Great to see the prints you are making. They are really lovely indeed. So beautiful. I really like the picture that shows the print onto plastic- or is that part of the process?
Maybe that could be interesting a way of making them waterproofed?
I have also been doing some laser cutting, etching images onto perspex and other materials.
Scale wise it is limiting. You can only do it to about AO max but I could see if it is possible to try to etch a photograph of one of your drawings onto it?
I think we need to wait on the space to decide if we will make a shelter or just a smaller scale sculpture that people can't go underneath. I think both could be interesting or perhaps the space will allow for us to do both?! I really like the idea of making all our work as collaborative as possible and feel we should rise to the challenge of making once we are in glasgow. I have booked the train and arrive Monday 9th in the afternoon and am staying until late on Saturday so it should be plenty of time.
Looking forward to seeing your drawing. Shall we start sharing images from tomorrow? I thought maybe we could do it so we don't each draw everyday but I will draw one day and you the next. Hopefully the drawings will start to respond to each others as well as something we see that day here.
Hey Susie,
So, I really love your idea of creating something together using glass and perspex that controls the natural light, or possibly inserting them into other materials we use separately.
I was also thinking, I have roughly 1.3 x 1m canvas sheets with my illustrations digitally printed on them, I was thinking we could use those for a small sheltered structure or get something larger printed off and treat them so they are waterproof perhaps to create a sheltered structure as you mentioned? I really like the image of the parachutes with small sections cut out, letting natural light through. It might be interesting to do something similar and replace them with perspex chambers or thick plastic sheeting?
These are the images on canvas as well as some acetate prints for a fabric collaboration for the Between Two Worlds Mutual Charter project, but we could do something similar onto plastic elements to the enclosure/shelter and the natural light would project the illustrated patterns throughout the inside of the structure or in small selective sections?
I like the idea of the layered sketches, as our work is quite minimal I think it could really work well. It might also feed into our final collaborative outcome. I will post one tomorrow and see what you think.
Also I just remembered, in terms of overnight storage space we were speaking about for the duration of the build of our collaborative piece, you can rent storage units in Glasgow, I think they are in a warehouse complex somewhere, but I don't think it costs much at all so that could be an idea if we can't find anywhere else? We would just have to find a way to transport them each day. These are a few I just came across-
http://www.gtwstorage.co.uk/?gclid=CI2VlZuzv64CFZARfAod1jQSLQ
http://www.aabsoluteselfstorage.co.uk/
http://www.flexistore.co.uk/mobile-storage-glasgow/?gclid=CIaH7q2zv64CFUcRfAodInHIhQ
We would like this visual contribution/response to relate to the idea of “mapping” or “charting” their experience of ‘collaboration and conversation over distance.’
I like this idea of mapping experience.
Any ideas on this?
I thought maybe we could email each other a drawing everyday over the next week responding to something we have seen or done during the day and our response could maybe be as simple as those 14 drawings composed together and possibly layered together.
What do you think???
Something like this example. I guess we can talk about what inspired the drawing as well or just leave it to the other to respond?
I am interested in finding materials that work with natural lighting but are also strong enough to withstand the weather in Glasgow.
Susie
I would really like to create some sort of temporary structure or pavillion for GI.
Yes I think both our proposals have had to change quite a lot as we can't work inside. I won't have the power to use the light strip and I need to think of ways in which photography could work outside. I think that is interesting though- the project will evolve from its original idea.
Sus
Hi Jen
I am very keen to come up the week before GI starts. I think working at the GSS would be great. Shall I book to come up around the 2nd of April and we can work together that week and I will return the following weekend?
I have been thinking about how great it would be to create something sightly larger in scale to what we might possibly bring up separately. I am interested in your pyramid forms- as I often create something similar in perspex and steel that act as small scale proposals for bigger works. What would it be like if we joined forces and created something together using glass and perspex that controls the natural light?
I also like your idea of trying to combine my sculptures with your drawings as well.
Let me know about the dates and I will book the train.
I have also attached the statement from the mutual that we need to respond to so we can get going writing something. Shall we write something collaboratively? It makes sense.
"As you know, we will be producing a publication uniting all projects involved in the Mutual Charter to be distributed at the end of G.I. at our Publication Launch/Closing event. As to the content of the publication, we would like to ask each project involved to create a visual contribution/response.
We would like this visual contribution/response to relate to the idea of “mapping” or “charting” their experience of ‘collaboration and conversation over distance.’ This starting point may be interpreted however you choose, and we are encouraging all forms of responses: from entire abstractions to something more specific or literal. We would like just one response from each project, but the decision of how this response will be produced and whether it is created individually or collectively will be left entirely up to you."
Lets start responding.....
Hey Sus,
I have attached the original proposal combining both of our initial project outlines for a collaborative installation at the bottom of this post. I think it will help writing background info for The Mutual GI guide as you said. Obviously since our work is going to be outdoors the plans have changed slightly, especially as we are going to be leaving the work as invigilated public pieces then projection or glass works might be slightly tricky. I think working with ferrofluid is perhaps something I might experiment with during a residency or given some more time for research and to experiment. It goes to show how initial ideas can change quite a lot over the course of a project - but I hope this is helpful to you too.
Jennifer Argo and Susie Olczak // Proposal
We would like to propose a collaborative installation which would combine elements of sculpture, illustration and projection. We feel our work would be strong alongside each other as they both play on themes of space and how we relate to our environs and in turn how our environs impact on us.
Jen Argo//:
My artistic study looks at correlations between human nature and the complexities of the physical world. Drawing inspiration from the work of such critical thinkers as Paul Virilio, Buckminster Fuller and the Arte Povera movement, I aim to create an opening-out of context into broader systems of time and space. My main point of focus draws inspiration from the parallels between the interactions of the physical universe and the interrelations of individuals and community as a connected whole. I seek to bridge the gap between science and philosophy, recognising humanity as a natural system in itself.
You can also view my online portfolio at Central Station at the following address: www.jenniferargo.com.
I work mainly with natural materials and those that reference the structures that form the foundations of both our existence and that of the broader universe. Mathematical enquiry forms a large part of the early development stages of my work. I also work with a wide range of processes including welding and ancient wood-splitting techniques to create minimal and organic structural outcomes.
I would like to propose an installation consisting of a mixture of illustrative, projected and sculptural works.
The illustrations would consist of a series of large-scale graphite drawings, depicting an amalgamation of natural systems such as webs or fractures in rock formations and molecular tissue, as can be seen in the images attached.
The projected pieces would consist of a platform constructed out of bamboo which houses a concealed projector, and two parallel plinths – one holding a frame, and the other, a pair of large format negatives. The frame would restrict projected light so only sections of the negatives would be projected onto the wall of the space. One negative would depict natural structures: basalt columns, layers of crystalline and rock formations. The second would be a contrasting light study, emphasizing the complexities of the opposing negative and focusing on the essence and origin of life in its starkest form.
The sculptural elements of the installation would be a sequence of geometric structures made out of reclaimed steel, manipulated to reflect geodesic and crystalline forms. I also plan to construct a series of ‘living’ pyramids; the pyramids’ internal wooden structures would be covered entirely in plant life, possibly with ferrofluid “waterfalls’ appearing to cascade down the side of each sculpture, contrasting with the natural basis of the plant life and relating back to the makeup of the geometric steel pieces.
Suzie Olczak//:
My work and research explores
space,
light,
perspective and form
It is influenced by
minimalism,
geometry,
light,
balance and architecture
however predominately the focus is on how
the viewer experiences space.
My work
alters,
highlights
or creates space
for the viewer to interact with.
So that the viewer
questions how they negotiate space
and how architecture intrudes on their physical space..
My work investigates how impact can be created and aims to
become a physical and psychological experience for the viewer.
illusions
are exploited in order to encourage the viewer to rethink the way they perceive.
To enable the audience to be able to form a relationship to the work,
scale
becomes important.
Using scale that is recognisable to the viewer,
evoking architecture but to a smaller scale,
so the space becomes more
intimate or intrusive
You can view my work at www.susieolczak.co.uk
For this exhibition I would like to create three works. The first work would be photographic and would be a very minimalist photograph of light in order to create a very impacting work and for it to become an optical illusion for the viewer. I also propose to create a light sculpture. This would consist of components of different materials such as glass and possibly a small stone component and then a fluorescent strip light. I would like the strip light to reflect into the glass in order to add different dimensions to the piece. The sculpture would give the suggestion of an architectural model. The sculpture would be placed in such a way that the work viewer can interact with the piece and so that they can imagine that they are inside the space.
The final piece would be a drawing- This would again be very minimal and geometric. I would like to play with scale with this piece. Using small geometric shapes and building it up into a larger drawing.
Hi Susie,
Berlin sounds amazing, I haven't had the chance to go yet but it sounds like an incredible city in terms of the arts and cultural richness, it also sounds much more open minded in terms of spontaneity and freedom of artistic expression than councils and the government seem to endorse generally here.
Also really liking those photos, some really interesting possibilities there - I especially like the way the photographic piece works in the wide open space, it kind of pulls you in even more to the center of the image because the stark contrast creates more focus on it.
It is interesting what you said about the geometric similarities to my work and your logo, as those drawings in particular I developed through a series of drawings based on sections of crystalline forms, breaking them down so they gradually became a more minimal version of the original natural form. For the past few years though, most of my structural and illustrative works have been derived from geodesic patterns as they represent the connections between light patterns and a broader plain of space and time outwith the installations themselves, (Visible evidence for the curving of space can be gleamed from the behavior of light under the influence of gravity, which Einstein concluded would travel in geodesic lines. - Gavin Parkinson, Surrealism Art and Modern Science) or other naturally geometric derivatives such as the golden ratio and golden section dimensions and the balance/geometry apparent in all natural systems. However I think it is important that while our work complements each other obviously it would create more of an interesting dynamic if they were not too similar.
I have been thinking more about how they would merge into natural surroundings, or in the case of the more baron spots, how they might seem to be emerging from a more industrial space in a way that compliments the sculptures environs but subtly brings more natural elements into focus. I now plan to return to one of my original ideas of geometric pyramids similar to my 2010 pieces Panacea and Interstitial Geographies (Where I End and You Begin), pictured below, covered entirely in plant life. Their forms would compliment the structural and stark surroundings of the derelict areas or concrete footpaths in the suggested areas for the exhibit and bring more organic attributes to the space. I have also considered constructing concrete plinths with perspex prism formations emerging or intersecting their hollow structures creating light chambers alluding to broader contexts outwith their urban surrounds but taking time restraints into consideration this may have to become a project for a future date.
If we are not necessarily constructing site specific pieces we should consider how our work will sit alongside each other, or perhaps it might be more natural to come up with this arrangement in the space once we are there? You asked about installation dates, if the exhibits are going to be open to the press by the 17th of April we could install the week beforehand or could perhaps get into the GSS (Glasgow Sculpture Studios) to make a collaborative piece as a response to the space we settle on the week before or figure out dates we could both make it to Glasgow earlier than that?
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