Tuesday, August 7, 2012

Final Semester 1 Crit with mentor Roberto Lopardo

RL: “the old paintings are very, very strong but they are full of didactic meaning… even though you want me to get the obscure reference of the femme fatale and cat woman, I can’t help but get the pop culture reference.

AM: “I am unclear whether I want the kitsch or not.”

RL: “ I don’t see the humour in your paintings. Maybe you have that wry sense of humour but these are too brooding. That’s why the experimentation and the turn that you have taken has put you in a new light. You’ve gone from… there’s really strong moments in these paintings… but overall I see references to loaded symbols. When you bring it to object making, now I have lost some of the references to pop culture, now I am forced to conjure up my own set of associations. So, I am really drawn to these – there is still growth necessary in the evolution. What I’m missing is the figure. The first thing I thought about is what would happen if I started building with these [buckets] and then I thought, it would become a figure. Maybe you start to cast parts of the body and disassemble them so that they don’t become a full body. I don’t think the form [bucket] is as precise as you would like it to be. You’ve spent a lot of effort to layer them and create these textures but you now need to spend more time developing the form that is as complicated.”

AM: “When making the last vessel I thought about making it human size, so that a body could fit into it, and having slits through which you could see the inside and generate associations this way. They are vessels/figures/towers”

RL: “ Well that’s the next step. You’ve taken a wonderful step going from a 2-dimensional place to 3-dimensional space. You’ve learnt how to craft with these materials which was complicated and that was the assignment you gave yourself at the beginning of the semester – to work with these materials, to experiment and you’ve done that. Now you need to focus on the actual object and invest as much experimentation into transforming the object into a 3-dimensional mutation. Look at mutated objects, humpbacks, cancerous growths, trees that have fluid forms but have deformities. Look at things that grow organically and are then interrupted by some negative process. That’s what I see – mutated forms – first I have to see the form but then I want to see the mutation. The form is evolving – maybe in a positive way, transforming.”

AM: “”Evolving in a positive way”, is triggering images.”

RL: “Scale is so important in sculpture. When you make something really big or really small, you avoid the “standard” size. With sculpture it is so important, when you walk into a room and see and walk around these forms, almost like an installation, and you lose yourself because you become enveloped by them. This one [hand-made bucket] is a strange size, the other two are an industrial form so they’re ok, but this one is strange yet the most successful. Maybe you stack other ones like it and build an object. Maybe they continue, like some crazy puzzle. All the while you’re thinking how the woman is moving, from woman to cat, from cat to woman – how is the organism spiritually evolving? Build it in steps, handcrafted segments. Think about the elements – this segment is closer to earth, this one to sky, it may be flimsier.”

AM: “Almost like a totem pole, incorporating the elements.”

RL: “I think this is a really beautiful object, you’ve got the materiality down, now where do we go? They could become like quilts, on a bed or hanging from a ceiling. They can go back to the world of painting but they’re sculptural, you can walk around them. Is it something that you put on you? Is it a curtain? Is it a human body? ”

AM: “We talked about these [buckets] being the essences of archetypes.”

RL: “Yes, it’s a pool, a repository. If I saw a group of these, and each one was different, then I would be more convinced. The act of replication confirms the thing’s existence. It makes something real – it’s like a mantra.”

“You start with an idea and you remain flexible as the idea is bound to evolve as the materials interact with it. The physical world interacts with your imagination and mental world.”

“You could spend a term working on form and learning all that you can about 3- D form. It doesn’t have to be monumental sculpture.”

“ What if this imaginary creature, you or a personification of you, this cat/slash woman – what if you wrote a whole narrative about her and then all these objects will become very natural. You don’t have to answer the questions, the stories will do that. You tie in a series of books and then from those books you create exhibitions that have all these precious little objects that you hand-make using these techniques. That way you can have your character and you can have your objects and they all live together happily. And then one day it can be an installation and then one day it can be a painting, it depends on what she is going through in that book, or a portrayal of a dream that she had…”

No comments:

Post a Comment