Wednesday, 5 July 2017

Colleague coversation

Following on from my critique with Charlotte I took the opportunity today at work to discuss my current plans with two of my close colleagues Maria and Sioni. Both have been exceptionally supportive through my MA process and both have a vested interest in the work I have been doing. it was a session that wasn't dissimilar to the 'thinking through drawing' workshop I attended as my marker pen at the ready and white board in front of me. As I mapped out each feature I was able to draw it live whilst both discussed and gave their own personal view on they would perceive the work.
As both have read the narrative, they knew what I was attempting to communicate and we started to speak in real detail about particular characteristics and features. use of materials and how the text could be integrated, colour and how this could not be approached in a confirmed way but had to hold a relationship to the work, the way the audience would be and approach the work within the exhibition space and so on.
This has really firmed up some of my creative choices and with these two agreeing on not all but a majority of the reasons and aesthetics to the work, that I can really start to push this forwards with production. I have been in-between studio days having a lot of evening conversations with my father about fabrication and in particular the process of installing and suspending the work which play an important role in its success. 

Friday, 30 June 2017

Peer critique

So today was one of those days in the studio where it was all about questioning. For a number of weeks since discussing my initial installation plans I have spent far too much time procrastinating. I have been looking over each of the features and element's within the design and although I have this vivid image in my head I have just been on a bit of a back foot with production. Whilst looking over my plans and ideas my peer charlotte aka Crocs joint me in trying to really thrash out what it all meant. Not being in the same tutorial group nor scheduled on the same day, it is rare for me and crocs to find the time to discuss our work and create our own mini critique. Well . . . you suddenly start to identify weaknesses when you can't fully explain your work and reasons as to why. It was fair to say the crocs was able to pull apart the work very quickly and this led to a rather long and intense discussion about the relevance, how the audience may perceive the work and an overall simplification of the whole installation.
It was outlined that the strongest feature of the work to date is the spatial narrative and that this wasn't being executed to its full potential being proposed as wall mounted text. This was considered as a disconnection between text and installation and that the text needed to become further integrated within the installation so that it advertised to the audience the purpose of walking around.
The eye lines were considered confusing and irrelevant in that it would be near on impossible to situate the audience within the space correctly as to create a relationship between them and this feature. This was a real big relief in my opinion to hear this, as this was the one aspect that I was really struggling to draw and consider how to go about making.
Overall it felt great and really refreshing to have a real in-depth critique that wasn't just accepted but was challenged. The tutorials and critiques this year [despite me having some tough criticism at times] have generally been catch ups and have lacked those fleshing out intellectual conversations. Although I am taking a step back and going to re-draw out the installation plans, I feel much more confident in why it is what it is and how this will work as a complete body of work that will make sense to the audience.

Tuesday, 16 May 2017

Unit 02 Portfolio

Unit 02 has been a unit of ups and downs, success and failures. I have had some tough tutorials at time and with the critique identifying a lot of issues in my project direction I have had to take some steps back. I do feel though on reflection very happy about where the project will end up. I think the tutors could see that project and myself had a lot more to give and that it could be a very successful project.  Despite my unit 02 portfolio not being as advanced as I would have perhaps wanted, I have produced a lot of work this term and this has really helped me break down each element.  

For unit 01 I was praised by my peers and tutors for the presentation of my work and this is something that I again wanted to ensure was high end. Learning from the previous unit feedback, I have made sure that their is more context within my books that supports the visual imagery. My QR scan actually works this time, so my reflective blog will be seen and assessed. The portfolio very much reflects the term with me having to discuss why particular parts of the project will not be taken forwards. I have spent a lot of time laying out my work and building my visual communication skills. I have used a similar format in the idea of an archive box that will hold all my components.

Although this units marks will not impact on my final grade it would be great that despite how the term has gone that I can match or build upon my B+. This portfolio also includes an updated study plan and a printed copy of my critical research paper.


Thursday, 11 May 2017

Proposal drawing

I have been thinking about how this drawing is going to come together and work in the form of communicating the spatial narrative. For the final show I know that the text will be presented alongside this [although I need to consider how this will also be presented]. I have started to think about each element as its own drawing and then place these together to produce the final installation.

I need to work at a reasonable scale, but also a scale that depends on the space I am given for the final show [to be discussed in my unit 02 feedback]. The installation will consist of four layers of information presented at heights that deals with their relationship to the body.

1. A concrete cast of the Gagosian floor plan giving an indication of the space that I am walking around. This will be presented on the floor of the gallery space

2. The drawing of weight. this is one of the more difficult elements to explain as I am working on how I can produce marks that start to communicate weight distribution [matching the descriptions in the text]. This will be suspended just above the concrete cast in line with my ankle height. I am looking into Japanese printmaking papers that are light weight in GSM but incredibly strong

3. steel box section that will show a linear route of where I moved. According to Frank [technician] this is easy to work work and I have already started to look at the various junctions I can purchase to help with the angles of my direction. This will be suspended at the height of my waist. A fixed center point of my body.

4. Wire that will be a series of lines welded together showing line of sight. This is complex and will take a lot of time to draw up ensuring that I work with angles and duration lines. This will be suspended in line with own eye line.

To support the potential installation process I have considered the idea of a timber framed reflective mount that would act as a perimeter line of the space. This will enable me to suspend the work form this frame and not into the ceiling. The issue I have is that the final MA show is in studios that will not be clear until mid-august. It is really important that I get an allocated space asap and can start to measure up. The concrete floor is going to have to be made on site and in location as once it is set it is very unlikely that I will be able to move it without it breaking.

Monday, 8 May 2017

Interim show H&S briefing

This morning we all met in the colleges Triangle space [gallery 1] for an interim show briefing. The show is a collaboration between MA Textile design and ISD students. Although the curatorial team was mixed the rest of us had never met each other. We are still unsure as to why we are having a joint show? there is an awful lot of us and I think everyone is slightly nervous about how the show will come together.  We have just two days to prep and install ahead of Tuesdays 17:00 private view. Having done shows every year with students I know the stress, stupidity and chaos of these situations . . this could be interesting.

Personally  however, I feel OK about the interim show. I will be purely presenting my narrative on my plinth and have decided that for distribution issues and costs I will be printing my narrative on sheets of paper and not in a book format. I have a simple installation set-up and just need to focus on getting a space that works for the project.

The original proposed location of my work is situated close to the bar and it doesn't work for me. I want my work to be placed within the entrance space due to the nature of the work [the audience picking up my narrative] too far into the space and it could feel like a sculpture that people may not engage with.

Thursday, 4 May 2017

Thinking through drawing

This morning I had another tutorial and just showed Pete and my peers the spatial plan I had developed that had been helping me construct my narrative. I also wanted to take the opportunity to clear up anything unclear and spoke about drawing in a more sculptural and installation sense. Pete seemed happy with this and was starting to get excited about the prospects of my project [a huge change from last week!] This restored some faith in myself and that I was making sense with my proposal. Pete advised me to use unit 02 to give him some indication of what could come and to include proposal drawings in my portfolio submission. Drawing my experience is going to be a huge task and I am slightly lost as to where to start. How do I produce a drawing that shows body movement, weight and line of sight??

mapping out my notes taken from walking around the gallery

Every week I am bombarded with emails form the college that have a continuous line up of events for postgraduate students to attend. I haven't signed up to any before, mainly due to time but there was an event advertised at LCF entitled "thinking through drawing". With the direction of my project bringing up "drawing" as a fundamental element I decided to sign up and see what the workshop offered. If anything I was expecting perhaps a critical discussion about the importance of drawing and how I could approach drawing my experience [that was starting to consider multiple elements].  

The session was an introduction about drawing [as an approach]. It was very much focused on the discussion but did provide interesting exercises where we had to talk and draw with a partner. My role as tutor has helped me when working with student during tutorials and that exact process of mapping out and drawing whilst talking. I found it helpful as it forced me to consider how this drawing/sculpture/installation would communicate my ideas and experience. I know feel more confident in submitting some drawings that would hopefully start to communicate my proposal.

Activity 1 Mark making / Activity 2 drawing a problem through lines & forms

Activity 3 Drawing whilst talking

Activity 4 drawing your proposal in four different ways

Tuesday, 2 May 2017

Steel plinth fabricated

The plinth has been fabricated and it looks beautiful! it has had a counter weight welded into the base giving it weight that will prevent it from moving during the interim show.  The size of the plinth relates to my bodily walking measurements. A scale used in my unit 01 work when developing the route systems. the base is 1 Fardell foot x 1 Fardell foot with the height 1 Fardell step. Although this information is personal to me and will not be published to the audience I will disclose it to my tutors. I think having it fabricated from scratch has really added value to the work and I am looking forward to seeing how this will situate itself within the white gallery space and present my narrative.

The plinth will remain outside in my garden until I drop it off at Chelsea on Saturday 6th May. everyday I will be spraying the steel in a 60/40 mix of water and malt vinegar to speed up the rusting process.

Thursday, 27 April 2017

MA tutorial / workshop discussion

This morning I briefly discussed my interim show plans and intentions. I felt that the feedback seemed rather blunt rude at times. I spoke about the idea of a narrative and that this would develop into a drawing. I use the work drawing lightly because of the connotations of people associating it with a sheet of paper and a pen. I have considered drawing as 3-dimensionla and very much spatial. Throughout the tutorial Pete kept asking me what my role was? I seem to be the only student who is asked this question . . is it because he doesn't consider me to be a designer? am I designer? a researcher? who knows. If I am honest I don't really care, I feel that at every step of the MA I have been responding to the research sourced in both my practice and theory. Another remark that I was taken back by was when Pete referred to me as a "Gagosian groupie" as to say that my work is some form of promotional claim for the Richard Serra exhibition. It was hard to not take this personally, but to avoid any further upset and to try and resolve perhaps Pete's understanding of my project I took it upon myself to read out the introduction to my CRP. This seemed to clear up so points and Pete was considerate to this mentioned that I write well. I have had some tough tutorials recently and this seem to be another one. I almost feel like I am defending my purpose for being on the course.

After the tutorial I went and spoke with Frank [lead technician] about my interim show ideas. Because I am going to be showing a document, I wanted to make sure that there was some considerable effort made in the presentation. I wanted to somehow create a visual connection to Serra's work that I was writing about as I am not going to mention his name within the narrative. I discussed with Frank the idea of making a steel plinth that would then rust and add mass and weight to the work juxtaposing with this light and white piece of text. We went through a series of options as Frank made it clear about the skills and workload involved in making this. He really wanted me to consider alternative options and we arrived at the option of cladding in steel a pre made MDF plinth that was no longer in use. 

I was however happy to find out that a family friend of my fathers could potentially be able to fabricate a steel plinth from scratch offering my the additional opportunity to identify a scale that was unique and connected to other elements of my practice.

Thursday, 20 April 2017

MA ISD Meeting

It has felt like months since I have been into the studio and seen my peers. Almost three and a bit weeks of break and now it is time to return to what is going to be an extremely busy final few before hand-in. With all eyes on the completion and submission of the CRP it is fair to say the practice has taken a step back, but it is now time to really think about the direction of the project as I have an interim show in around two weeks time.

Notes from meeting:

- 10 studio days to complete interim show work

- 27.04.17: presentation and discussion of what interim show plans are

- 04.05.17: Submit interim show proposal (include notes, dimensions and sketches)

For the interim show I am going to concentrate on the production of a spatial narrative that explores the experience of walking around the Gagoisan space and engaging with Serra's work. This is something that has still been very relevant to my previous work and deals with experience, time and memory. It will also give me a chance to produce some additional written work which I have thoroughly started to enjoy. Writing about space that will hopefully set me up for unit 03.

Wednesday, 19 April 2017

Critical research paper [draft 2] submitted

The Easter break has certainly been an key opportunity to take a break from the whirlwinds of term 2. With the project slightly inconclusive and a bit grey, the CRP was certainly a struggle. I have worked incredibly hard on putting together a real robust introduction and context to the paper so that hopefully the feedback from Ken in a few weeks can focus on what next.  The writing certainly does offer an opportunity to reflect on all the research gathered and really gets me thinking about my interests.  I have pushed my luck with a submission that is way over the word count, but I am hoping that Ken will not dismiss this and provide me feedback on the whole paper.  It comes to light that 5000 words as a final thesis is not a lot and I am going to have to be very clever about how I continue to write and what about. What all this writing has done for me is enable me to relocate the practical side of my MA and consider some options moving forwards. I will be proposing this for the submission of unit 02.

I have run with the title "Museum of the Ordinary". This is a title I used on my portfolio and with my previous submission of both study plan and crp. Yet to decide if this is 100% the final title, although it hasn't been asked about, so perhaps it seems to work.

Thursday, 23 March 2017

Tutorial with Pete

Meeting with Pete to discuss my critique gave me a one-to-one opportunity to really go through the work produced this term. arriving with some already made reflective notes really helped to thrash-out where this project could go and gave Pete an opportunity to understand what happened during the crit. The project needs me to go back a few steps and really try to focus on identifying the context, what have I been interested in throughout this MA and how could I turn this project around. I have a limited amount of time left, with the Gagosian gallery closing soon for an exhibition changeover. The next few weeks over independent study and the Easter break are going to be crucial. I also have my critical research paper deadline, although this is only a draft I do not want to position the paper and write about practice that is then scrapped.

I do prefer at this stage of my MA to have one-to-one tutorials. I feel the group tutorials no longer work, some peers are just not interested in sharing feedback or wanting to get involved. It often leads to just Pete discussing his understanding and judgements. It is disappointing as my tutorial group has halved to seven students since the introduction of an additional group.

Monday, 20 March 2017


So the weekend has passed, it is back to the studio and time to read back over my notes from the verbal feedback I received. With no schedule it is a nice quiet day in the studio to scratch the brain, open my eyes and make another f**king plan of action.

  • Re-visit Gargosian [project to now focus on Britannia Street]
  • Research into Richard Serra, get a greater contextual understanding of work and relationship to space
  • Research into Caruso st John [site architects] 
Research: The architecture of Art Museums: A decade of design 2000-2010, Ronnie Self

"How to critique space: look at a building and write like an architect. A mesh of theory and technical involving unrelated issues"

"Museums are a prominent and important building type. They are places for collecting, exhibiting, conserving, for research, education, contemplation, introspection [observation or examination of one's own mental and emotional state]  and enlightenment [impart knowledge]. They are public forums, places for social interaction and an outreach for creation. They are scared spaces. Museums are the preservation of memory"

  • Create my own narrative [potential to juxtapose with de Certeau?]
  • Map the space from multiple views [the space, the body, the sounds etc]
  • Try to gain access to Gargosian Archives

Friday, 17 March 2017

Do Ho Suh: Passages

I had heard nothing but great reviews from both peers who had been to see this exhibition and the reviews from Time Out London. The Victoria Miro put on some great shows and it is a great venue partnered up with the accompanying Parasol gallery next door.

Do Ho Suh meticulously constructs proportionally exact replicas of dwelling places, architectural features, or household appliances from stitched planes of translucent, coloured polyester fabric. Constructed much like items of clothing, Suh's portable modules of space were designed to be packed in his suitcase as he travelled between continents. Transitory, connecting spaces – corridors, staircases, bridges, gateways – feature often in the artist's work: rather than borders, Suh is fascinated with the linking spaces through which the body travels

It is ironic when you start to think about all of those transient passage type spaces that we encounter on a day to day basis getting from A-B, those that are embedded in the everyday fabric of our routine and those that we sometimes stumble upon. The exhibition exceeded my expectations, there is an emotional overwhelming feeling once  once situated within the work. Photographs of any kind do not do this justice. The construction of such a narrative through the connecting spaces. It is as though for the first time that Gastons' Poetics of space has come alive.

Thursday, 16 March 2017

Critique #2

So the critique aka progress review didn't go to plan . . . in fact it went in the completely opposite way to what I was expecting. I was presenting to Ken & Emma, both who are not my personal tutor, Ken who is the lead theory tutor [but was involved in the assessment of unit 01] and Emma, who has only recently joint the course and who didn't know any of my previous practice. Both tutors felt that the work that was discussed was too disconnected. Ken mentioned that he liked the process of analyzing the text and both of them briefly looked at the completed manifesto. The felt that the furniture had arrived at an end outcome and that this was too soon [I hadn't mentioned that this was the end result, but at some point once the trajectory lines were extruded and given a scale, they had to be given some form of notion/identify]. They wasn't interested in the ideas behind the video work and if I am honest I didn't feel that they really looked and read through my presentation sheets in much detail.

I was given references that started a discussion about the exhibition space, discussing the work of Simon Startling and his VR walk through [a which point I highlighted that I am not interested in using nor exploring VR [virtual reality]. They spoke about the observation process and that I had been walking around these spaces, and at this point it very much felt like I was talking about my unit 01 work [of which Ken assessed and Emma was non the wiser of]. If I am honest to my frustration [and of no fault of Emma's but she was giving me suggestions about what would be interested which was identical to what I had submitted for Unit 01, and Ken wasn't supporting me in mentioning that I had already done this type of work. They mentioned that the project needed to become more complex and that I should re-look back over the observation process and direct the project more towards creating an architectural type intervention that is an extension of the current body of work [a series of sculptures by Richard Serra].

Critiques where you don't get the feedback you were hoping for, I am fine with. I am fine with tutors not fully understanding my ideas and if I need to go a few steps back then so be it. I think what bothered me [and I will not be disclosing too much out of respect for both myself and my peers] is that throughout the day it felt as if there were moments of conflicting information. The less you actually presented, the better the feedback seem to appear? and others outcomes that seemed very removed from research were considered "good". I do not want this to be taken in anyway as myself being bitter, but at this level I just expected there to be a more professional and rigor response to the way we should be presenting and the volume of work, considering this is the only critique for unit 2 that is in theory a presentation of almost 3 months worth of work.

Defeated at this current moment in time is an understatement and it is back to the drawing board to consider what elements will be taken forward. I am going to give myself a few days removed from the studio and the work as I may approach it from a negative point of view.

Tuesday, 14 March 2017

Critique preparation

Despite this weeks critique being re titled and branded as a progress review, this is an essential time for me to reflect on all that has been going on with my practice and attempt to clarify and clearly communicate my intended direction. A few weeks back I had a seminar that focused on reviewing our current critical research paper. Due to the changes in the project and how "in my opinion" expansive it has become, looking at the development of different bodes of work I felt lost with what to currently write about from a summative and executive point of view. 

I suppose after many weeks of being encouraged to "just run with it" and "it's good to let go" I have questioned the overall target of the project. That said I feel I have produced a good amount of work that is in tangent with my research and I am always making sure that I reflect and generate endless documentation of lists, brains storms and questions. A weakness of mine, generally seems to be that I finish work with further questions and not answers . . . yet to have decided if this is a good/bad thing or a thing at all. 

My presentation sheets would be an opportunity to place the processes explored into a sequence of events and would start with the analysis of Michel de Certeau's text and end with a diagrammatic proposition of where I think I currently am.

Monday, 13 March 2017

Practice of everyday life

Michel de Certeaus' text is becoming ever evident and increasingly important in the development of my work. What's great and encouraging to find is that it is being mentioned, disclosed and evidenced in other research that I am finding. It is clear that his ideas and theories have influenced other practitioners and so this gives me a good indication about the relevance of my research.

"Theory of the productive and consumptive activity inherent in everyday life. Everyday life s distinctive due to it's repetition, making it unconscious. It is not the story of popular culture nor is it the study of resistances within power and control. it draws on a distinction made between strategy and tactics. "

Strategy: Institutions and structures of power who are producers. Individuals are consumers, acting in environments defined by strategies. Individuals, despite strategies imposed take on their own process.

Saturday, 11 March 2017

Art & Language: Joseph Kosuth

It has been made very clear through my discussions and presentations that my work very much deals with language as a tool, media and instrument to develop both ideas and work. While reading "Art & Language" the work of Joseph Kosuth [who has been mentioned previously] was discussed for his involvement in the period of conceptual art and his relationship to the use of text within his own ideas as a means of communication in replacement so often of the image as a chosen media.

The following notes have all been taken from:  Essays on Art & Language [Charles Townsend Harrison]

Artists activity claimed primary attention, although a product or art object was presented it was the artistic content that was key. From the view of the spectator, artist processes and conditions of production were speculation bounded by actual or hypothetical identity of the presented aesthetic object. This was part of the Art & Language movement.

Kosuth Pioneered the use of words in place of visual imagery and explored the relationship between ideas and images and words to convey them. Meaning was ultimately conveyed through language.

Since the 1970's Jospeh Kosuth worked predominately on site specific installations that continue to explore how we explore, comprehend and respond to language. 

"Artistic skill and craft should be eliminated and ideas should be conveyed both directly, immediately and purely"

Equivalences between visual and linguistic were influenced by Ludwig Wittgensteins ideas on language. Kosuth uses language as a form of presentation, to make the audience contemplate the issues. He relies on the writings of others and goes through a process of appropriation. Texts are usually chosen on their non-literal and descriptive basis [texts that do nor portray direct images or per-determined visuals once read]

Relational Aethetics

After a brief discussion with my personal tutor Pete, I was swiftly directed towards reading "Relational Aesthetics" by Nicolas Bourriaud. This term had be flagged up alongside "Situational Aesthetics" And it was important for me to understand, comprehend and differentiate the two in order to place where my practice lies. Pete had raised some important questions [although at the time, first thing on a Monday, it did feel like a slight blow to the head]. I have been struggling with a question and sentence that really sums up what my project intentions are and what the project is. I feel I have been forever making work in turn and out of reading and uncovering new information, but that all important why was raised to the surface. Although my practice and project is not a "problem-solution' type project, I do have to consider what I am attempting to question or communicate. 

The French curator Nicholas Bourriaud published a book called Relational Aesthetics in 1998 in which he defined the term as:
A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space
He saw artists as facilitators rather than makers and regarded art as information exchanged between the artist and the viewers. The artist, in this sense, gives audiences access to power and the means to change the world.

The following notes are all from the above source:

Relational aesthetics: Nicolas Bourriaud

Space enveloping the beholder in an ambience or constructed environment. Any point in space is both the memory of time and the reflection of a space. Meaning and sense are the outcome of an interaction between artist and beholder.
Interlocutors: A person who takes part in a dialogue. A person who questions/interrogates

Reality is nothing other than the passing result of what we do together [Marx]

Argument against relational aesthetics is it is a watered down form of the social critique

The transposition into the experience of spaces constructed and represented.

Interstice: a small narrow space or interval between things or parts/series of alternating uniform spaces – spatial organisation

Relational aesthetics and constructed situations. situantionists concepts of experimental realities of everyday settings. Guy Debord.
Deals with forms of human relation [social relationship between people and go between]

Felix Guattari: Obscure language / syntactical clarity blend of English and German words, deceptive shortcuts.

Creating and staging devices of existence, including working methods. Instead of concrete object. Time is the material. Aesthetics must become a poetic function that goes hand in hand with social.

Co-existence criterion: art producing sociability does the work permit me to enter a dialogue do I exist and how in the space does it defines.

Relational aesthetics: artworks on the same basis of inter-human relations they represent and promote relational art. human relations and social contexts

Friday, 10 March 2017

Fred Sandback - Artist Research

I was introduced to the work Fred Sandback during one of the drawing spaces lectures a few weeks back. and had considered the aesthetics and way his work becomes a alternating extension the space vital in my current practice research. With my trajectory lines extruded and my latter assemblage work also taking a 3-dimensional direction, I wanted to get a thorough understanding of what Sandback's work from both a contextual and process point of view to ensure that my work, however visual similar it may start to appear had very different reasons.

The below notes were taken from the Fred Sandback Archives:

Use of acrylic thread – compared to a pencil line. Drawing a line that represents space [referenced Giacometti]. To see a denser space an emptier space around him. The line is not about representing figure/ground. It Phys with architectural space. Original ideas and work related to the spatial object. Illusions are real and reality is allusive. Not an installation artist. The exhibition space becomes part of the work in creating new boundaries. The space isn’t interrupted in a conceptually guided way and the work doesn’t act as a narrative device about the space.

The work is a diffuse interface between myself, my environment and others environments. Built of thin lines that leave enough room to move through and around. Still sculpture but an ambivalence between exterior and interior. A drawing that is inhabitable. It is not the art of trying to stretch a line between two points.

The sculptures are not discrete objects but constitute a material relationship with the environment. The sculpture address the particular space and time they were built in. The work is now site specific and executed for particular place.

Pedestrian space: literal, flat-footed and everyday term

A line of string isn’t a line it’s a thing. It doesn’t define a plane but everything outside its own boundaries. Its an aggregate of experiences. Equally a conceptualization to make something which can be purchased in enough different ways its identity becomes apparent to the name and perception employed. Work now is less structural significant and a relationship to the space. They are not there to teach you about the space the work isn’t environmental, its presents in pedestrian space is not to obscure its context. Co-existent with the environment.

Monday, 6 March 2017

Drawing Spaces Lecture 08: Ludic Space

Ludic Space
Adjective: playful in an aimless way
It can refer to architecture that is playful, narrative that is humorous and even satirical, and literature that is light. "Ludic" is ultimately from the Latin noun ludus, which refers to a whole range of fun things - stage shows, games, sports, even jokes.

Representation at play [What are you playing with?]

Nigel Henderson: recording a dialogue between architecture - representing space through photography

Charles Sheeler: American paintings that were abstract representation of space. How one lives in space & a story of space. Landscape paintings of industrial factories.

Clara Porset: White on White relational paintings. Objects waiting for human occupation. The work captures the relationship between material/texture and the human body.

Osbert Lancaster: Home Sweet Home
Communicating how one lives, occupies and views space. A critique of society and how one expresses themselves trough their interior. Each painting depicts a class system or era and showcases a strong narrative about the users. The work is a political statement

Saul Steinberg: Drawing of spaces combined with the process of applying stamp marks. The frame within the work depicts movement where the work and stamps are almost cut out, once beyond the frame. The same approach to his interior work is applied by using a frame and the use of framed views.

Printed stories was an exhibition curated through text and stroy telling. The artists were inspired by text, responding to it and using it to inform the title of each works. The use of extended text allowed the audience to feel empowered within the exhibition to create and control their own story.

Pablo Bronstein: Wall-Pomp
The use and application of scaled architectural images to compliment a collection of chairs. Real time vs the imaginative. Shift and play in scale. A juxtaposition of interior and exterior is applied with the adoption of language from other periods of time.

Blane Drimmond: Real spaces
Using stories and a real life colour palette to construct narrative spaces. The insertion of thread to create a play in light on the work.

The space between and circulation spaces. Fabric structures that are an extension of the drawing. Passages, users, time, memory and the artists relationship to those spaces.

Our role as spatial designers: Within a scheme, what do you envisage as the function? How does the interior space work with users? and how do you communicate that?