Some of the elements we talk about was the role of fabric in the work, the use of images created from driving, and how repetition can be used in the context of this work. Many of the things we talked about will be helpful as I approach my thesis and as I make more work.
Bryan appreciated the raw edges of the work and felt it gave the work a sense of urgency that was interesting. It seems like the work is ripped from a sketch book or larger whole and this gives the work a freshness. There's a nice tension between between how the work is heavy and light and translucent at the same time. It creates aberrations and layered affects in a very simple gesture that doesn't feel overwrought. It would be completely different on photo paper, or in a frame. Bryan felt it would be wrong to frame the work, which I thoroughly agree with. Letting it hang in a more exposed manner seems to stay truer to the work.
The mesh is interesting because of how it creates an optical play from different angles. It works as an optical barrier, like a grid. There's a kind of seductive yet fenced off sublimity to these—the mesh seems to literally reference a fence, like chain link, or other barriers like glass, fence, clothing (protect from elements), screens (keep bugs out). The material also has a thriftiness to it that grounds the work in a way that make it more accessible. In a gallery setting, people walking by will cause the fabric to move, and the observer will change the environment in a way. Lighting can become important too, as the use of shadow begins to play a role. Bryan talked about the shadow being a sculptural element, but also a photographic element. He suggested treating each piece individual in terms of presentation. For example, the piece printed on the leopard cut fabric would be best hung slightly away from the wall to allow the use of shadow, whereas the some of the other pieces might be better flush to the wall. Bryan encouraged me to keep the work flat for now.
Something that came up during our meeting is that I take most of my images while moving, either walking or in a car. Bryan felt this was a very specific way of taking a picture and gave the work a richer content. It's not something I've talked about much before, but when I started writing my these, I realized motion was an important element of the work. When combined with the mesh, that optically give the impression of a foggy window, the driving ties into how theses images appear as something not fully registered, something quickly captured, torn out and hung on the wall. Driving is a physical and physiological interstate, a transitional space that is neither the origin or destination. As a passenger in particular, Bryan pointed out it's a space like a free association playground, where thoughts roam randomly. These images, as landscapes, are less about a specific place than as an abstraction of an escape. The color palette seems to reference a type of paradise or beauty. People don't usually get to escape, and in this work, the escape is prevented by the mesh and materiality. This body of work exists as a somber yet beautiful thing that can't really be attained.
Another element Bryan thought I could examine more was the use of repetition and reworking pieces. There's certain variables I'm already working with, such as light-refraction, size, and ability to reassemble. As far as size goes, I do intended to see if I can push the limits of this more, perhaps by folding fabric to print larger with my printer (in fact, as this is written, I am attempting to do so). There is, however, something pleasing to me about my current proportions. It relates to the human body, while also being similar to a large window or door. Bryan talked about Christopher Wool's work in which he screen printed polaroids of his work over his original work. Reworking and
reassembling relates to driving as part of
the process as a repetitious activity.
Every day landscape and places becomes spaces for a lot of people. When
repetition has variables to it and is done well, it touches upon a
huge part of our lives. Breathing on basic level is a repetitious act, but most of us are also creatures
of habit. Sometimes it's comforting, sometimes it's totally
discomforting. People frequently trade one routine for another. We also talked about Gerhard Richter's squeegee paintings, where an image is simultaneously created and destroyed.
Bryan challenged me to include a crisp image when I come next time to see how that informs the rest of the work. I think that will be interesting to try. I brought up some of my concerns from January critiques to see what Bryan's response was. One of them was the relationship of the wok to colorfield painters, such as Rothko or Ellsworth Kelly. He felt, especially with Rothko, that work was very heavy and polished which is really the antithesis of my work. He suggested looking at Mary Heilmann's work, who borrows from abstract painting without the heaviness. Other recommended artists include Blinky Palermo for his exhaustion of colors, and Sigmar Polke. We discussed some of the my pieces at length, which was especially helpful with some of my earlier experiments on fabric. Bryan pointed out which elements were really working and I may re-look at some of my past material because of it.
