Presenting summer research, and Manifesto which should lead my work through the last year of BA.
We were fortunate enough to visit the Venice Biennale and see the art of the world. It was an exciting opportunity to learn and critically compare my own work. I could see many shared interest and I could position myself within the sculptural/installation type of work.
The French pavilion (by Xavier Veilhan) was fun, exploring the recording/artist studio and live architecture as a sculpture. Teamwork and desire for collaboration was one of the main pillars. This was highlighted by inviting over 100 different musicians to bring the pavilion to life using the instruments, some of them part of the building, which itself was inspired by additive and intuitive modes of construction.
The British Pavilion (by Phyllida Barlow) was my favourite with explosion of monumentally vast objects challenging preconceived ideas of sculpture. Domineering, bulging, they take over the space where the visitor has to pick their own way around and through a sculptural labyrinth.
However, the still have a distinctive human presence evident in their creation, with simple grey colour reminiscent of modern human built, offset with everyday bright colours.
Japanese Pavilion (by Takahiro Iwasaki) was great fusion of disorder that still embodies a sense of principle that is reminiscent in the nature, with his craft-like work that traverses the worlds of the micro and macro.
I shared the most ideas with the Danish Pavilion whose “Theatre of the Dark” was calling for the acceptance of impermanence, the unknown, and transformation as a natural part of growth, through light and spoken word performance in the dark.
The second part of the pavilion was a garden within a building with stripped down walls and windows with no limits between inside and outside, culture and nature, art and the world.
It brings me to the core of my art practice where everything exists so to interacts with everything.
We are born to interact with our mothers and the world around us, as the world will constantly interact with us, and with itself.
I’m especially interested in our interactions with nature, which evolved into elaborate experience of the garden, park or field where the nature is cultivated, grafted, curated and edited within a restricted space. Very similar to how our development and lives are guided by the space and society we live in.
I use additive and intuitive method of hand building, as if helping the clay to grow, leaving the marks of the interchange with clay visible, as tree rings are the evidence of environment interacting with the tree’s growth.
I want to develop a very physical and material language that doesn’t need to be translated, and explore ideas between this natural order and disorder, minuscule and monumental, within and through, systems and environments.