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I’m pleased with the resin cast of the rock, it has the rocks texture making it look like salt or ice.

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Draft Essay - On Formlessness

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I have made this two part silicone mold of the rock to make copies, I will probably start with resin and concrete attempting to make multiple copies that together will be one work.

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My pouring experiment is growing in mass, I’m adding layers of concrete and mortar seeing if I will be able to use this process to create a sculpture/form by removing the tarpaulin. Allowing gravity to create these forms that remind me of candle wax…

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Gutter Splash made by throwing molten lead into the corner of a room, using the corner as a mould then removing these sections of thrown metal as they harden.
There are so many things I like about this work- the simple use of a ready made mold- taking directly from the real world as a concept is one I think shows the artist wants to reflect something in reality, authentic and not manipulated by the artist themselves. The transformation and manipulation is shown in the material itself as it is changed and then fixed as if monumental. The use of such a permanent yet changeable material reflects that idea.

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Impromptu gallery visit, walking past and saw a beautiful selection of new works by Richard Serra- Drawings. Made using black ink and silicone they have a structural feel reminiscent of his gutter iron splashes, they are on thick paper Serra has hand made.
I thought particularly relevant to my work at the moment, my thoughts on the definitions of painting and sculpture and how we can play between dimensions with different materials. Also how his hand although necessarily present to create the drawings the mark is not of a typical drawing mark we might expect directly from a drawing tool. The result I would personally want to describe as a painterly sculpture object. The paper clearly being part of the object, the texture of the silicone adding to its three dimensions yet framed and presented flat against the wall as a painting.

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An interesting article from the Coventry Evening telegraph containing images of the transplanted buildings that created “old” Spon Street in Coventry City Centre - essentially a program to save the few remaining medieval buildings around the city after the blitz and the building of the ring road in the late 60s.

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In comparing these two artists I feel I’m seeing two distinct but similar types of neuroses. Karla speaking directly through the feminine body using make up and bath bombs for example to create this soft, ethereal but organised mess. A pretty mess. In contrast I see a comment toward societies neuroses in Sarah Sze’s elaborate almost overloaded sculpture, really driving home the saturation of stuff and information creating this messy system, not pretty and not easily understood with lots of bits that could be considered off, irrelevant or even just rubbish, all having a part in this chaotic conversation. I feel more drawn to Karla Blacks work, the sort of dreamlike quality achieved with really simple materials such as powdered cosmetics, paper and cellophane, they seem elevated in this reality but still completely deliberate and artificial yet there is something destructive even violent about the way they are made and then organised reminiscent of re-presentation/covering up/repression- maybe an accurate depiction of modern female neurosis.
In both works I see a need for the human involvement and manipulation, asking us to see ourselves in the system, the scale of the works helps in this by relating to our size and encouraging the physical involvement of walking and exploring the sculptures.

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A further experiment combining video elements to the objects offering another version of the materials

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A short video I found today Sarah Sze talking about her works at the Venice biennale 2013, there is a similarity in our interest in the real and the unreal and how we place ourselves in all of this information and “stuff” I love that she’s making fake rocks!!

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Further experimentation with materials that fit into the category of natural yet unnatural. Sand and hessian both derived from natural materials seen here prepared for the building trade. Using them conjurs an image of natural/unnatural. I like how they are both requiring my practical attention and play to experiment with them and are indicative of practical use as building materials. Very reminiscent of play with mud or sand as a child, but also messy and perhaps duplicitous or confusing in meaning.
I want to literally practice what I preach and make use of physical investigation and take up space, showing a need for both.

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Video/sculpture glass slump with video overlay, I’d like to try this as a projection 

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Video/sculpture glass slump with video overlay, I’d like to try this as a projection 

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Experimenting combining video and sculptural elements 

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Experimenting combining video and sculptural elements 

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The blue light is projected, I took the photograph and then overlaid the video made previously, the video also has a soundtrack, a karaoke version of “Blue Velvet” by Bobby Vinton without the main vocal and lyrics.

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https://www.instagram.com/tv/CVYXhTjgdMb/?utm_medium=copy_link

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The blue rock

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An unnatural landscape

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Using canvas, sand, concrete, a bag of builders pebbles, water and PVA.

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https://www.instagram.com/tv/CVVvsYLgoDK/?utm_medium=copy_link

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Experimenting with Rocky textures -Cornish slate and concrete on canvas 

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Experimenting with Rocky textures -Cornish slate and concrete on canvas 

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Glass slump taken from the mould made from the original rock, here replaced on top of the original 

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Glass slump taken from the mould made from the original rock, here replaced on top of the original 

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I saw an Alicja Kwade exhibition at the Haywood Gallery last year and have been researching her works since then. I really like the simplicity of the use of the rock allowing it to speak of transformation, evolution and representation. This one is especially interesting to me due to its circular cyclic arrangement, the mirrors reflecting back each transformation of the rock.

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Smashing reflections - A Video and sound experiment (sound on) 

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Smashing reflections - A Video and sound experiment (sound on) 

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An experiment with latex and Cornish slate, I cast the latex skin directly on the slate and then peeled it and lay it back on top. I like this kind of removal and replacing. The latex looks like disfigured, dirty skin. 

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An experiment with latex and Cornish slate, I cast the latex skin directly on the slate and then peeled it and lay it back on top. I like this kind of removal and replacing. The latex looks like disfigured, dirty skin. 

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An experiment with a small lens, thinking about relaying images of nature onto the rocks in different ways. 

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An experiment with a small lens, thinking about relaying images of nature onto the rocks in different ways. 

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A system of the living and the non living

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A system of the living and the non living

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Pierre Huyghe, Centre Pompidou, Paris, 2014

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(At Compton Verney) Untitled Boulder, John Franklin, 2001 

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(At Compton Verney) Untitled Boulder, John Franklin, 2001 

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We could think of a rock as being a solid immovable object, the most permanent matter on the planet, however when we think about how rocks are formed they are compressed dust, sand and even liquid lava, transformational rather than permanent. This rock has been sculpted by the planets own making process. The artist has simply represented the rock differently by removing it and placing it somewhere new.

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A natural ecology? Or a hierarchy of materials?

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A natural ecology? Or a hierarchy of materials?

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How do representations of the natural world contribute to the spectacle in 2021? Can we think of the internet as representing nature in a way that is aspirational and un touchable? How does this affect our relationship with nature? What does this mean to human nature? How do we tell the difference between nature fact and nature fiction?

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(Turn sound on) Video - Nature (filtered) 

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(Turn sound on) Video - Nature (filtered) 

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Video footage taken on my phone in Warwickshire, Coventry and Cornwall in 2001. (Soundtrack sampled from Kinobe)

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A Line Made By Walking, Richard Long, 1967

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Can you fake it? Is it permanent? It is temporary?

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Can you fake it? Is it permanent? It is temporary?

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I made these hollow forms with latex and bandages, I cast them directly from the rocks and cut the underside to turn them inside out.

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I have collected rocks from all over the UK this summer, this is one from Burton Dassett which is Jurassic Ironstone, mined for its Iron ore and used to build many buildings in the surrounding area, it was formed in the early Jurassic period.

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Experimenting with concrete - how far can I push this material?

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Experiments with plaster and flint moulding for glass slump

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My desk at Foleshill Road