User:Spong: Difference between revisions

Revision as of 16:26, 26 September 2013

WHAT

The Stranger’s House

A single piece of fabric with no seam lines, 12 metres across and 4 metres high. The fabric is a natural canvas and has been painted with black paint, using large, thick brushstrokes. The brushstrokes form an image that is abstract, and because of the use of black paint on un-primed canvas the image appears as a drawing, having no colour blocking, only outlines. There are also drops of black paint that have been roughly covered over with white paint. These cover-ups are visible when one moves close to the canvas, but disappear when the canvas is viewed from a distance, which the space the canvas is hung in enables a viewer to do. The canvas hangs about 10cm away from the wall, and is attached to the ceiling of the gallery using ties placed, from memory, every 15cm apart. A chain inserted into a seam at the bottom weights the fabric and ensures that it hangs completely flat with no curves or buckles. The canvas is positioned between two doorways, so that the viewer must walk past the work to enter and or exit the space.

Hair, Pastry, Tobacco

A series of sculptures each made from a singular piece of marble and a singular piece of white, air-dried clay. Three have been positioned on the walls of the gallery at varying heights. Two are positioned close to a corner roughly at eye level, the other close to the ground. The forms vary in size, but each lies somewhere between 40cm wide and 30cm high. The marble acts as a base for the clay, and has been cut from white marble in lines that curve in half circles, or something that looks like a wave or perhaps a stylised cloud. The edges of the marble are smooth and sharp, and each piece is positioned tightly against the wall. The clay sits on top of the marble, and mimics its contours, however there are gaps between the marble and the clay, where the materials no longer meet. These gaps make the relationship between the clay and the marble appear rather precarious, and there are parts where the clay only just balances on the marble.

Rocks in The Sky

7 pieces of A3 white paper, on which a text has been photocopied. These pages are of portrait orientation, positioned side by side, horizontally across the wall, using clear plastic stationery pins. The pins hold the paper tightly against the wall, and are positioned on all four corners of the page. The first page carries the title of the work and so could be read as a title page. In three of the pages two bodies are identified as Dancer A and Dancer B, using the pronoun ‘she’ or the possessive form ‘her’. These bodies are described as enacting three different performances that transcribe a movement through the gallery and into the gardens outside. The last pages present instructions for breathing exercises that appear directed specifically to the viewer through the use of action verbs. These text pieces use a type face that has been interrupted by marks made in pen using proof-reading symbols, additions and patches of black that delete portions of the text. There is also a thin line that looks like a hair in the last three pages, appearing in a slightly different position each time.

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 Hair, Pastry, Tobacco
-A series of objects made from marble and white, air-dried clay. The series could be ongoing, but in this instance three have been positioned on the walls of the gallery at varying heights. Two are positioned close to a corner roughly at eye level, the other close to the ground. The forms vary in size, but each lies somewhere between 40cm wide and 30cm high. The marble acts as a base for the clay, and has been cut from white marble in lines that curve in half circles, or something that looks like a wave or perhaps a stylised cloud. The edges of the marble are smooth and sharp, and each piece is positioned tightly against the wall. The clay sits on top of the marble, and mimics its contours, however there are gaps between the marble and the clay, where the materials no longer meet. These gaps make the relationship between the clay and the marble appear rather precarious, and there are parts where the clay only just balances on the marble.
+A series of sculptures each made from a singular piece of marble and a singular piece of white, air-dried clay. Three have been positioned on the walls of the gallery at varying heights. Two are positioned close to a corner roughly at eye level, the other close to the ground. The forms vary in size, but each lies somewhere between 40cm wide and 30cm high. The marble acts as a base for the clay, and has been cut from white marble in lines that curve in half circles, or something that looks like a wave or perhaps a stylised cloud. The edges of the marble are smooth and sharp, and each piece is positioned tightly against the wall. The clay sits on top of the marble, and mimics its contours, however there are gaps between the marble and the clay, where the materials no longer meet. These gaps make the relationship between the clay and the marble appear rather precarious, and there are parts where the clay only just balances on the marble.
 Rocks in The Sky
-pieces of A3 white paper, on which a text has been photocopied. The first page carries the title of the work and so could be read as a title page. In three of the pages two bodies are identified as Dancer A and Dancer B, using the pronoun ‘she’ or the possessive form ‘her’. These bodies are described as enacting three different performances that transcribe a movement through the gallery and into the gardens outside. The last pages present instructions for breathing exercises that appear directed specifically to the viewer through the use of action verbs. These text pieces use a type face that has been interrupted by marks made in pen using proof-reading symbols, additions and patches of black that appear like attempts to obstruct or delete portions of the text. There is also a thin line that looks like a hair that appears in the last three pages. These pages are positioned side by side, horizontally across the wall, using clear plastic pins that could be found in any office situation. The pins hold the paper tightly against the wall, and are positioned on all four corners of the page.
+pieces of A3 white paper, on which a text has been photocopied. These pages are of portrait orientation, positioned side by side, horizontally across the wall, using clear plastic stationery pins. The pins hold the paper tightly against the wall, and are positioned on all four corners of the page. The first page carries the title of the work and so could be read as a title page. In three of the pages two bodies are identified as Dancer A and Dancer B, using the pronoun ‘she’ or the possessive form ‘her’. These bodies are described as enacting three different performances that transcribe a movement through the gallery and into the gardens outside. The last pages present instructions for breathing exercises that appear directed specifically to the viewer through the use of action verbs. These text pieces use a type face that has been interrupted by marks made in pen using proof-reading symbols, additions and patches of black that delete portions of the text. There is also a thin line that looks like a hair in the last three pages, appearing in a slightly different position each time.