Inspired by light, passion and mystery. All images are copy-writed to myself, unless stated otherwise. No images may be used without consent.

Posts tagged ‘Installation Art’

Manal AlDowayan-Suspended Together

“Suspended Together” is an installation that gives the impression of movement and freedom. However, a closer look at the 200 doves allows the viewer to realize that the doves are actually frozen and suspended with no hope of flight. An even closer look shows that each dove carries on its body a permission document that allows a Saudi woman to travel. Notwithstanding their circumstances, all Saudi women are required to have this document, issued by their appointed male guardian.

The artist reached out to a large group of leading women from Saudi Arabia to donate their permission documents for inclusion in this artwork. “Suspended Together” carries the documents of award-winning scientists, educators, journalists, engineers, artists and leaders with groundbreaking achievements that gave back to their society. The youngest contributor is six months old and the oldest is 60 years old. In the artist’s words, “regardless of age and achievement, when it comes to travel, all these women are treated like a flock of suspended doves.”

Without the haunting meaning Manal AlDowayan’s piece is really beautiful, I love the printed ceramic doves how they are suspended in the air all circling each other. They look like they are almost flying, trying to soar out of the gallery on their letter printed wings. I found this art installation while researching and really liked how it was suspended together. I like looking at how other artists have suspended their pieces as research for my installation. I want to make sure my installation looks the best it can when suspended in the gallery.

Claire Morgan

“My work is about our relationship with the rest of nature, explored through notions of change, the passing of time, and the transience of everything around us. For me, creating seemingly solid structures or forms from thousands of individually suspended elements has a direct relation with my experience of these forces. There is a sense of fragility and a lack of solidity that carries through all the sculptures. I feel as if they are somewhere between movement and stillness, and thus in possession of a certain energy.

Animals, birds and insects have been present in my recent sculptures, and I use suspense to create something akin to freeze frames. In some works, animals might appear to rest, fly or fall through other seemingly solid suspended forms. In other works, insects appear to fly in static formations. The evidence of gravity – or lack of it – inherent in these scenarios is what brings them to life, or death.

I feel a close connection with the natural world which I hope is evident in my work, but our clumsy, often destructive relationship with nature, and the ‘artificial’ world we have contrived for ourselves are of equal significance. Ultimately I find myself focussing on areas where the boundaries cannot be clearly defined.

The titles of the works are very important, and often make reference to historical or contemporary popular culture, words being appropriated from the titles of films or books, or phrases being manipulated through combination with the artwork. These connections often add a comedic element to the works, a sense of irony or bluntness that keeps them firmly rooted in my experience of the world that we humans inhabit. Though the phrases have a specific history, the jarring between the title and the form can bring a desirable ambiguity through intentionally creating confusion.

The processes involved in the work are laborious and there are thousands of individual elements involved, but clarity of form is of high importance. I do not wish the animals to provide a narrative, but rather to introduce an element of movement, or energy, or some sort of reality; animating or interacting with the larger architectural forms.

Drawing is important, and allows me to explore a different side of each idea. The processes involved in my blood drawings bring a growing degree of understanding of material and form. ”

Claire’s Artist Statement

‘Here is the End of All Things’

‘Vital Signs’

I really like the way she suspends each piece of the installation and they come together to create one image. I especially like how she lights each piece making sure every bit of the installation can be seen. I need to make sure I think about how I want my installation lit in the gallery because I want it to be a whole piece with all of the parts working together in harmony.

Astrid Bin

S. Astrid Bin is an interdisciplinary artist. Past endeavors have included baiting and then unbaiting 100 mousetraps with her hands, making a picture of a pigeon from 538 pieces of toast, documenting an attempt at making a million dollars in a year, photographing over 4000 banana skins, locking herself in a disused bank vault for ten nights, making light into a drawing medium, sending hundreds of postcards to an empty building, shaving her head, and occupying a phone booth for 24 hours. She has received death threats, hate mail and international press.

She works two dimensionally (works on paper, text pieces, photography, printed projects), three dimensionally (installation, sculpture and art in public spaces) and four dimensionally (time-based and performance works). She has exhibited in Canada, England, Northern Ireland, Italy, Portugal, Germany, and currently divides her time between Belfast and Berlin.

I found this artist while researching suspended installation art. I came across her ‘One Thousand Means of Escape’ piece and felt that it was a quite good example showing how I could suspend my installation. Then looking at her other work I was disappointed that it was modern performance art. I really like her work with paper, creating new shapes and filling a gallery space with her work. I like her use of imagination, especially because when the viewers walk into the space they wont know what the work is about, I like it when the viewers are allowed to create a story about the artwork themselves.

I really like how she suspended her paper planes, I am hoping my installation will look as good as that, but I do not have my hopes up as it is made by me at home, not in an art studio, so my installation will look a little amateur. I am hoping I can still get my messages across in my art piece though.

‘One Thousand Means of Escape’

‘Geomentropy’ Installations

Olafur Eliasson ‘The Weather Project’

‘The Weather Project’

In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.

From the Tate’s website article on the installation.

I remember my parents saying they had been to see this exhibition back in 2004, and I decided to research it towards my installation project because they said it really captured your imagination and made you want to sit down and look at it for a while. I want my installation to capture the imagination of the viewers that see it, I want it to bring back memories in their mind. I do like looking at other artists installations because I can see how they used the space they had to get viewers looking at their work. I will only have a small space in the Coventry Lanchester Gallery so I must make my work stand out even though there will be 20 other people exhibiting their work, and each piece of work showcases a different subject and all have their own merits.

I found a really good video showing the installation, it really manages to capture the atmosphere the installation created in the place. All thanks for the video go to its creator, farnishk.

Cristina Iglesias

Cristina Iglesias has participated in a number of international exhibitions and represented Spain at the 1986 and 1993 Venice Biennale. She has had solo exhibitions at the Kunsthalle Berne (1991); the Stedelijk Van Abbemuseum, Eindhoven (1993); and the Guggenheim Bilbao (1997). She has exhibited in various international art shows including the exhibition Metropolis at the Martin Gropius-Bau, Berlin (1991); the Carnegie International, Pittsburgh (1995); and SITE Santa Fe’s 2006 Biennial.

‘Pavillion Suspended in a Room’

This installation could be used by me for inspiration towards my final project. I like how the light spills through the room, illuminating the piece. It would really draw your attention as soon as you saw it in the gallery. I want my installation to instill the same reaction in people, I want them to get close to it and want to look at it.

‘Jealousy VI’

Victor Grippo

Victor Grippo is often lauded as the father of Argentinean conceptual art he started life as a chemist before trying his luck as a painter. In the 1970s he began to experiment with art installations in which he attempted to show how the dormant energy of everyday materials could be transformed through the power of alchemy.

An example of this type of work is Man Naturalization, Nature Humanization (1977) in which he measures the electrical charge of potatoes through a series of electrodes. This highlights his fascination with the potential energy objects hold within them, more especially potatoes, which Grippo constantly used in his artworks.

To him the electrical energy of potatoes was analogous to its power as the staple food of the world’s poor. One has to look no further than the Irish potato famine of 1845-1849 to see how the failure of a crop can have grave social and political repercussions for poorer countries.

‘Tables of Work and Reflection’

I saw this installation at the bottom of the Tate’s website page when I was researching Jannis Kounellis, and I was taken by his usage of light and how he installed the entire show. The one thing I dislike about the entire installation is the extra length of wire from the lightbulbs hanging dow. I think there could have been a few better ways for him to install the piece. This helps me with my installation because I will be hanging my photographs with ribbon and wire from the ceiling and I need to think of ways to achieve this and keep it looking neat.

‘Energy of a Potato’

‘Todo en Marche’

I like how clean the aesthetic of his work is, some have a medical feel which I think he did on purpose. One thing I have noticed about all of the installation artists I’ve been looking at is that they know how to effectively use the space they have been given, to make sure viewers are interested in their work. I do not have much space in the Lanchester gallery so I need to use my space well, to make sure people want to walk over to see my installation.

Tony Oursler

Tony Oursler has used the medium of film to create his own unique sculptural aesthetic, taking the images out of the television box and making them function in three-dimensional space.  A recurrent theme in Oursler’s work is the way in which visual technologies influence and even modify our social and psychological selves.  His practice continuously engages with popular culture and questions how systems of mechanical reproduction, like photography, film and television, have come to dictate not only the way we see the world, but also the ways that images are constructed.  Ourlser’s formal vocabulary is deceptively simple, employing objects of everyday life, both high and low, that range from kitsch to folk art, and investing them with a new aesthetic meaning. A key feature of his work is the ways in which the human body comes into play. On one level the body is employed in a very literal sense through the projection of fragmented and alienating body parts onto fibreglass forms. On another level the body functions through the encounter with the work. Oursler’s scenarios constantly invoke the very human wish to lose oneself in fantasy.

‘Garden’

‘Reflection’

‘Chair’

Tony Oursler’s work is quite creepy to me, the almost disfigured heads that he projects onto small cloth bodies remind me of nightmares and horror films. Some of his work, like the projected installation Garden, doesn’t have the same reaction, it is more relaxing and nice to look at. But it still like all of his work, draws me in to have a closer look. This is what I want to happen when my installation is up, I want people to move close to the suspended photographs to study them closely. I want the suspended photographs to move in the wind created when people walk past them. Looking at how other artists have placed their installations is really helping me in the production of my work. I can tell Oursler thought a lot about how he was going to show his work before he created it, I will be doing the same thing so it can inform the production of my work.

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