suspended walkways.

Sunday, 8 March 2009

Anne-Marie Watkins

Artist - Anne-Marie Watkins
Title: Monument
Work Type: sculpture
Date of work: 1988
Materials: mdf, sensosan reflect
Measurements: height: 4.8 ft - width: 5.6 ft - depth: 2.6 ft
Style Period: contemporary art
Subject: object

Description: Metallic mirrored square arch and lintel, standing on a mirrored base.

An alternate means to forcing the spectators to interact with the piece, whoever looks upon any surface of Anne-Marie Watkins's 'Monument', sees his or her own reflection, immediately making them apart of the work.

Laura Morrison

Artist - Laura Morrison
Title: Mini Monolith
Work Type: sculpture
Date of work: 2005
Materials: paint, canvas, non firing clay
Measurements: height: 15 cm -width: 13 cm -depth: 9 cm
Style Period: contemporary art
Subject: object, architecture, recurring motif
Technique: sculpture, painting

Description: A series of objects and paintings. Selectors’ comments: ‘Great interplay of objects and paintings. Which is the detail? Where is it going? Very obsessive and rewarding. Inside the sliced mini mountain is a wall, a hole-less cave. The troglodyte forgot to make a door and was worshipped as an Aztec jumping has been. The feeble blue castle turret did offer scant protection to King Gerry the Gerbil for republican rats.’

Geraldine Marks

Artist - Geraldine Marks
Title: Crazy About You
Work Type: sculpture
Date of work: 1993
Materials: miniature mountain on table: table, plaster, irridescent paper, perspex, acrylic paint, glitter
extent: photograph
Measurements: height: 105 cm
extent: table installation
width: 52 cm
extent: table installation
depth: 52 cm
extent: table installation
height: 75 cm
extent: photograph
width: 50 cm
extent: photograph
Style Period: contemporary art
Subject: landscape, mountain, miniaturism

Jenny Dunseath

Artist - Jenny Dunseath
Title: Tunnel
Work Type: sculpture
Date of work: 2004
Materials: paper, gum strip
Measurements: height: 60 cm - width: 100 cm - depth: 160 cm
Style Period: contemporary art
Subject: architectural object, tunnel
Technique: paper construction

Description: Series of sculptural constructions made from simple materials.

Saturday, 7 March 2009

Donald Rodney

Artist - Donald Rodney
Title - In the House of My Father
Date - 1996-7
In the artist's open hand is a sculpture made from sections of his own skin. These were removed when he was having treatment for sickle cell anaemia.