The Polaroid acts as a transitional space in the process, framing the materiality and the impulsively selected elements. Transforming them in scale and quality, a reproduction not taking away from but creating a new aura. The selection of Polaroid as a medium is a conscious choice, a selection of the old, the fragile and in some ways the ephemeral. The use of old technology with a time expiration a control provided by the medium not one that can be adapted or changed. The material chemicals change in the life span of the image, the layers of emulsion replicate the build up of residue produced by charcoal. The image hangs onto aspects of the material elements of the original but the reproduction becomes of value both aesthetically and monetary. The photograph not only acts as an index of events but its framed white lines select and point out the imperfection in the process, the materially. The use of expired film also releases control over to a chemical process not only affected by my handling of it but the material used to replicate images. Mistakes can be as beautiful as the correct. Transferred onto glass it allows the viewer to see all layers of imagery, the emulsion trace becomes part of surface pattern, something that perhaps should have been removed during the process but I have kept. The square lift sits on a square frame, a circle interrupts the image.
A collection of framed lines, each replacing evidence of process. They stand alone, but work together. Each Polaroid is a mechanical reproduction of a drawing composition made by hand. As valuable as the original although they take away from the deliberate materiality. Their perfect hand sized rectangles speak nothing of the large scale, instead they draw the viewer to an index. Creating a new Aura.
Expanding the drawing process into prints/ marks created by the build up of charcoal. Exploring ideas of index, reproduction and trace.
The layering of medium and the creation of layers, the body being the tool used to erase. Choosing what to keep and what to erase, whilst other elements are decided by involuntary touch. The body smudging the marks acts as a form of Palimpsest, re-working but no quite hiding what has come before, each time creating a new sense of Aura.
Creating depth and pushing the materials to their limit.
This afternoon I took part in a workshop lead by previous UCA Master student and current residence artist Kurara. https://twitter.com/yoshikurara2
Heres a little bit about her work:
'I am interested in the relationship between objects and space. I am interested in the transformation of objects (their physical presence and their semiotic ambiguity'
We where invited to use everyday objects to created out own atheistic beauty, in effect creating 3D drawings. Although this is a completely different way of working, I could draw many comparisons between the process and considerations I was using to created my 3D drawing with those I use in my 2D practice. There is a consideration in where I place the objects within the process of making and an awareness of where the geometric shapes and lines meet, even though it was somewhat dominated by the objects I chose. There are grouping of objects in sets of threes and a representation of control. A sense of playfulness is in the objects used (dogs waste bags and kitchen items) that is present in my use of the Spirograph. All of these comparisons drawn only makes it more evident that my practice is process lead and has an element of lose and control. Many of the movements, decisions and placements of objects are intuitive.
Here are some of the other artist responses from the work shop.