Wednesday, 16 December 2015

Holding certainty at bay

Artists Jaimini Patel and David Kefford have a lot in common.Both of their works are site specific, deal with provisionality, contingency, fragility, awkwardness, using everyday material that elude control in a playful manner.Kefford is interested to explore the contrast between the private making process and public interaction after the works are exhibited in public spaces and for Jaimini the process of making is of prime importance. Kefford randomly connects/assembles the found objects in a sculptural form , Patel rearranges the objects transforming their present context to render new meanings and associations.For both these artists failure is an important concept since their works are never predetermined  or preordained but gradually unravel themselves through a series of  risks, chances, trials and failed attempts using intuition rather than logic and reasoning.


Jaimini Patel, "Markings"

David Kefford " Coming Together and Falling Apart"


Phyllida Barlow



 (artist)I see failure as a whole process towards finding out about something.  That if something doesn’t work it carries an enormous amount of information with it.So the failure of it is that it hasn’t quite happened yet, but I don’t know what it should be. And that not knowing state is often deemed a kind of failure; you must know what you want, you must know what your intentions are, you must know what your aims and objectives are.  It’s such a harsh, unforgiving language.  And yet the not knowing can often be that, as an artist, you’re not working necessarily with very vivid visual, cerebral processes.  You’re actually trying to find those, and that’s why you want to make the stuff, or draw the stuff, or paint the stuff.  So the failure thing to me is very much associated with that striving for, and that struggle.  Two words that are now very unfashionable.  But there is something for me in the striving to find the visual thing that isn’t yet in one’s head.  It just doesn’t have a cerebral identity.





Jon Thompson (Artist, curator, academic)



Art is about chance-taking; about holding certainty at bay long enough to discover something.  You have to feel that you are risking something when you start a work.  It may be a miniscule risk, but still a risk.  You’re trying to do something that you haven’t quite managed to do before, or you haven’t tried before…an idea, a move that you don’t know is viable.  The only way that you can ever know whether it is a sound move is by carrying it through to completion.  That is why the study of context – its elaboration via the traditional methods of research – gets you absolutely nowhere, because what that tries to do is predicate an outcome, more efficiently, more economically, more directly, or something.  In fact it doesn’t help in any of those ways, it short-circuits the essential process, basically.  Process means making something physical – bringing into existence and that cannot be achieved discursively.  It requires perception harnessed to intuition…




Saturday, 12 December 2015

Surrealistic Techniques

As with Dadaism, one of the primary techniques practiced by many Surrealists was the process of automatism. Similar to other artistic manifestations such as improvisational free jazz, automatism involves writing and drawing with as little conscious control as possible. This technique was considered valuable because the Surrealists believed it allowed them to tap into their subconscious and explore the realms of their inner psyches while consequently expanding that territory.Dreams were also of great significance as these were considered a chief route to the primal self, encased by what they believed to be an artificially constructed cultural consciousness.In an extension of this, Surrealist art sometimes featured recurring symbolism to convey the idea that time is fluid.Ants stood for putrefaction and transition while drawers symbolized memories that could be locked away.
Creating odd and often thought-provoking juxtapositions was another core Surrealist technique, with fragments coming together in unconventional contexts. In fact, the more various puzzle pieces differed from one another -- and the greater the sense that the newfound relationship was genuine -- the more profound the conveyed message was believed to be. This relates to the word "surreal" itself, which was meant to express the idea that Surrealism goes above and beyond mundane reality, that it reforms and transcends it.
Surrealist paintings often leave viewers with a confused or eerie sensation. Apart from crazy juxtapositions, the art might portray menacing shadows cast by figures lurking just outside the frame or twisted objects that look like characters out of a nightmare or a hallucination. Components that many might consider perverse or grotesque are fair game, and eroticism often plays a role as well. All in all, Surrealism can easily come off as disturbing, or at the very least, a bit unsettling.

http://entertainment.howstuffworks.com/arts/artwork/surrealism1.htm


Aerographyis a technique n which a three dimensional object is used as a stencil  to spray paint.

Automatism -The hand is freely and randomly allowed to move across the paper or canvas leading to chance, lack of rational control and accidental mark making.Hence the drawing produced may be attributed in part to the sunconscious and may reveal something of the psyche which would otherwise be repressed.


Bulletism involves shooting ink on a blank pice of paper either directly from the bottle or by dipping a sponge in the ink and throwing it to the wall.

Calligramme is a poem verse phrase of piece of text in which the letters are arranged in a way to create a pictorial depiction of the meaning of the text itself.

Collage collecting a range of different material like newsprint,fabric, plastic,photographs, postcards, wall paper, three dimensional objects-any material that can adhere to a flat surface and taping or glueing it on to create a complex composite image.

Coulage a form of involuntary sculpture in which liquid material like molten wax, chocolate of metals like broze or pweter are poured into cold water to create 3 D forms which are unpredictable.Another method would be to collect scraps of paper and rolling them to form 3D shapes.

Cubomania is a collage method in which  a photograph is cut up into squares or rectangles and these are then reassembled automatically and randomly to create an image which  bears little ressemblance to the starting image.

Cut up technique a piece of linear text , film or recorded speech is cut up and rearranged  in a random order.

Étrécissements-While collage is an additive technique, this is a reductive technique.The results are achieved by the cutting away of parts of images to encourage a new image, by means of a pair of scissors or any other manipulative sharpened instrument.

Decalcomania is a technique in which a thick layer of paint is applied on paper or canvas and while it is still wet, another material like aluminum foil is pressed onto it.It is removed before the paint dries and the resultant abstract patter is known as Decalomania.

Dream Resume- This takes the form of an employment resume but chronicles its subject's achievements, employment, or the like, in dreams, rather than in waking life. Sometimes dream résumés contain the achievements of both, however.


Echo Poem a technique in which a sheet of paper is divided in half in two coluns.It is composed by two people.The verse on the left is written first followed by its echo on right hand side.

Echlaboussure is a process in Surrealist painting where oil paints or watercolours are laid down and water or turpentine is splattered, then soaked up to reveal random splatters or dots where the media was removed. This technique gives the appearance of space and atmosphere. 

Entopic Graphomania is a surrealist and automatic method of drawing in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots; these can be either "curved lines... or straight lines.". Ithell Colquhoun described its results as "the most austere kind of geometric abstraction. It is to be distinguished from "entoptic" methods of drawing or art-making, inspired by entopic graphomania

Exquisite Corpse:or Cadavre exquis is a method by which a collection of words or images are collectively assembled. It is based on an old parlour game known by the same name (and also as Consequences) in which players wrote in turn on a sheet of paper, folded it to conceal part of the writing, and then passed it to the next player for a further contribution.

Frottage is a method of creation in which one takes a pencil or other drawing tool and makes a "rubbing" over a textured surface. The drawing can either be left as it is or used as the basis for further refinement.

Fumage  is a technique in which impressions are made by the smoke of a candle or a kerosene lamp on a piece of paper or canvas.

Time Travellers Potlatch is a game in which two or more players say what gift they would give to another person - this is usually an historical person who played a role in, or had an influence on, the formation of Surrealism.
For Catherine the Great: My foot and a chainsaw dipped in lime juice

For the Marquis de Sade: Space shoes and ping pong and lollipops and MTV
For Simone de Beauvoir: Red sheets and blue sheets and jaundiced kewpie doll legs
For Elsa von Freytag-Loringhoven: A boa of thorns 


Grattage  is a technique in painting in which (usually wet) paint is scraped off the canvas. 

Heatage  is an automatic technique developed and used by David Hare in which an exposed but unfixed photographic film is heated from below, causing the emulsion (and the resulting image, when developed) to distort in a random fashion.

Indecipherable Writing- writing that is illegible or for some other reason cannot be read by the reader.

Involuntary Sculpture-those made by absent-mindedly manipulating something, such as rolling and unrolling a movie ticket, bending a paper clip, and so forth.


Movement of Liquid down a vertical surface as the name suggests it is just that.

Outagraphy a photograph in which the main subject/person who has been photographed is removed the picture by cutting out.

Paranoic Critical Method is a technique invented by Salvadore Dali which consists of the artist invoking a paranoid state (fear that the self is being manipulated, targeted or controlled by others). The result is a deconstruction of the psychological concept of identity, such that subjectivity becomes the primary aspect of the artwork leading to the creation of a myriad fantasy and dreams.

Parsemage is an unconscious marbelling technique using charcoal dust.Charcoal is dissolved in water and a paper is submerged in the water and taken out so that the charcoal adheres to he paper in some parts.

Photomontage is a process of cutting and then overlapping different images either digitally or manually to create a new image.Many times the resulting image is re photographed so the result flows seamlessly.

Soufflage is a painting technique in which liquid paint is poured or injected to reveal an abstract form .As a child I used to play with watercolours and straw did not know it was a surrealistic technique.

Triptography is an automatic photographic technique whereby a roll of film is used thrice either by the same photographer or in the spirit of Exquisite Corpse three different photographers, causing it to be triple exposed in such a way that the chances of any single photograph having a clear and definite subject is nearly impossible.The results have a quality reminiscent of the transitory period in sleep when one dream suddenly becomes another.




Friday, 11 December 2015

Group Crit



Row, Row, Row Your Boat










Mary Mary Quite Contrary



My reflections on these works


These are open ended stories.The titles are nursery rhymes. Poetry and Dreams.

Challenged scale .These works are big as compared to small works I usually make.

The theme is my whimsical interpretation of what is happening inside us unknown to the outside world.

Framed in white box frames. Has a white background.The shadow falls at the back mount board.

Suggestion of metamorphosis.Arm replaced by octopus tentacles.Bones changing into things.

Possibilities of using papercuts in another way like curtains , chandelier, enclosed space , dress, blanket, piece of furniture, .

The works can be made more edgy, more illogical, more complex

Possibility for projections, shadow play, moving image, animation

Sculptural possibility by folding the,rolling or stitching parts together.

Peer Review

Jennifer  found the works beautiful.Liked my portrait with my papercut and thought it has many possibilities.
She suggested I might wish to make a felt/boiled wool blanket and cut it out.


Mark thought the projections, film idea was a viable one and one could spend a long time working on it an entire show could perhaps be built around it.


Iain liked thought my work was effective story telling it has many symbols and the imagery was complex


Rosi wished to know why I choose colour over monochrome.Was it a cultural thing?It was cultural because in India colours are used to express emotions and white is considered a depressing colour.


Les thought suspending the works in space would be interesting and  could experiment with moving the parts by researching shadow puppetry and adopting it in my work in a way that air or strings could move the parts which would make them playful.


Wednesday, 9 December 2015

Review of Sharjah Biennale 2015 -The Past, The Present, The Possible

Sharjah Biennial 2015-

the past, the present, the possible



The past decade has produced a fresh crop of biennials from Berlin to Istanbul,India to Hong Kong and Vienna to Sao Paolo.The art on show is only part of the answer. Enlisting a string of good artists simply isn't enough. Something else has to happen - a conversation between the different works so that it is not just a sum of parts but establishes a cohesive, big picture.This is where the 12th Sharjah Biennial (March-June 2015) fell short.


 Curator Eungie Joo promised in her words “a meditative pause to reassert the need for wonder" and a reflection on Sharjah's “ambitions, possibilities, and being." Spread over a number of venues by the Sharjah harbour, the biennial merely touched upon these goals.The biennial has, since its launch in 1993, quietly provided a crucial platform for contemporary artists in the conservative enclaves of the Middle East.  with a record of critical acclaim accumulated by some of the previous editions—most recently, by the  gritty 11th biennial curated by Yuko Hasegawa.

It's not as if there is not much to talk about. But many subjects associated with the UAE's past and present—the value of labor, human and women's rights, or the stronghold of religion on all aspects of civil life—are simply taboo topics to discuss. As anyone who works in the Middle East knows, one has to play by the rules of the region. Sharjah ruler Sheikh Sultan bin Mohammed al-Qasimi made this abundantly clear a couple of editions ago, when he dismissed Jack Persekian the long standing artistic director of the Sharjah Art Foundation, widely credited for the biennial's curatorial success for failing to censor a controversial political installation by Algerian artist Mustapha Benfodil deemed blasphemous.In such a context, there is only one way to play it:safe. Many of the works, were individually poetic and contemplative in nature, and yet within all this serenity something was lacking and something fell flat. It was perhaps too safe.Several international heavyweights from the MENESA region were invited to respond to Sharjah for this 12th edition and focused on UAE's most obvious aspects:dunes, exotic animals and fragrances.

 Abraham Cruzvillegas provided a new perch for the tamed birds of prey he encountered at the local market. Rirkrit Tiravanija 's  imagination was fire by a rosewater distillery he saw at Sharjah 's Museum of Islamic Civilizations.He commissioned a replica, and built an entire installation around it, complete with Arabic rosegarden. chefs to cook rosewater based delicacies and comfortable seats to consume them on.This ensemble is as pleasant as it is inoffensive.Most of the artists featured were associated with the curator over many years , stuck to what they do best. These are more safe options, which produced enjoyable—if familiar—stand alone presentations, displayed in their own independent space. Joo's long-time collaborator Danh Vo reconstructed a part of another of his gigantic Statue of Liberty; painter Lynette Yiadom-Boakye continued her series of fictional portraits. The 90-year-old Lebanese poet and painter Etel Adnan, created tapestries of semi-abstract landscapes she is famous for.

 
A few artists llike Cinthia Marcelle dared to push the envelope, with a subtle , but hard hitting installation. Set in one of the outdoor spaces located in maze-like Sharjah Heritage Area, At The Risk of the Real (2015) resembled a semi-derelict house, depleted by sand. Instead of a roof overhead, there were only large squares of mesh suspended between planks. Men dressed as laborers stepped on them at carefully orchestrated intervals, shaking off sand that landed in the eyes of the visitors. This temporarily blinded them to the uncomfortable vision of these men toiling in the heat of the strong sun, like on so many building sites around the Emirate.

Rayyane Tabet 's  monumental Steel Ring (2013) installed at an entire wing of the Sharjah Art Museum, was both visually arresting and conceptually strong. The line of steel rings replicated a section of the pipe built in 1946 to transport oil from Saudi Arabia to Lebanon, and across Jordan and Syria. Each ring was engraved with its geographical coordinates, thus tracing an arc of conflict in the terrain it covered, from the Six-Day War to the Syrian Civil War. This work attempted to connect three warring countries and resonated with longing for an era prior to political and geographical harmony.

The strongest works of the biennial were those that incorporated elements of the local context indirectly instead of offering a direct response. For instance, Taro Shinoda's desert-inspired Japanese garden karesansui (2015)  used local materials, more specifically sand, to construct a dry landscape garden. As the wind blew, the craters in the sand deeped and demostrated the slow passage of time. Damián Ortega made physical and communication boundaries in his porous architectural sound piece Talking Wall (2015), which was based on the fossilised coral walls he encountered in the Heritage Area in Sharjah. The set of three low, curved walls with interconnected openings bored into them functioned simultaneously as speaking and hearing holes, yet also acted as barriers. As such, the piece was wonderfully contradictory: the walls invited an openness of communication, but only worked if interlocutors stood apart at a distance. Rheim Alkadhi's subtle ,evocative gesture of collecting eyelashes of sea labourers who work along the Sharjah Creek and fixing them together on a metal strip to make up a strand of eyelashes constituted a powerful piece. With every eyelash a different narrative, and literally a point of view,  connected to the other. We can only imagine how unsettling the artist's initial conversations with these labourers must have been and how a bond of trust must have grown for the labourers to agree to donate something as personal and intimate as an eyelash. The frailness of this exchange is scripted in the fragility of the work. Adrian Villar Rojas stationed his team of carpenters, metal workers and artisans in the abandoned ice factory in the east-coast city of Kalba for two months to develop a massive installation using range of plants, shells, rocks, dead birds, trash and bones collected in the UAE. The detritus were layered with cement to construct towering rectangular columns to convey a sense of mortality, loss and decay.   These pieces were  examples of how  material specificity found in Sharjah could be translated into a more universal comment.

.

But these exciting pieces were exceptions in an otherwise disjointed ,mellow, inward looking, offering. 



Abraham Cruzvillegas "Here We Stand" 2015


Rirkrit Tiravanija " Au de Rose of Damascus" 2015


Rayyane Tabet "Steel Rings" 2013

Rheim Alkhadi  "Each Hair is a Tongue" 2013

Adrian Villar Rojas "Planetarium" 2015