wee cheeky trip to Ayr

Loch winnoch

 It's interesting how even in practically the middle of nowhere there is still a traffic cone amongst paradise 

creating land art similar to Richard Long 

gordon matta clark environmental artist who works with layers

MAKING LAND ART

Over the course of the weekend my mums friend Micheal came to our house from Australia. they haven't seem each other in over 20 years, he brought old photo albums which showed some of the eccentric parties that they had and photo's of my mum when she was the same age as me and she was a size 8. we had a great big party that loads of people came and i invited a friend and her boyfriend  who lives quite close to me and was telling them about my project... they all agreed to help out. I think its this Thursday we are all going to go to Stirling forests or beaches (maybe Loch Lomond) to make land art so i have a tactile knowledge when it comes to considering the physicality of making something         

difference between Land artists work in the environment and art works by them in galleries

What I considered about the land art artists is that in order to survive financially they need to create sell-able work... so is there a difference?  

Here is two similar works by Richard Long, one outside and one inside. i'm sure its with the aid of photography but it seems to me that the way the context of the place its being exhibited certainly shows how people view it. There is a height of sophistication and snobbery with the exhibited work to the right, and with the girl running beside the work in the picture to the left there seems to be a much more freer and less specific or mannered atmosphere. after all that was what environmental art was initially designed to do.  

artists that work with the land

Richard Long

Robert Smithson

A drawing by |Smithson

                                                               Andy Goldsworthy

Andy Warhol - Philosophy that all art is business

He simply states that art is a commerce, a money making scheme! i took this into consideration with what i've been doing and thought of Andy Goldsworthy 

he needs to at some point make money to live... he rarely makes money from his extreme environmental and land artwork. so he has to improvise in order to maintain his living and career. 

takeing this into consideration i  decided to fuse Warhol and Goldsworthy by makeing "profitable" artwork

Firstly i got £1 worth of pennies and layered them ontop of each other one - by - one 

  

MORE LOGICAL QUESTION

i've tweeked the wording of my question and now i'm comfortable with answering it

the new question....

How does environmental art differ and rival the formality of more "refined" gallery based work. Focusing on the sophistication, the context, the "snobbery", the aesthetics and if the content is less strong or different from one another.  

David Mach Layering items to create complex forms

installation (2000 + bottles + colored liquid newsprint)
Andata. Ritorno, Geneva, 1983
Photo Jacques Berthet

Made out of match sticks

what i must also realise is that the layering is only successful when the complexity of the work is seen

artists from searching layering

Mark Khaisman 

he layers tape to create a scene from a movie 

 

FORENSIC EVIDENCE

wood sculpture

The material for this wood sculpture came free from a scaffolders who were discarding it. I used scaffolding boards which are used for temporary staging and floors built up on the sides of buildings as they seem appropriate to the layers of an archaeological site. There was about 3 tons of wood and, with some help from friends, we broke and splintered the edges of the boards, cut them and fixed them in stacks. This recycled sculpture was first shown at London's Serpentine gallery. The piece takes as its starting point the Sutton Hoo Burial ship which survived only as an impression in the sandy soil above the River Deben on a high escarpment in Suffolk. It had been dragged up a steep hill and buried beneath a tumulus and was about 27 metres long. It was already an old well used boat which had been given a new function to transport an Anglo Saxon king on his liminal journey beyond death. The incredible grave goods that were discovered in the ships hull were all that remains from this find and are in the British Museum. But for me even more wonderful than these objects was the negative impression of the ship itself, and that somehow it was more powerful in its absence. It has been the source of many years work and a series of artworks all of which resulted from a chance visit to the National Maritime Museum.

Materials: Recycled scaffolding boards.

Dimensions: 75 x 240 x 980 cm

A LONG WAY FROM THE BATHROOM

art installation

This recycled artwork was first commissioned by Bonington Gallery, Nottingham. There are four works in the Bathroom series and this is the second. The series begins with Barbara Cartland and Mills & Boon paperbacks and, by continuing and developing the layering process goes through several stages to arrive at a semi-translucent material in the final fourth part. The title is taken from a phrase found on the first page of one of the books I used to construct the piece. Beneath our too rationalised and civilised western world lie most of the things I am interested in - things such as archaeology, crop marks, iron age hill forts, long barrows. Also lost and buried watercourses, cisterns, and forgotten rivers. The piles of recycled paperbacks were piled up into stacks and the centre was hollowed out and carved into a saucer-like spherical negative shape.

"Piles of pulp novels, a sea of titles such as Love Has Two Faces, The Burning Quest, Nurse Errant, and A Highland Conquest, are stacked 24 high and placed close together. A perfectly even, shallow saucer shape has been scoured out across and through the middle of this surface as if it were an open-cast mine. The detailed cover illustration gives way to a grey pool and layers of printed word become smeared and disappear..." - Sacha Craddock, The Times

COMMISSION: Bonington Gallery, Nottingham UK.

Materials: Paperback books.

Dimensions: 40 x 450 x 500 cm

Layering

layering of pressure via sea level

model of layering of earth

showing the layering of rock overtime

Layering is a very interesting subject/object to focus on. what i can see is that it can represent so much, we layering things to protect ourselves (clothing, skin) to show life and time (tree grains and onions.) It also can be metaphorically like the layering of a person, and the layering of a peice of music or art.

taking tom philips forward

 I'm now working on takeing the photos further by layering them. firstly i have painted on the photograph, then layered traceing paper over it, then drawn ontop of the traceing paper, and finally photoshoped them to be negative. there is some interesting stuff within them and i'm starting to push forward to the layering idea

Tom Philips - the humument