On: Sterling Ruby
Because I decided to make my final piece in toile canvas, I definitely want to reevaulate the final piece during our reading week. Jo said it would be a good idea to do this, because I want to make the work in a more involved textile; working immediately with this would not be a smart idea. The rusting and blackening of Serra's steel sheets is reflected in Sterling Ruby's spray paint canvases. These are considered his most abstract works, and the paintings are described as "large color-field canvases." He never touches the canvas and they use spray paint singularly to create a hallucinogenic and gauzy effect.
Ruby's inspiration for the works are "the sociological implications of urban demarcation, vandalism and the power struggles associated with gang tagging." Tagging and vandalism are seen as public art forms now, which definitely relates to the brief given to us. Los Angeles is home to me, so I understand the ideas that he brings forth in his work. Indeed, Ruby is a "gansta Rothko" as a New York Times critic once said many years ago.
I would love to create my own Ruby-esque composition digitally, by mixing the textural photos of 'Fulcrum' and manipulating the colors. Adding in additional textures would create the appearance I want.
On: Design Development Sheets
I created these design development sheets based both on continued research into Serra's work and the paper draping work we did in class. I wasn't particularly pleased with the piece that I ended up with in class, so I wanted to build off of the sections that I did like and expand these into full designs for the figure. I actually think that these were really successful, because they demonstrate an understanding of working off the body.
I looked a lot of Richard Serra's pieces to develop these composites. The way the steel wraps and manipulates space can easily translate into fabric wrapping around the human form. There is a mix of the curved and the sharp in his pieces that could be an influence on my final design. Again, the textures that build up on his steel works I find very translatable into a textile design.
On: Richard Serra
Seeing Richard Serra's 'Fulcrum' was arguably my favorite of the public artworks that I researched. Serra's sculptures have always been a favorite of mine, in their scale and singular use of metal. His work is considered minimalist, though I don't see it as being as such. The scale of Serra's work is mind boggling and the site-specificity of the pieces are very important to him. Indeed, the rusting and blackening patterns would not occur in that particular way had the pieces not been installed in their specific position.
His site-specific works "challenge viewers’ perception of their bodies in relation to interior spaces and landscapes, and his work often encourages movement in and around his sculptures." I found this when looking at 'Fulcrum' that you wanted to step inside and observe the sculpture from all angles. Walking inside, the center formed a pentagon form. What amazes me about the work is that it is made purely of triangular shapes. Using one shape in continual repetition can be a very effective way to make work.
On: Damien Hirst
I often cite Damien Hirst as one of the most influential artists on my work, and his work 'Temple' is on view with Sculpture in the City. The piece is comprised of a massive anatomical diagram, and I love the playfulness of the work. When I was there, many people wanted to take photos of the work because it is unmissable, due to the scale. I am finding that larger works attract a lot of attention, no matter the feelings that viewer has towards the piece.
The piece acts as a sort of a time capsule, taking the audience back to different time in school, much more carefree than the present. Also, how does the title 'Temple' inform the work? Hirst is known for grand titles such as his 'The Physical Impossibility' piece; such a minimal title just gives a slight hint of his intention. I immediately thought of the the body acting as a temple. This will change from person to person, which I think that this is one of the strengths of the work.
On: Bosco Sodi
Bosco Sodi's series of three rocks sourced from dried lava in Mexico were a study on surface transformation. Installed, the works were not as successful to me as they were when you touched and felt the surfaces. The paint and glaze applied to the surface gave it a far different appearance than the initial raw material. They were very well made, but for the most part overlooked. Value and antiquity were the themes that Sodi wanted to explore in the piece, placing them in an unusual context. I do think that this came across, but not as effectively as it could have been.