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Assessment Studio 3 VIVA

Artist Statement

The recent collection of presented works from the study abroad term at the University of Ottawa has looked at the exploration of materials, with subsequent ideas stemming from given assignments. Found materials has been a key element within the works, including sieves, wooden chairs and hair. The use of found materials was inspired by both Ben Woodeson and Marc Sparfel who collect items from the streets and gave them homes within sculptures.  Sticking My Pieces to You introduced the manipulation and exploration of materials, developing ideas around bodily and world views. Using techniques including two-part and relief moulds, and alginate casts, plaster was manipulated in different consistencies. Through this handling of plaster, a head was formed with found torn maps, a chocolate pot and wire, displaying broken language in a mixed world.

The view of broken language and attempting to see the whole led to the work of Show Me Your Insides, using two children’s chairs and steel rod in a part sculpture of a tortoise shell. The wooden and metal shell, visible from all angles, balanced itself without fixtures, like the work of Ben Woodeson. The piece raised conversation about trying to understand more than what is presented, with the depiction of a natural shell adding to the unknown within the animal kingdom. The plastic chair whales of Brian Jungen inspired the manipulation of the supposed fixed material into something unimagined.

The idea of the manipulation of space and reality was bought into the three photography projects presented at the University of Ottawa. The first, Sans Camera, worked with a homemade pinhole camera and a five-minute exposure time to produce an unknown image. The camera was completely dependent on your positioning and timing, much like objects for photograms in the dark room, to produce a coherent image. The continual manipulation of different objects or negatives was a technique that Oscar Rejlander, the grandfather of photography, used.

Manipulation of reality within photography was especially sought after in Like Nothing You’ve Seen Before which challenged photography of objects unseen before, or in unseen perspectives. New perspectives of already familiar objects were found with the use of 35mm black and white film. This included turning fire escapes vertical in the frame, causing uncertainty of reality within the image. The orientation was inspired by Andrew Wright, whose series of trees puts them back in a vertical position. The final images interact the viewer, whose head wants to turn for the horizon to be flat, but then finds the image looks wrong because the reality is cropped around the stairs.

A cropped and controlled reality with the manipulation of material is finally seen in Emulating History. This project looked at the works of Harold Edgerton, whose invention of strobe lighting allowed people to see the extraordinary in the every day. By using self-designed three-dimensional printing, along with wire and slow shutter speeds, a false reality was created in the final images displayed. The element of false reality in photography confuses those who view it.

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