Aesthetics – The Final Evaluation

The aesthetics of the 33 Minutes piece were incredibly important from the time that the concept of a sculpture was founded. After looking into artists such as Sharon Kelly and Helen Chadwick, the group decided that the sculpture needed to embody a natural and organic texture. After experimenting with many varying materials and ways of hanging such a thing, the group managed to creatively work around the practical issues such as, how to hang it, which materials to use to make it and also how to create it. The issue of hanging it was solved by using coat hangers, the final aesthetic of this had connotations of a baby’s mobile, which was very effective and linked with the textual side of the piece incredibly well. The use of toilet paper was also another breakthrough, the group needed a texture that was less rigid, less opaque and also an everyday object. For a while we experimented with bed sheets and tearing them into strips however the material was still not quite achieving the organic look that we were aiming for. When toilet role was mentioned we were all skeptical, however after experimenting with strips of it and lighting, decided that it was exactly the right aesthetic for the art work.  

The process of experimentation with the sculpture was endlessly interesting. Making sure that the vision that we held was not lost of compromised on was a challenge within itself due to certain limitations such as the time we had in the space and how to transport the sculpture. The use of everyday objects was an important factor in creating the sculpture and the overall effect was very pleasing, taking inspiration from other artists that have done the same such as “Tara Donovan [who]  creates large sculptures using common consumer products such as Styrofoam cups, fishing line and paper plates” (Brownell, (2009) p.13) The manipulation and subversion of these objects was effective in creating a transfixing aesthetic that was not only pleasing for the audience to behold, but also created an encompassing object in which to perform. The audience reacted well to the baby powder which, when lit, had such a texture to it that it almost looked like something was growing on the sculpture. The lighting successfully cast shadows on the walls when shone through the sculpture which made the space feel ominous and looming. Like an empty attic with a horrible secret lurking in the corner, the space was transformed into a bizarre world of art and text, interweaving into one organic performance.

 

Works Cited

Brownell, B (2009) ‘Assembling Light: PET Wall Installation’, Dimensions, 22, p. 13-19

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