Katharina Grosse was born in 1961 in Freiburg/Breisgau, Germany. Grosse is a painter who often employs electrifying sprayed acrylic colors to create large-scale sculptural environments and smaller wall works. Interested in the shifts of scale between ‘imagining big’ while being small in relationship to one’s surroundings, she explores the dynamic interplay between observing the world and simply being in it. I feel her work relates to mine in the way of her installation and how the whole space is always at the forefront or her mind. I work in this way and I think the space in and around the work can be just as important and it is important to not neglect any little bits, especially when installing work.
He is best known for his compositions of shuffled raw visual and audio materials, easily accessible through various information sources and databases, i.e. Internet, books, records and films. It is his work with sound that I I'm aways drawn towards. The sharpness and rawness of the sound is strong and brings your attention to those details.
Research is an important way of initiating my brain into the process of thinking and then making. My recent research has involved a lot of reading as well as generally looking at different Artists and their work. My reading has coincided with the research project we have ongoing, for this I am looking into collaborative work as well as exploring framing of Art in the conceptual and literal term. I have started reading ‘Death Of The Author’ by Roland Barthes and I have recently become aware of Georges Perec, who was a highly-regarded French novelist, film maker and essayist. He was a member of the Oulipo group.
Artists such as Ryan Gander and Martin Creed are 2 Artists I can really relate to, the way in which they approach work in a matter of fact kind of way. Also, more so Ryan Gander, tends to work a lot with humour and be playful in his approach. Adrian Searle described Gander’s work as “Some of his best works appear simple, or not even art at all”. A lot of my work could be described in this manor, as when working in a conceptual way I feel it is easy for people to view is as ‘Anti-Art’ or ‘Non Art’.
Artists such as Ryan Gander and Martin Creed are 2 Artists I can really relate to, the way in which they approach work in a matter of fact kind of way. Also, more so Ryan Gander, tends to work a lot with humour and be playful in his approach. Adrian Searle described Gander’s work as “Some of his best works appear simple, or not even art at all”. A lot of my work could be described in this manor, as when working in a conceptual way I feel it is easy for people to view is as ‘Anti-Art’ or ‘Non Art’.
My research is very varied in terms of Artists and the way in which they work. Martin Creed and Ryan Gander are 2 artists that I have for a while been aware of and researched heavily. Ryan Gander’s eclectic output defies categorization, encompassing installations, sculptures, photos, texts, and reproductions that present wittily inconclusive narratives about art, culature, and the artist’s personal experiences. I think the wit in his work it was attracts me to it, I can relate to that side of his work. I always try to add some humor into my work as i do feel it is important to be too serious.
Wearing’s portraits and mini-dramas reveal a paradox, given the chance to dress up, put on a mask or act out a role, the liberation of anonymity allows us to be more truly ourselves. I have recently been looking at her work as I am working with the idea of framing work both conceptually and literally, and really looking into that idea of what attributes to an artwork by looking at the framing.
I have always been interested in Frank Stella's work, and I got the oppurtunity in 2017 to perform at Tate Liverpool as part of 'A Living Museum'. I was to take the place of this piece by Frank Stella that was titled Rabat, the painting was removed and instead I was performing. I feel this will always resonate with me as it was a big moment for me to get that opportunity to perform at such a prestigious gallery.
I was first aware of Anne Imhof's work when Kim and I made our performance, we were interested in how she used a number of performers and the way in which they seemed to move around the gallery almost without any real direction. Anne Imhof’s multi-layered performative works aim to develop and extend the notion of performance. Drawing on the history of performance in both art and music, her works are conceived as complex, intimate studies of movement, gesture and action. Most works tend to stretch over long periods of time (sometimes several hours), whereby the movements and language fragments of the performers are choreographed into a highly personal visual language that is subject to constant change.
Having Bedwyr as a tutor is a real influence on my work, how he uses humour in his work is something that stands out to me.
Having recently worked with video a lot I have watched a lot of Bruce Nauman's Video work, i believe it is important to watch as many Video pieces as possible to try and understand the different ways people have used video to make work. Nauman's work is always installed in an aesthetically pleasing way and this is something I always have in mind. I want my work to look good, whether it be with the video or work itself all the way down to the little things such as wires and position of monitors and projectors.
Originally the balloon was fully inflated with Manzoni's breath but as it deflated the rubber became stuck to the wood underneath. It is now brittle and, in places, very fragile. The string is attached to the base only where it meets the balloon; elsewhere it can be freely moved about and is kept in place only by the weight of the lead seals, which have the name 'Piero Manzoni' punched into them.