I had a personal tutorial with Andre Stitt yesterday, due to the fact that no-one else actually came in for the group tutorial. Due to this, I was able to get a lot of important information, as well as discussion, about how to refine my work even further. I have started to experiment with vitrines as a means of showcasing my crystallised sculptures; as it allows me to either objectify an object (i.e. take it out of it’s original environment, and place it within a specialised, controlled environment; therefore making it a symbol) or even create an environment within the vitrine, therefore taking an entire space out of it’s intended environment/creation, and juxtaposing it with a gallery space. There were a few interesting topics of conversation within the tutorial, including the notion that the act of controlling the crystallisation process may be detrimental to the work, and that there is a lot of potential for an artwork that is ‘out of control’. what I mean by this is not that the work should have a mind of it’s own, but it could seem like it does. If the vitrine’s were somewhat damaged, or the seal was slightly broken; and the crystal solution bleeds out into the surrounding environment, then it could better orchestrate these ideas of eventual consumption, as well as the notion of ‘entropy’ – which is in a constant state of flux; to pause the process is to freeze it, and is to stop the entropic nature of the work. This however is a possibility, as it has been noted upon in the gap Crit last thursday, in which a spillage of solution on the base of the plinth that the ‘rabbit’s head tank’ was on, had crystallised. Some people really liked the way that it looked, and even likened it to a sort of ‘spirit’ which is bleeding out of the tank; representing a sort of spirituality, as well as a sort of mindless continuation of the life cycle, in that this ‘crystal organism’ much like a fungus or disease, is consuming the space surrounding the object.
There was also an underlying conversation about the nature of artwork, and how to create artwork for the modern day. Through the notion of commodification and the nature of contemporary art when concerned with egocentric desires for immortality and remembrance, I found a middle ground with Andre. We discussed the notion of creating art for the commodity of it, as well as the role of creating art for the sole purpose of it being an artwork, and everything that this ‘concept’ holds within it; being an umbrella term for the usefulness of art, it’s importance, and it’s lasting power. An artwork, especially an artwork that I create, is always concerned with a tension between life and death, and the clarification of it; Life and death are the only two things we can be certain of in the future, despite not knowing the exact dates of when our untimely demise will be. This therefore creates an unease, and yet a fragility within in the work; due to the fragile nature of life and death. We also debated the role of my artwork in society, and where it fits in the art world;Sure, there is a lot of artwork in the world about life and death, but what makes mine stand out above the rest? what is unique about my work that makes it my own? and therefore, an extension of my own consciousness and experience into a corporeal form? These are important questions; and I thin the true meaning of the work is that it is an attempt to create a perfect representation of my own understanding of a concept, and yet, due to the human inability to create a perfect object; it’s imperfection becomes the important part of the work. Through process and desire, I create a perfect imperfection; an example of the human condition, within an artwork.