EXPERIMENT 1: More of an investigation of fabric properties – 4 different fabrics – using scale weights – increased tension of material on hooks 

Scale weights – too small, 2 other fabric samples could not be used to show the progression on tensile strenght of the fabric 

EXPERIMENT 2: Using PVA glue to capture movement and texture of fabric – wave 

ANSWERS TO QUESTIONS FROM THE BRIEF:

The problem – tractability and practicality of fabric, especially delicate fabric (as a material, main medium) in (3D) sculpture/installation

This problem is important because fabric has begun to interest me in many ways and I’d like to use it in my further practice; I’ve experimented with organza fabric as a medium for paintings and ended up displaying my work as a 3D installation.

The problem affects many artists – focusing on the medium in their practice, but mainly my own practice. It limits and disables artists to use the idea of fragility in form of sculptural artowork/ piece.

The causality of the problem stems from the material itself – its characteristics; specific.

If the problem does not get solved, it will still be difficult to present emotion and vulnerability in sculpture without showing the end product in form a representation of the impact of manual work on the fabric. However, many artists may prefer this direct approach as it depicts the nature and authenticity of the medium, which of course should be important.

I think that I can solve this problem on my own, at least start exploring possible solutions or allowing and evaluating different approaches.

This problem is connected to the way viewers interpret sculpture and its installation – the influence of medium in interpretation (physical/tactile features). This is something every artist considers and tackles accordingly tot he expertise.

Durability of solutions >> SEE EXPERIMENTS

How will the work best communicate these solutions through your artwork? >> SEE EXPERIMENTS – simply working with the medium – reflects focus on the medium in my practice

What have you discovered along the way? >> SEE EXPERIMENTS

Studio3 summer project: Solve a problem                         

[for students entering Studio3 Autumn 2019]

Art enables us to see things differently, imaginatively, practically, materially and fantastically, in various forms and dimensions.

Identify a problem; this might be global, local, personal, practical, material or philosophical.

Set about solving this problem.

Make an artwork or series of works in response to your identified problem and your approach to solving it.

Document all stages of your project, including research and outcomes. This might include: visualising the problem; documentation of tested solutions; visual and/or material outcomes and impacts, both of the problem and its solutions; recording responses – yours and others.

Your identified problem might be: small and contained, eg mending a bike tyre; or massive and global, eg climate change; personal (relationship; finance); or political.

[Note that “the personal is political” and even small practical tasks have philosophical ramifications; read Zen and the art of motorcycle maintenance and look at artwork of Mierle Laderman Ukeles and Andrea Zittel.]

If your solution is not immediately solvable, create detailed plans as to how it could be achieved (see Janice Kerbel’s Bank Job and other works).

You might identify a problem and its resolution in relation to your own practice, such as struggling to master a skill or technique.

Consider the following questions (document your responses):

• What is the problem?
• Why is it important to solve this particular problem?
• Who does the problem affect and how?
• What has caused the problem?
• What will happen if this problem is not solved?
• Can you solve it on your own or do you need to involve others?
• How will you persuade others to get involved?
• Is your identified problem masking or connected to other underlying problems? (Try to separate these out and consider whether they should be tackled separately.)
• How durable are your solutions?
• How will you best communicate these solutions through your artwork?
• What have you discovered along the way?

In all instances, consider and test a range of possible solutions, both small scale and practical, wide ranging and fantastical.

Reflect on your artwork in relation to the problem; how much is it part of the solution? Can it be appreciated in its own right; does it have its own internal coherence as an artwork?

Install your artwork and/or related documentation in Studio3 at the beginning of the Autumn Term 2019, ready for discussion. Also, include it on your blog in a clearly marked section (especially if you’re on Study Abroad).