Monday February 18th

I began exploring the notion of contested space because I had explored space in the "room" project and touched upon space. I began combining space with other elements that could come into my project such as colour, shape/form. 

 I noticed that the term space was very broad and I had no idea what type of space I was trying to create or if I was trying to make space between objects I forced to be near each other. I also considered creating an ambiance using colour. Using influences like i: Cildo Miereles who made a " red room," to create my sculptures of colour. In addition, I was fascinated with the illusion of creating a space in which my sculptures could showcase. For example, making 2D paintings into 3D shapes in order to make an idea of a space that does not exist. This was inspired by Patrick Hughes who made 2D paintings into 3D blocks that appear to be following the viewer as you view the landscape.

Upon this I decided to make materials that juxtapose themselves in an environment and make space in between the two objects rather than focus on the environment the space was placed. For example, concrete and plaster. Concrete appears hard and solid while plaster appears to be temporary and brittle. From this I started to consider if I may make materials give the illusion of being something they are not. For example, making concrete appear blobby or out of frame and not boxed and contained like some concrete sculptures look. 

Tuesday 19th February

From previous presentations I noticed that my strength in making came from making sculptures that had unrecognisable form and sculpture as objects with slight modifications. This was what I was most intrigued in because I believe my sculptures being the obvious like for example: " circle" was too conceptual and quite frankly boring. From this presentation I drew on artist such as: Marcel Duchamp because I was interested in "thingness." I wanted to see if "thinginess" had an effect on the meaning and perception of my sculpture. I wanted to confused the viewer . Upon, research and experimentation I noticed that because people can not relate objects as being "existing" or living they simply have to guess what it is and so use words as like to compare it to something that already exists. This is what I find very interesting.

Wednesday February 20th

I visited the Franz West gallery. Upon this visitation I realised that a lot of his work from the "Adaptives" series was made out of paper mache, gauche and already found objects. I considered using these exact materials to create sculptures that juxtapose themselves because they could easily be manipulated to imitate shapes that are smooth or rough. Further to this, using these materials would be cost effective. Therefore, I was fascinated by his techniques using already made objects and combining them with paper mache. Consequently, I considered this for my project. From research, I discovered he tried to redefine the meaning of sculpture making it more about the object itself than the concept this gave me confidence in making work because before I was worried about what exactly I wanted my work to be about, giving my work one clear explanation so people could understand. However, I noticed my work was just influenced by Nigeria but the sculpture itself was open to interpretation.

Thursday February 21st

I visited the Serpentine gallery  and saw the Grace Wales Bonner exhibition and considered making my work juxtapose themselves but have multi disciplinary approaches towards it touching on "black lineage" this inspired me to look at my own lineage because I could relate. In adddition, I realised I needed to understand more about my lineage as it is not spoken about enough and especially since I have been to international schools all my life other areas of history such as: British history was deemed to be more important.

Monday 25th February

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Tuesday 26th February

 Reflection attained from proposal

Upon writing my proposal I started to consider what held importance to me and how they related to the theme of contested space. 

What will I be researching?

-Textures

grainy, fluffly, smooth, rough, bumpy squishy

- African (Nigerian) Artefacts - 800 Benin sculptures held by The British Museum

- Shapes

rectangular, circular, triangular 

- Moulding processes

- Compression techniques

-What textures oppose themselves and why?

silionce and acrylic paint with resin- discovered does not dry entirely so left with a squidy, soft and sludgy texture

-How do they react when forced to be together? 

chemical reactions- change of temperature, smoke, change in colour

 -What reaction or process is taking place during this reaction? Condensation? Evaporation? Boiling

 -How will I force these opposing materials to merge together without damaging their individual initial properties? If was once hard to what extent do I want it to become brittle or soft?

 -When do I stop testing and development? At critical point? 

 -What do I want the materials do to each other?

 -Functionality or properties of materials

-What environment is suitable for experimentation?

 -Should my final piece be kept indoor or outdoor? Confined for protection or give open access to my audience to interact with.

Wednesday 27th February

I went to Waterloo Park to chose a location that felt will contrast or add value to my sculpture. I discovered that the word juxtapose might have been the wrong for this project. I wanted my work to either add value or not belong in the environment due to obvious differences such as: shape, height and aesthetics. 

Thursday 28th February

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Ideas for the park project 

 

From my research I noticed that juxtaposition, in artwork, is the act of positioning two or more objects side by side or close together. This was what I considered while brainstorming my work at the start and not necessarily the chemical reaction taking place if the object should be heated. However, to go ahead with this idea would have been too expensive due to the fact that I spent around a 100 pounds on plaster alone. If I wanted my sculpture to be around the same height. On the other hand, by doing this would have made my work appear symmetrical which is essentially perfect and I wanted my work to look awkward or unsettling in the environment I put it in. Therefore, making them differentiate in height but carry the a different mass and even colour would have made my work more interesting and would have achieved what of more I envisioned. 

 

 

Thursday 4th March

I decided to choose the leaf box at this point after coming up with visualisations for my other locations. There was a problem with some of my ideas due to risks to children. Since my work was to be seen by the public and art students that meant I had to take everyone into consideration, especially children and dogs. The leaf box had height which mean it would be unaccessible to small children and my sculpture I predicted would be higher than the leafbox itself. That meant I just needed to worry about the weight of the sculpture on the leaf box.

Tuesday March 5-6th

I visited the Tate Museum and saw the famous Rembrandts' etchings and I considered combining print with sculpture. Is it possible to etch on wood and print on paper after done? The combination of print- like slogans incorporated in sculpture to create invisible barriers. 

Again, considering manipulating materials to make them appear as if they are not in their original state as if it had motion or life 

Upon this I started to plan to buy magazines to make collages to make visual representations  because I wanted to initially make my work out of 

Thursday 7th March

I began designing how I would like my park project will function. I realised that I would be unable to make my work 3D due to the wood of the leaf box being rotten and weak. Consequently, I decided to make my shape 2D and make it out of modrock and plaster and create the perception of it being 3D like the works of Patrick Hughes. Also, in order to make my sculpture stand that I would need to make a wooden block that was the same size and width as the forward facing length of the leaf box in order that could be rested on top of the leafbox. I decided to drill holes by the side of this bloc and add cable ties to my 2D illusion structure. This is because the the wooden bloc would give the structure strength to lean on. Thus, creating support for my 2D structure to stand.

Friday March 8th

What to think about?

Barriers- what stops people from owning land or Nigeria progressing economically? I needed to understand what a barrier was to understand this first or even check if my assumptions were right?

https://hrs.humber.ca/assets/files/human_rights/AODA/HRDAODAUnderstandingBarriers.pdf

barriers .png

 

barriers 2.png

-Invisible barriers

Invisible barriers being to me mean what we can not see but only visualise. I say this due to the fact that, what you can not see doe not mean it does not exist. It is somewhat like the saying that "ignorance is bliss." You ignore what is happening around you it does not mean it is happening. This is unlike the visible chemical reactions ( gas)  going on when I melted my marshmellows and skittles. Although, upon researching that invisible barriers I had to understand that when it comes to space, negotiation and ownership, trade must be discussed. According to the businessdictionary,  invisible trade means " barriers created through "excessive government policies or regulations imposed on businesses that are known "foreign  entities." Then I discovered that they are "soft barriers" meaning they do not directly impede trade, rather, they make it more difficult by imposing standards and requirements can't be met by foreign exporters. I researched this to understand if I wanted to explore barriers and how they can affect the economic sector in Nigeria. This is because if measures are put on imported goods and Nigeria is exporting more natural resources like oil. Consequently, we could improve the numbers of owners of well structured infrastructure for people who live in shanty towns such as: Makoko because more people can afford this and hopefully with education on family planning and empowering young girls in Lagos. This would reduce overpopulation, since being a Nigerian girl/woman comes with disrespect. For example, not being able to won land if you are single or unmarried because it is seen as morally incorrect. It is just quite misogynistic place to live in.

http://www.businessdictionary.com/definition/invisible-barriers-to-trade.html-

Visible barriers?

 

Books to read David Harvey- Key to the City 

Rebel Cities: From the Right to the City to the Urban Revolution

  • September 13, 2012  
  • Written by Dan Poulton  
  • Published in Book Reviews  
   

David Harvey’s new book explores the intersections between capitalism and the city, and is fascinating and frustrating by turns, finds Dan Poulton ( review) 

 

David Harvey, Rebel Cities: From the Right to the City to the Urban Revolution (Verso 2012), xviii, 187pp.

David Harvey attempts two main aims in his latest book, Rebel Cities. One is to integrate his Marxist theory of urbanisation into the ‘general laws of motion’ of capital, and to provide a framework for analysing the current crisis and the development of neoliberal trends in globalisation. The other is to construct a strategic approach to building an anti-capitalist movement that can transform urban spaces to the benefit of those that are presently exploited by the class-nature of urbanisation. In Harvey’s analysis urbanisation is both the product of and the driving force for the absorption of ‘surplus product’ (on which see below) in the process of capital accumulation.


It is perhaps too ambitious to cover both aims in such a short book, and as such Rebel Cities often reads like an extended notebook, with each observation begging to be expanded in further detail. There is a lot to stimulate thought, and much that is provocative and useful, but it must be said that there is an unevenness about the book; in particular the theoretical does not relate to the strategic in an entirely convincing manner.

Liberal theories of ‘globalisation’ and ‘development’ are put to bed by Harvey’s relentless focus on capital accumulation as the prime mover of urban development.

I read this to understand the relationships between space, globalisation, trade, overpopulation and trade interlink.

 

The flip side of this is that his strategic arguments emerge directly from his theoretical focus on urbanisation in particular as opposed to from an assessment of the consciousness, and indeed, immediate concerns, of people in struggle. He does not want to be characterised as a ‘specialist’ but his political arguments conform too closely to his academic field of urban geography for his denial to be entirely convincing.

The Right to the city

This is most apparent in his raising of the slogan ‘the right to the city’, one of the key themes of the book. The phrase was coined by the Marxist intellectual Henry Lefebvre in 1968 in response to the upsurge of urban struggle that exploded in France during May of that year. Harvey seeks to root the notion in the concrete reality of struggle, telling us that the right to the city does not ‘arise primarily out of various intellectual fascinations and fads ...  It primarily rises up from the streets, out from the neighbourhoods, as a cry for help and sustenance by oppressed peoples in desperate times’ (p.xiii).

For Lefebvre, ‘revolutionary movements frequently if not always assume an urban dimension’. Nonetheless, Harvey adds, ‘it is still the case that much of the traditional left has had trouble grappling with the revolutionary potential of urban social movements’, which are often dismissed as reformist (p.xiii). This rather sweeping statement is never fully elucidated and there is no mention made of the strategy of the ‘united front’, advocated by major figures like Gramsci, Trotsky and Lenin. This approach was precisely aimed at bridging the gap between reformists and revolutionaries.

One problem with the ‘right to the city’ slogan is that it feels a very abstract concept compared to the slogans that stand out in recent decades: ‘Whose streets? Our streets!’; ‘That’s not what democracy looks like!’; ‘Stop the war’; ‘Occupy!’; ‘We are the 99%’; ‘No cuts’. Can it really be said that ‘the right to the city’ is the unifying theme behind these slogans? Of course urban life is the main battlefield of most political struggles in the developed west, but most slogans cannot be reduced to such a general level without losing their ability to mobilise masses of people reacting to the myriad political and social problems of the day.

In a way, Harvey appears to recognise this. Despite his assertion that, due to a rapid process of urbanisation over many years, ‘the mass of humanity is thus increasingly being absorbed within the ferments and cross-currents of urbanised life’, nonetheless ‘the right to the city is an empty signifier’, which socialists must struggle to advance along class lines and in opposition to the ‘equal rights’ of the capitalist class (he reminds of us Marx’s adage that ‘between equal rights force decides’ (p.xv).

It is unclear why Harvey is so keen on structuring a mass movement around a slogan that he himself admits is abstract, when so many concrete slogans are vying for attention. The various urban movements discussed in the book tackle the conceptual and practical problems which the slogan evokes, but that seems merely to corroborate the reflexive nature of Lefebvre’s ‘empty signifier’. A slogan predicated on the ubiquitous nature of ‘urbanisation’ runs the risk of explaining both everything and nothing.

 

Similarly to how I feel having abstract ideas with practical problems.This project being one of them.

Ultimately Harvey envisions the right to the city as a driving principle behind a reconstitution of ‘a totally different kind of city’ than the exclusionary and class-riven kind which exists under capitalism. To this end he claims the necessity of ‘a vigorous anti-capitalist movement that focuses on the transformation of daily urban life as its goal’ (p.xvi). This is at times reformulated as a demand for democratic control over the surplus product and so on. These are of course desirable objects of revolutionary struggle, but we are left with no obvious mechanisms for attaining such control. There is no discussion of direct challenges to state power, which would be the obvious consequence of any anti-capitalist uprising in a modern city, as the Arab Revolutions (absent from the book) testify.

‘Only when politics focuses on the production and reproduction of urban life as the central labor process out of which revolutionary impulses arise,’ we are told in the preface, ‘will it be possible to mobilize anti-capitalist struggles capable of radically transforming daily life.’ Later he observes that, ‘to claim the right to the city in the sense I mean it here is to claim some kind of shaping power over the processes of urbanization ... and to do so in a fundamental and radical way’ (p.5). There seems to be a high level of abstraction to the formulation of the slogan here.

Most movements are messy, uneven and infused with contradictory class consciousness, let alone actual class differentiation in their composition. Some sort of intermediary, transitional, political argumentation is presumably needed if a truly mass movement is to be created. Revolutionaries will not make much impact by simply chanting revolutionary slogans. This is not to advocate reformism, but to acknowledge that it is through the process of urban struggle that wider sections of society can be won to revolutionary action, though that is rarely their initial starting point.

Harvey seems down on contemporary movements for change, though this is unwarranted. Indeed, the anti-capitalist movement centred on the 1999 Seattle protests fractured the World Trade Organisation which has never been quite the same since. If the anti-capitalist movement died away, or rather was largely diverted into the global anti-war movement, now its spirit surely resides in Occupy and indeed in the European left resurgence of recent months, as represented by Syriza, the Indignados, Front De Gauche and so on. And for all its limitations the 99% slogan has already raised the spectre of class-based movement politics in a more overt way than the ‘right to the city’ slogan is capable of without significant qualifications.

Marxism and urbanisation

It is when Harvey is analysing the relationship between capital accumulation and urbanisation that the book is most enlightening. ‘From their very inception, cities have arisen through the geographical and social concentration of a surplus product,’ he explains. ‘Urbanization has always been, therefore, a class phenomenon of some sort, since surpluses have been extracted from somewhere and from somebody, while control over the use of the surplus typically lies in the hands of a few ... This general situation persists under capitalism, of course, but in this case there is a rather different dynamic at work’ (p.5).

Capitalism is about producing surplus value (the origin of concrete profit) and this requires the production of surplus product: ‘This means that capitalism is perpetually producing the surplus product that urbanization requires. The reverse relation also holds. Capitalism needs urbanization to absorb the surplus products it perpetually produces’ (p.5). As a result, over time, periods of capital expansion correspond with periods of urbanisation. ‘The politics of capitalism are affected by the perpetual need to find profitable terrains for capital surplus production and absorption’ (p.5).

Labour shortages and high wages must be tackled by capitalists to remove any ‘obstacles to continuous and trouble-free expansion’ (p.6). This can be done by using technology to displace workers or by assaults on organised labour as orchestrated by Thatcher and Reagan in the 80s. Alternatively (or, as history transpires, as well as this) new sources of labour need to be found through immigration, outsourcing, or the ‘proletarianization of hitherto independent elements in the population’ (p.6).

The hunt for new means of production and resources puts increasing pressure on the natural environment. The ever growing expansion of capital not only necessitates geographical expansion in itself but leads to the opening of new markets once existing ones have been exhausted, leading to the creation of new lifestyles and product promotion. Finally new ‘credit instruments and debt-financed state expenditures’ arise and ‘monopolization (mergers and acquisitions), and capital exports to fresh pastures provide ways out’. If any of these ‘barriers’ becomes ‘impossible to circumvent’, then capitalism enters crisis (p.6).

The 1848 crisis in Second Republic Paris saw ‘unemployed surplus capital and surplus labour side-by-side ...’ (p.7). The result was an abortive revolution and a wave of repression, as well as the ascent of Louis Bonaparte, who came to power in 1852 as Napoleon III. However political repression was not enough. He also had to solve the ‘capital surplus absorption problem’ (p.7). He did this through a massive programme of state-funded ‘infrastructural investment both at home and abroad’ (p.7). The result was investment in railroads in Europe and the Orient (and support for the Suez Canal), and railway, port and harbour construction and so on at home.

To do this he brought in the civic planner Baron Haussmann who ‘clearly understood that his mission was to help solve the surplus capital and unemployment problem by way of urbanization’ (p.7). Haussmann completely transformed the city on a massive scale. As Harvey notes, he effectively set up a ‘Keynesian system of debt-financed infrastructural urban improvements’ (p.8). But then the inevitable happened. The ‘overextended’ system of speculative finance and credit structures crashed in 1868. Haussmann was sacked and, ‘in desperation’, Napoleon went to war with Germany. These conditions lead to the Paris Commune, ‘one of the greatest revolutionary episodes in capitalist urban history’ (p.8).

The splits that emerged within the Commune, between the ‘hierarchical’ Jacobins and the ‘horizontalist’ Proudhonists still divide the left between Marxists and anarchists today, he argues.

Harvey’s apparent desire (implied throughout the book) for the left movement to coalesce around a single Marxist approach to radical action, bolstered by the appropriate approach to interpreting Marx, is of course, wishful thinking. Nonetheless, the battle for hegemony is real and necessary if an anti-capitalist movement is ever to challenge capitalist power in a serious way.  This, of course, urgently raises the question of challenging state power in a very concrete way. However Harvey downplays the question of organisation in favour of in-depth analysis of various forms of radical social institutions. Lengthy discussion of the pitfalls of various forms of municipal socialist governance structures, infused with philosophical explication of notions of ‘the commons’ are interesting but seem many steps removed from the present state of anti-capitalist struggle.

Approaches to Marxist theory

Rebel Cities is most stimulating when engaging with questions of Marxist methodology. Harvey’s non-dogmatic approach to Marxist analysis means that he avoids some of the pitfalls of orthodoxy. The flip side is that he does not take questions of state power seriously. 

Harvey reveals that the World Bank continues to push neoliberal policies despite the devastating crash of 2007/8 which was of course predicated on the extensive period of deregulation and marketisation of the past three decades. By placing property rights above all other rights and pushing for ‘fluid land and property markets’ the seeds are sown of future class division (p.28): ‘But land is not a commodity in the ordinary sense. It is a fictitious form of capital that derives from expectations of future rents. Maximizing its yield has driven low or even moderate-income households out of Manhattan and central London over the last few years, with catastrophic effects on class disparities and the well-being of underprivileged populations’ (p.29).

Harvey also draws the link between ‘gentrification’ and rising rent prices. His brilliantly simple observation that the development of parklands directly correlates to rising rents is an invaluable tool for understanding some of the more insidious aspects of ‘gentrification’. One only needs to look at the regeneration programme rolled out in East London for the Olympic Games to see this phenomenon in action.

By placing data on financialisation and debt creation alongside property booms a remarkable link between urbanisation and crisis emerges. Because of significant time delays between investment and construction, new builds tend to emerge at the same time that crashes happen. This of course creates crises of over-production and feeds into market volatility (see the charts on pp.33-34).  This is starkly illustrated by a chart mapping tall buildings constructed in New York City over the twentieth century: ‘The property booms that preceded the crashes of 1929, 1973, 1987, and 2000 stand out like a pikestaff’ (p.32).

However, if bourgeois economists are oblivious to the nature of contemporary crisis, and view urbanisation as inferior or irrelevant to macroeconomic policy, Harvey argues that Marxists have also largely failed to explain the present crisis: ‘... the structure of thinking within Marxism generally is distressingly similar to that within bourgeois economics. The urbanists are viewed as specialists, while the truly significant core of macroeconomic Marxist theorizing lies elsewhere’ (p.35). He is concerned that there has been little concrete attention paid to the specific nature of the post-2007 crash: ‘... there has been no serious attempt to integrate an understanding of processes of urbanization and built-environment formation into the general theory of the laws of motion of capital. As a consequence, many Marxist theorists, who love crises to death, tend to treat the recent crash as an obvious manifestation of their favoured version of Marxist crisis theory’ (p.35).  

Harvey identifies an inevitable paradox in Marx’s theory. Marx was deliberately generalising the specific features of capitalism and crisis of his era in order to give an insight into the ‘laws of motion’ of capital in general. By relating the specific to the general he was performing a necessary act of theoretical abstraction. That is what makes his theories relevant today, although we are living in a different world (nonetheless, one that more profoundly conforms to his depiction of capital accumulation than did the world in his day).

Nevertheless, this theoretical gift is a double edged sword. The task of Marxists today, as Harvey explains, is to relate the specific features of capital peculiar to our times to the general understanding of capital that Marx provided. The danger is that Marxists continue to operate at a generalised level of abstraction that fails to provide concrete explanations for today’s crisis: ‘We cannot hope, therefore, to explain actual events (such as the crisis of 2007-09) simply in terms of the general laws of motion of capital (this is one of my objections to those who try to cram the facts of the present crisis into some theory of the falling rate of profit). But, conversely, we cannot attempt such an explanation without reference to the general laws of motion of capital’ (p.39).

Harvey seeks the integration of ‘credit into the general theory’ in such a way that maintains ‘albeit in a transformed state, the theoretical insights already gained’. We cannot see the credit system as a free-floating entity unrelated to real economic activity on the ground, but nonetheless much of the credit system is ‘fundamental and absolutely necessary to the functioning of capital’ (p.39).

There is much to be gained from Harvey’s ‘back to the drawing board’ approach to Marxist theorising, but one cannot avoid the feeling that certain wheels are being reinvented here. Lenin’s writings on imperialism explain a lot in terms of the relationship between a decaying and parasitic capitalism and financialisation. The post ’89 period of globalisation, driven by and largely beneficial to US hegemony, entailed the opening up of the formerly state capitalist economies of the Soviet bloc to a specifically neoliberal form of imperial expansion. It was finance, not pure military power, which drove forward imperial hegemony on behalf of the Western powers. As Harvey points out, the European Union was a primarily neoliberal formation (constructed, not incidentally, in the wake of Soviet collapse). There is perhaps not a gaping chasm between ‘orthodox’ Marxist theorising and convincing answers to today’s global conjuncture, it is just that Marxists have to up their game and cannot afford to be complacent on key issues.

Rebel city

As Harvey acknowledges, one of the major barriers to understanding how a city might be organised along radical, anti-capitalist lines is a lack of available data. With notable exceptions like the Paris Commune and the early days of Russian socialism, real life examples of actual ‘rebel cities’ are few and far between. This may explain some of the book’s lengthy philosophical digressions into ‘the right to the commons’ (chapter 3), ‘nested hierarchical governance structures’ (chapter 5) and so on.

‘How, then, does one organize a city?’ he asks in chapter 5, ‘reclaiming the city for anti-capitalist struggle’. The ‘honest answer’ he tells us, is ‘we simply do not know’ (p.140). This starting point could make for a short chapter, but he goes on to ‘search for clues’ in the recent example of the rebellious city of El Alto, a large urban centre in La Paz, Bolivia. As Harvey explains, it was here that ‘rebellious movements arose to force the resignation of the pro-neoliberal president, Sanchez de Lozada, in October 2003, and to do the same to his successor, Carlos Mesa, in 2005’. In Bolivia, Harvey notes, it was resistance to ‘violent’ neoliberal measures that led to the election of leftist Evo Morales to power in 2005.

It was the nation-wide and regional experience of oppression and economic exploitation that provided the context for El Alto’s emergent radicalism (p.149). The local experience of the marginalisation of various indigenous social groups, fused with class-based solidarity, created El Alto’s unique radical identity, Harvey argues, citing various academic works including Sian Lazar’s book, El Alto: Rebel City. For Lazar, ‘citizenship in the indigenous city of El Alto involves a mix of urban and rural, collectivism and individualism, egalitarianism and hierarchy. The alternative visions of democracy that are being produced have reinvigorated national and regional indigenous movements by the ways that they combine class-based and nationalist concerns with identity politics, through the contestation over the ownership of the means of social reproduction and the nature of the state’ (p.149). Harvey concludes on this basis that it is possible to organise ‘a political city out of the debilitating processes of neoliberal urbanization, and thereby reclaim the city for anti-capitalist struggle’.

This is an uneven, at times problematic, but often insightful book, and its essential affirmation of the potential of radical anti-capitalist struggle in the neoliberal era is very welcome at a time when the stakes have never been higher.

Ground  control by Annie Winston

Monday 11th March

123.jpg.1

 

From this feedback I learnt that my workflow should be less of my opinion and what others have to critique about the artist in relation to contested space.

 

Feedback from Adrian tutor 

 In addition, I started  making experiments using found materials I had found from the concrete workshop I had done in school in February.  I used already found materials because the template of leaves was vacuum formed using a thermoplastic- which is a plastic that can be reused when reheated. Consequently, if I protected the leaves with baking parchment then I could easily change the shape and use it as a mold for other materials to experiment in. I did not do that but I realised after I used latex I could try silicone and other materials. However, the problem with this experiment was that I lost the sample even though I saw the final results. This was due to carelessness and the amount of work I had to do. Although, using materials that were already found and buying materials meant I had freedom of experimentation. 

 

Thursday 14th March

Further experimentation continuation of experimentation, I made an experiment using silicone and latex and paint with cotton. I chose to do this because the latex and paint are soluble while knowing the cotton was insolube. I did this in order for the materials to contrast themselves, MAKING THEM WORK AGAINST EACH OTHER. I added the cotton in particular to give the sculpture more form as I did not want it to look just like a circle, which I have mentioned in my research that I do not like.

Friday 15th March

1234.jpg

I had a Library tutorial in which I set up today, I discovered that my key words had developed from just  texture to texture- materiality and transformation. What struck me is that I was focusing too much on forming the texture instead of manipulating the texture and in order to manipulate the texture ie change the properties/ formation of the molecules. I found that that experimentation was great but my main problem was spoiling materials that could be used to build my final piece by making them reach their critical point.

Monday 18th March

I started building my structure form the foundation of the wood. I conversed with my friend Leo because I did not understand how I was supposed to get the curvature of the shape I wanted. This due to the fact my initial plan was to curve the shape using chicken wire and pliers because chicken wire is easy to bend and then apply newspaper with glue and form a field essentially with bumps. However, this would be unsuccessful because it would be placed outdoors and I can not control the weather. Therefore, there would be no way to protect my work from rain. It will just melt away. Therefore, causing wastage. Consequently, affecting the environment because it would be rubbish. However, paper is recyclable so I guess would be cleaning up the sculpture after damage because of the magnitude of the height and weight of the sculpture it would be unconventional and could affect the dog walkers in the park as their dogs may digest the material as it is on the ground. 

 

Upon all this realisations, I decided that I wanted to make the form out of MDF because it is solid and so I would be able to wrap the chicken wire round the shape and then apply the plaster round. This would save time and material. Making the process efficient and productive.

Tuesday 19th March

I consulted with my tutor Karen to see if the sculpture would be transportable and suitable for the park. However, I was told the MDF would be too heavy and then discussed different methods with the technician and Karen I decided to make slots of different heights to create peaks using 2x2 wood. I did this in order to create the form I wanted and I also realised this would make my work lightweight, which meant it could be transported by van and hand easily.

Thursday 21st March

I stapled the chicken wire onto the wood instead of weaving the chicken wire together because I would prevent myself from getting cuts and it would create a flatter result that could be done quicker.

Monday 25th March

I started applying mod rock which I smoothened with water which I realised was a material that juxtaposes itself because once hard it can not be manipulated but once water is added it becomes smooth and soggy. Allowing you to play with its properties.

Tuesday 26th March

Before applying plaster onto my sculpture I noticed that my sculpture was unbalance. Like how Nigeria's economy fluctuates.. This was due to the fact the wood was bent and it was too heavy to carry it's own weight. Consequently, I had to device a plan of making my sculpture stand without damaging the wood at the leafbox. 

Thursday 28th March

When I finished making the sculpture I realised it did not look like a cohesive piece and this was because I had not smoothened out some bits of the mod rock properly and I decided to discontinue using mod rock at a point because it was costing too much and taking too much time. Consequently, I decided to use scrim and plaster. However, it made two different type of textures which I really liked but I just decided to paint it white to make it complete. Although, i kind of wish I didn't because it was more authentic and rough. Thefore, I would say I should have trusted my instincts more because it juxtaposed it self with the textures making your eyes move along the spine of the sculpture not directly proportional to what you see. Consequently making you go up close and be more inquisitive

April 1-8 Easter break

I did some workflow on textural experiments 

Monday April 15- 30th

In order to resolve issue of my sculpture not being able to stand on it's own. I spoke to both the metal and wood workshop technicians, my classmate Leo, my tutors ( Adrian).

- Firstly, there was the idea of devising shelf brackets using wood and making them from scratch because you can't buy them the size I wanted. However, having shelf brackets meant that the aesthetics of my work would be compromised. Therefore, I decided to scrap the idea.

- I decided with assistance from the technicians we would drill into the wood at an angle that could be assembled and dissembled because it meant it is easy to transport and it juxtaposed the original existing materials. It added rustiness. I liked this because they are all separate pieces which can be presented as an object but together they work together to complete my sculpture  in order to juxtapose its environment. 

Tuesday 30th April

critique 1

 

 

 

critique 2

 

Peer assessment critique to see what I needed to improve on. I realised that maintaining critical and evaluative reflections was essentially my issue. I devised a tracking system to portray what was successful but I was unable to keep up with the chart because I was confused about my topic itself and I was very ill during certain periods meaning not as much work as I would I have liked could be researched or reflected upon in details.