To Decay, to break down into component parts, to disintegrate diminish. The changing of something over – a non spatial continuum in which events occur in apparently irreversible succession from the past through the present to the future (time), an interval separating 2 points in this continuum. A duration. A large portion of my work is focused on the passing of time, represented through the use of, and how decay can represent this.
Layers are important in my work, not only layers of meaning, but physical layers of materials. I find this gives depth to my work and helps to produce an atmosphere. This use of layering produces texture which I find helps me to explore the aesthetic qualities of decay itself. To break down into component parts. Disintegrate, diminish, disintegrate. Revisiting previous ideas and makes a different decision is a large, is the main way in which I progress.
Experimenting. Trying something new in order to gain experience. The trying out of a new idea to gain experience. The trying out of a new idea or method. Testing. Error and trial. Is another way in which I learn. Learning new techniques, methods, helps me to further my work.
Overall I would say my work is about change. Change, changing, changed. Metamorphism. To go from one place to another, as the moon or the season. The earth rotates, sun, moon and stars move across the sky at a regular pace which gives is the length of day. Over billions of years the rotation slows, lengthening the day. The moon pulls the water, a tidal bulge is formed, as the earth spins friction between the earth and the water causes this rotation to slow. Research feeds my work, helping me to understand the subject I am currently interested in.
Tuesday, 5 May 2009
Monday, 4 May 2009
Essay- Melancholia
This essay will explore the issues surrounding Anselm Kiefer's painting Melancholia. It will focus on his use of symbolism, particularly on his use of the path, the field and found objects. Futhermore, how these symbols are used to explore his relevant areas of interest such as the mythology of ancient religion and history, alchemy and the nature of belief. Particularly mankind's desire to understand existence. This essay asks how these issues are explored and commented on in this painting. It also asks how these issues are relevant in today's society.
In order to answer these questions we need to understand why such symbolism is integral to Kiefer's work, why his areas of interest are important in today's society, how they link with each other. This essay will explore common threads which run through the paintings meanings. Alongside this context will be taken into account in order to understand what makes this painting relevant today and when it was painted.
In conjunction with discussing my views on this painting, this essay will also take into account the views of other authors. It will draw upon these texts to make comparisons with my own views. Similarities and differences discovered through these comparisons will need to be justified.
Essay- 'Melancholia'- Anselm Kiefer'Melancholia' by Anselm Kiefer, painted in 2004 deals with issues of mythology of ancient religion and history, and the nature of belief. The focus of this essay will be on how his use of the techniques of the 'path' and the 'field' explore these complex issues. How does this cause the viewer to question belief? Furthermore, how does his use of found objects assist in questioning human beliefs? Factors such as context will also be taken into account in order to gain an understanding as to why this work was important at the time of its creation, and how it fits into, or questions today’s society. Views of other writers will be taken into account as well, comparisons will then be made and any similarities and differences discovered through these comparisons will then need to be justified.Anselm Kiefer is said to be ' a romantic among German neo-expressionists'. He deals with a problematic rehearsal of the history of his native land, specifically dealing with the issues of the legacy of Nazism. His paintings seem to present us with a feeling of trauma which we can identify. There seems to be a constant preoccupation in his work with the theme of 'larger questions'. Due to the fact that he grew up amidst the mess of divided Germany, Kiefer's work has an unsettled, disturbed feeling. His child-hood was surrounded by tragic memories and the devastating aftermath of war (Consoli, 2008).The field of ploughed earth in this painting holds a lot of meaning. It looks unsettled, uprooted, creating a feeling of unease. The main elements of life: Carbon, Oxygen, Hydrogen and Nitrogen are in the soil, it contains the elements needed to produce life. In response to this, the ploughed field could be a symbol of growth, the beginnings of life. However this landscape looks strange, disillusioned, life should be thriving yet the landscape is baron. There is interplay between the hope of what could grow from the ploughed earth, and the fact that the landscape is clearly baron despite this. No life can survive. Due to this, a sinister atmosphere hangs in the air. We wonder what has happened to make this landscape so baron and desolate. The extremely organic forms within the ploughed field are juxtaposed with the structural, geometric, solid shape hanging in the sky, poised like an angel at the 'pinnacle' of the painting. This use of a 3-D object in the painting creates a space somewhere between sculpture and painting, which in turn causes the viewer to question what the art work actually is. This mirrors how humans question the belief of the reality and the meaning of life.The faint path running from the foreground to the horizon has the effect of placing the viewer within the painting. This interpolates the viewer, it is you taking this path, this painting is about you. This is emphasised by the fact that there are no other human figures in the painting, you are the figure. As a result of this it is you questioning reality. However, the soil brings you back to the facts of life, the reality of your own mortality. The reality of what life is made of, what we consist of is presented in the soil.In conjunction with this, some say that the ploughed earth is a symbol of an ancient agricultural religion, which could also suggest his rural upbringing. The earth is seen by such religions as the centre of nourishment and rebirth. The ploughed earth could also be a symbol of how Germany was laid bare by Nazism and ''awaits a fertilization of new life' (d'Offay, 2000). The fact that nothing is actually happening within the landscape, emphasises what could be happening, there is nothing to cushion the missing event that is rebirth. This causes the viewer to question why the landscape has been left so baron (Maenz, De Vries, 1985). However, as well as questioning why the landscape has been left so baron, we also experience a feeling of hope, hope of what may come.The field itself looks like waste land, which could symbolise a spiritual wastage, a land 'devastated by a barren feeling in the heart, a fallen and disharmonized humanity'. This wasteland has a double significance, the field is fertilized by slash and burn agriculture, manured by death, but a new crop will rise, a new age dawn. This duality is further evident in the questioning of whether man's destructive nature will prevail or nature's survival instinct will fight back ( Consoli, 2008). These two conflicting ideas create a sinister tension in the painting.The barren landscape portrayed in 'Melancholia' seems to have connotations of winter, this could maybe symbolise that the time in which this painting is situated is experiencing a 'cultural winter'. The charred plants, desolation and sterility further this feeling. The incorporation of grey in this painting is reminiscent of the colour of ashes, the landscape itself looks ashen. Ashes are what remain after the combustion of an organic body, wood, flesh, hair. Ashes are what remain after the burning of life (Clair, 2007). Therefore, the use of grey within the painting creates a morbid atmosphere, one of little hope. It feels heavy, in order to move on a lot has to change.The glass polyhedron hanging above the horizon is an exact copy of the stone one in the Dürer engraving. This complex form almost praises the art of geometry and the spirit of measure, giving the impression that these skills will help the human race to understand and dominate the technical world we now live in. Polyhedrons occur naturally during the process of crystallization, as symmetrical forms. However the polyhedron which occurs in Kiefer's work is irregular, meaning that it is more difficult to construct, but also to obtain, there is no symmetry in this crystal. (Clair, 2007). This geometric solid which hangs ominously in the sky, could be seen to symbolise the idea that art, a creative act could promise order to the world, this idea is emphasised by the iconography of Dürer's 1514 engraving (Georgievska-shine, 2006). Art, positioned at the pinnacle of the painting, represents hope, almost like a 'God'. Art is presented as the way forward, as the option that , if we take it, could right all wrongs.This engraving was designed as part of a series of 5 copper engravings illustrating the 4 human temperaments; melancholic, phlegmatic, choleric and sanguine. These temperaments are in turn related to the 4 humours of the body; black bile, phlegm, yellow bile and blood. The polyhedron itself represents the base metal, lead. The idea of using lead in interesting as it is an ambiguous material. It is poisonous to the human body yet at the same time we use it to protect ourselves from radiation.Kiefer's work is 'path orientated', through his use of the path a goal is presented and we are encouraged to strive towards it. This brings to our attention the question of, what goal? This goal could be to find a way out of the historical trap which Germany has made for itself, to emerge from this living nightmare by 'forging resolutely toward the horizon which might bind it.' This theme which ran though Kiefer's work ended in the early 1990's with the fall of the Berlin wall, which bound the horizon of that era. However, Kiefer's paintings from 1993 onwards still incorporate the path, but the history which the path was once bound to is no longer relevant. This places 'Melancholia' into this category. The illusive path incorporated into 'Melancholia', lit by the moon, merges with the ripples of the ploughed field, thus creating a feeling of visual confusion in the viewer; this could also represent the merging of the attitudes of different cultural ages. This use of the path could represent the view of history as a linear path, a goal orientated or progressive ideology wherein it is not enough to stay where one is, even if the earth is richly fertile and already ploughed there. The path can almost be seen as negative, a curse, as it is restricting and doesn't allow for free wondering. However, the path alone is what makes life meaningful (d'Offay, 2000). It has been said that all that occurs above the moon and the stars is simple, perfect, at piece; everything that it above the level of the moon is eternal and moves in perfect circles. As this path is below the moon, it zig-zags across the ploughed field, below the moon it is not simple, straightforward of perfect. Everything below the moon is mortal and moves 'jaggedly'.After exploring the themes which run through Kiefer's work it is now possible to analyse how relevant 'Melancholia' is today. The theme which seems to be the strongest in this painting is the idea of 'larger questions'. The way this painting, with its path zig-zagging to the horizon, makes the viewer contemplate the meaning of life and the paths we choose. By putting a path through we are guided into the painting, and it is us who are on the path, us contemplating the meaning of life. Questions of this kind will always be relevant to human beings, and is a timeless theme, thus making it relevant today. The way this painting deals with themes of war, specifically the aftermath of such events, depicting it as a barren and sinister place is not only relevant now in places where war is occurring. It is also relevant to those who have not experienced this nightmare, in order to help us understand the effect wars have on countries. Alongside this theme of war is the evidence of a childhood during the aftermath of Nazism. As the terror of this time will never be forgotten, Kiefer;s own insight into this time will always be relevant and help us to better understand the effect it had on the people living in Germany. In a way, the theme most relevant in today's climate is the constant pull between man's destructive nature, and nature's survival instinct. With the world struggling with global warming, and in turn melting ice caps and rising sea levels this theme seems more relevant than ever. The feeling that nature in the end will prevail is strong, yet however natural this is mankind still try to counteract it. These problems caused by our ignorance in turn threaten to wipe us out, in this way the idea of nature prevailing seems likely, but there is evidently an ongoing interplay. Due to these issues it can be said that this theme is still widely relevant in today's climate. After considering these themes it is clear that 'Melancholia' holds a lot of ideas and beliefs that are relevant in today's society.After analysing 'Melancholia', it is now possible to draw conclusions. This painting is complex with different layers of meanings, which make it relevant to a lot of cultures and time periods. It refers to past events, yet causes reactions in the present. The use of the 'path' and the 'field' is integral to the painting, as it is these key factors that present the deepest meanings. It is from the use of these elements that we feel the painting is relevant in life. The use of the path in particular causes the viewer to question their own belief, as it is them that are on the path. In conjunction with this, the path is an illusive one, straying from side to side; this causes the viewer to question whether life is straightforward. After considering the views of other writers it is possible to see how more than one relevant point can be made about the same element of the painting. This is due to the many layers of meaning possible in 'Melancholia'. It is relevant to different people for different reasons. However underlying themes seem to be common throughout these sources, such as desolation, death, rebirth and growth.
References
1) Clair.J. (2007) 'Kiefer, l'oeuvure au noir.' Art Press. 334, pp 33-7.2) Consoli.G. (2008) 'Anselm Kiefer: Sculpture and Paintings.' Reviews: massachusetts. 5, pp 43.3) d'Offay.A. (2000) 'Let a Thousand Flowers Bloom.' Germany, Offizin Ohr Scheufek.4) Georgievska-Shine.A. (2006) 'Anselm Kiefer' Art US. 15, pp 26-7.5) Maenz,P., De Vries,G. (1985) 'Anselm Kiefer' Cologne, Ausgiessung.
Bibliography
Books
1) 'Anselm Kiefer- Let a Thousand Flowers Bloom', Anthony d'Offay.
2)' Anselm Kiefer', Paul Maenz and Gerd de Vries.
3) 'Anselm Kiefer- Heaven and Earth', Prestel.
4) 'Anselm Kiefer', Rafael Lopez-Peraza.
5) 'Anselm Kiefer and the Philosophy of Martin Heideggar', Mathew Biro.
Journals
1) 'Kiefer, l'oeuvre au noir', Jean Clair, Art Press.
2) 'Anselm Kiefer: Sculpture and Paintings' Grace Consoli, Reviews: Massachusetts.
3)' Anselm Kiefer and the Philosophy of Martin Heideggar.- Review.
4) 'Anselm Kiefer' Aneta Georievska-Shine, Art US.
Websites
www.artchive.com/artchive/K/kiefer.html
www.whitecube.com/artists/kiefer
www.artcyclopedia.com/artists/kiefer_anselm.html
www.artnet.com/artist/9454/anselm-kiefer.html
www.artseensoho.com/Art/GAGOSIAN/keifer98/keifer1.html
www.guardian.co.uk/artanddesign/2008/apr/27/art
In order to answer these questions we need to understand why such symbolism is integral to Kiefer's work, why his areas of interest are important in today's society, how they link with each other. This essay will explore common threads which run through the paintings meanings. Alongside this context will be taken into account in order to understand what makes this painting relevant today and when it was painted.
In conjunction with discussing my views on this painting, this essay will also take into account the views of other authors. It will draw upon these texts to make comparisons with my own views. Similarities and differences discovered through these comparisons will need to be justified.
Essay- 'Melancholia'- Anselm Kiefer'Melancholia' by Anselm Kiefer, painted in 2004 deals with issues of mythology of ancient religion and history, and the nature of belief. The focus of this essay will be on how his use of the techniques of the 'path' and the 'field' explore these complex issues. How does this cause the viewer to question belief? Furthermore, how does his use of found objects assist in questioning human beliefs? Factors such as context will also be taken into account in order to gain an understanding as to why this work was important at the time of its creation, and how it fits into, or questions today’s society. Views of other writers will be taken into account as well, comparisons will then be made and any similarities and differences discovered through these comparisons will then need to be justified.Anselm Kiefer is said to be ' a romantic among German neo-expressionists'. He deals with a problematic rehearsal of the history of his native land, specifically dealing with the issues of the legacy of Nazism. His paintings seem to present us with a feeling of trauma which we can identify. There seems to be a constant preoccupation in his work with the theme of 'larger questions'. Due to the fact that he grew up amidst the mess of divided Germany, Kiefer's work has an unsettled, disturbed feeling. His child-hood was surrounded by tragic memories and the devastating aftermath of war (Consoli, 2008).The field of ploughed earth in this painting holds a lot of meaning. It looks unsettled, uprooted, creating a feeling of unease. The main elements of life: Carbon, Oxygen, Hydrogen and Nitrogen are in the soil, it contains the elements needed to produce life. In response to this, the ploughed field could be a symbol of growth, the beginnings of life. However this landscape looks strange, disillusioned, life should be thriving yet the landscape is baron. There is interplay between the hope of what could grow from the ploughed earth, and the fact that the landscape is clearly baron despite this. No life can survive. Due to this, a sinister atmosphere hangs in the air. We wonder what has happened to make this landscape so baron and desolate. The extremely organic forms within the ploughed field are juxtaposed with the structural, geometric, solid shape hanging in the sky, poised like an angel at the 'pinnacle' of the painting. This use of a 3-D object in the painting creates a space somewhere between sculpture and painting, which in turn causes the viewer to question what the art work actually is. This mirrors how humans question the belief of the reality and the meaning of life.The faint path running from the foreground to the horizon has the effect of placing the viewer within the painting. This interpolates the viewer, it is you taking this path, this painting is about you. This is emphasised by the fact that there are no other human figures in the painting, you are the figure. As a result of this it is you questioning reality. However, the soil brings you back to the facts of life, the reality of your own mortality. The reality of what life is made of, what we consist of is presented in the soil.In conjunction with this, some say that the ploughed earth is a symbol of an ancient agricultural religion, which could also suggest his rural upbringing. The earth is seen by such religions as the centre of nourishment and rebirth. The ploughed earth could also be a symbol of how Germany was laid bare by Nazism and ''awaits a fertilization of new life' (d'Offay, 2000). The fact that nothing is actually happening within the landscape, emphasises what could be happening, there is nothing to cushion the missing event that is rebirth. This causes the viewer to question why the landscape has been left so baron (Maenz, De Vries, 1985). However, as well as questioning why the landscape has been left so baron, we also experience a feeling of hope, hope of what may come.The field itself looks like waste land, which could symbolise a spiritual wastage, a land 'devastated by a barren feeling in the heart, a fallen and disharmonized humanity'. This wasteland has a double significance, the field is fertilized by slash and burn agriculture, manured by death, but a new crop will rise, a new age dawn. This duality is further evident in the questioning of whether man's destructive nature will prevail or nature's survival instinct will fight back ( Consoli, 2008). These two conflicting ideas create a sinister tension in the painting.The barren landscape portrayed in 'Melancholia' seems to have connotations of winter, this could maybe symbolise that the time in which this painting is situated is experiencing a 'cultural winter'. The charred plants, desolation and sterility further this feeling. The incorporation of grey in this painting is reminiscent of the colour of ashes, the landscape itself looks ashen. Ashes are what remain after the combustion of an organic body, wood, flesh, hair. Ashes are what remain after the burning of life (Clair, 2007). Therefore, the use of grey within the painting creates a morbid atmosphere, one of little hope. It feels heavy, in order to move on a lot has to change.The glass polyhedron hanging above the horizon is an exact copy of the stone one in the Dürer engraving. This complex form almost praises the art of geometry and the spirit of measure, giving the impression that these skills will help the human race to understand and dominate the technical world we now live in. Polyhedrons occur naturally during the process of crystallization, as symmetrical forms. However the polyhedron which occurs in Kiefer's work is irregular, meaning that it is more difficult to construct, but also to obtain, there is no symmetry in this crystal. (Clair, 2007). This geometric solid which hangs ominously in the sky, could be seen to symbolise the idea that art, a creative act could promise order to the world, this idea is emphasised by the iconography of Dürer's 1514 engraving (Georgievska-shine, 2006). Art, positioned at the pinnacle of the painting, represents hope, almost like a 'God'. Art is presented as the way forward, as the option that , if we take it, could right all wrongs.This engraving was designed as part of a series of 5 copper engravings illustrating the 4 human temperaments; melancholic, phlegmatic, choleric and sanguine. These temperaments are in turn related to the 4 humours of the body; black bile, phlegm, yellow bile and blood. The polyhedron itself represents the base metal, lead. The idea of using lead in interesting as it is an ambiguous material. It is poisonous to the human body yet at the same time we use it to protect ourselves from radiation.Kiefer's work is 'path orientated', through his use of the path a goal is presented and we are encouraged to strive towards it. This brings to our attention the question of, what goal? This goal could be to find a way out of the historical trap which Germany has made for itself, to emerge from this living nightmare by 'forging resolutely toward the horizon which might bind it.' This theme which ran though Kiefer's work ended in the early 1990's with the fall of the Berlin wall, which bound the horizon of that era. However, Kiefer's paintings from 1993 onwards still incorporate the path, but the history which the path was once bound to is no longer relevant. This places 'Melancholia' into this category. The illusive path incorporated into 'Melancholia', lit by the moon, merges with the ripples of the ploughed field, thus creating a feeling of visual confusion in the viewer; this could also represent the merging of the attitudes of different cultural ages. This use of the path could represent the view of history as a linear path, a goal orientated or progressive ideology wherein it is not enough to stay where one is, even if the earth is richly fertile and already ploughed there. The path can almost be seen as negative, a curse, as it is restricting and doesn't allow for free wondering. However, the path alone is what makes life meaningful (d'Offay, 2000). It has been said that all that occurs above the moon and the stars is simple, perfect, at piece; everything that it above the level of the moon is eternal and moves in perfect circles. As this path is below the moon, it zig-zags across the ploughed field, below the moon it is not simple, straightforward of perfect. Everything below the moon is mortal and moves 'jaggedly'.After exploring the themes which run through Kiefer's work it is now possible to analyse how relevant 'Melancholia' is today. The theme which seems to be the strongest in this painting is the idea of 'larger questions'. The way this painting, with its path zig-zagging to the horizon, makes the viewer contemplate the meaning of life and the paths we choose. By putting a path through we are guided into the painting, and it is us who are on the path, us contemplating the meaning of life. Questions of this kind will always be relevant to human beings, and is a timeless theme, thus making it relevant today. The way this painting deals with themes of war, specifically the aftermath of such events, depicting it as a barren and sinister place is not only relevant now in places where war is occurring. It is also relevant to those who have not experienced this nightmare, in order to help us understand the effect wars have on countries. Alongside this theme of war is the evidence of a childhood during the aftermath of Nazism. As the terror of this time will never be forgotten, Kiefer;s own insight into this time will always be relevant and help us to better understand the effect it had on the people living in Germany. In a way, the theme most relevant in today's climate is the constant pull between man's destructive nature, and nature's survival instinct. With the world struggling with global warming, and in turn melting ice caps and rising sea levels this theme seems more relevant than ever. The feeling that nature in the end will prevail is strong, yet however natural this is mankind still try to counteract it. These problems caused by our ignorance in turn threaten to wipe us out, in this way the idea of nature prevailing seems likely, but there is evidently an ongoing interplay. Due to these issues it can be said that this theme is still widely relevant in today's climate. After considering these themes it is clear that 'Melancholia' holds a lot of ideas and beliefs that are relevant in today's society.After analysing 'Melancholia', it is now possible to draw conclusions. This painting is complex with different layers of meanings, which make it relevant to a lot of cultures and time periods. It refers to past events, yet causes reactions in the present. The use of the 'path' and the 'field' is integral to the painting, as it is these key factors that present the deepest meanings. It is from the use of these elements that we feel the painting is relevant in life. The use of the path in particular causes the viewer to question their own belief, as it is them that are on the path. In conjunction with this, the path is an illusive one, straying from side to side; this causes the viewer to question whether life is straightforward. After considering the views of other writers it is possible to see how more than one relevant point can be made about the same element of the painting. This is due to the many layers of meaning possible in 'Melancholia'. It is relevant to different people for different reasons. However underlying themes seem to be common throughout these sources, such as desolation, death, rebirth and growth.
References
1) Clair.J. (2007) 'Kiefer, l'oeuvure au noir.' Art Press. 334, pp 33-7.2) Consoli.G. (2008) 'Anselm Kiefer: Sculpture and Paintings.' Reviews: massachusetts. 5, pp 43.3) d'Offay.A. (2000) 'Let a Thousand Flowers Bloom.' Germany, Offizin Ohr Scheufek.4) Georgievska-Shine.A. (2006) 'Anselm Kiefer' Art US. 15, pp 26-7.5) Maenz,P., De Vries,G. (1985) 'Anselm Kiefer' Cologne, Ausgiessung.
Bibliography
Books
1) 'Anselm Kiefer- Let a Thousand Flowers Bloom', Anthony d'Offay.
2)' Anselm Kiefer', Paul Maenz and Gerd de Vries.
3) 'Anselm Kiefer- Heaven and Earth', Prestel.
4) 'Anselm Kiefer', Rafael Lopez-Peraza.
5) 'Anselm Kiefer and the Philosophy of Martin Heideggar', Mathew Biro.
Journals
1) 'Kiefer, l'oeuvre au noir', Jean Clair, Art Press.
2) 'Anselm Kiefer: Sculpture and Paintings' Grace Consoli, Reviews: Massachusetts.
3)' Anselm Kiefer and the Philosophy of Martin Heideggar.- Review.
4) 'Anselm Kiefer' Aneta Georievska-Shine, Art US.
Websites
www.artchive.com/artchive/K/kiefer.html
www.whitecube.com/artists/kiefer
www.artcyclopedia.com/artists/kiefer_anselm.html
www.artnet.com/artist/9454/anselm-kiefer.html
www.artseensoho.com/Art/GAGOSIAN/keifer98/keifer1.html
www.guardian.co.uk/artanddesign/2008/apr/27/art
Exhibition Review
Currently showing at Stuart Shave Modern Art is the latest offering from the energetic, German performance artist Jonathan Meese. This, his third, solo exhibition is comprised of his latest sculptures, paintings and collages. He describes this show as ‘the Dictatorship of art arrives in London.’
The artist believes that art will rule the world, politicians will have to leave parliament and give their power to the art world. He believes that the future will have only ‘toy money’, and fake wars, containing ‘toy weapons’ and ‘toy blood’. At the centre of his perceived future is the actress Scarlet Johansson, whom he believes is like a toy doll of this world. He claims she is the mother of the Dictatorship of Art. In his view art is a place where we are free to play, with no rituals or rules, in this way art produces no victims or enemies. Art has no opinions; therefore it has no problems with the evil in the world. He goes so far as to say that in the art world Hitler is neutral.
This current exhibition shows images of Hitler and Stalin on the fronts of Top Trumps-style playing cards. The walls are scrawled with unreadable words from his own made-up language, which was invented as a child. His Canvases consist of childish scrawling in bold colours along with images of Scarlet Johannson and symbols of dictators and politicians. His use of symbols such as the swastika alongside the images of Johansson produce a sort of strange neutrality, as the image of the celebrity gives the symbol the same sense of the everyday. Flowing lines give the feeling of a disgusting, necessary, liquid movement through the pieces. There is an almost offensive, manic energy throughout the show. These suggestive pieces are disturbing, shocking and repulsive and make for uncomfortable viewing; but at the same time the juxtaposed images cause the viewer to look at the content with new eyes, which results in a thought provoking experience.
The way he juxtaposes an image of Hitler with an image of SpongeBob reflects his belief that art has no problem with bad. SpongeBob has no problem with Hitler and nor does art. He revisits atrocious events from history and with his playful techniques turns them into nonsense. The artist sees this as a way of breaking these events down and as an attempt to destroy them. He almost tries to then make sense of this nonsense with his new fresh perspective. In the canvases which he displays as a series of triptychs, his belief that art does not require skill is reflected. These canvases have an almost grotesque, overly personal cohesion but show no technical ‘skill’.
Alongside canvases Meese presents sculptures of unrecognisable torsos. He believes these creations to be the upraised soldiers of the future. These bronze sculptures draw you in by their human-like activities such as smoking a pipe, but have strange features such as an eye which protrudes from the face in a suggestive manor.
In this ‘art world’ he’s created humans are insignificant creatures who will soon be gone, he sees humans as unimportant, not central to the world. As a result of this he believes we should behave like children; eating, screaming, and playing. Humans should only carry out actions they feel are necessary, hence the word ‘metabolism’ in the name, a necessary process for humans. This reflects his belief in a simple truth, where individualism is not needed.
With his use of soft toys, rocking horses, playing cards and sex dolls, Meese has turned this gallery space into a twisted, adult playground for the human race where we are expected to have no concept of right and wrong. There is a sense of an almost optimistic freedom throughout, a feeling of strange naivety and innocence when confronted with the evil in the world.
This metaphoric montage of imagery, however juvenile at times, explores disturbing historic events and will force you to think about society and the role of the art world in new ways. This show is a statement about what the truth about the world is to the artist, it confronts themes abruptly and is extremely invasive. The show runs from the 15th of January to the 21st of February, 2009.
The artist believes that art will rule the world, politicians will have to leave parliament and give their power to the art world. He believes that the future will have only ‘toy money’, and fake wars, containing ‘toy weapons’ and ‘toy blood’. At the centre of his perceived future is the actress Scarlet Johansson, whom he believes is like a toy doll of this world. He claims she is the mother of the Dictatorship of Art. In his view art is a place where we are free to play, with no rituals or rules, in this way art produces no victims or enemies. Art has no opinions; therefore it has no problems with the evil in the world. He goes so far as to say that in the art world Hitler is neutral.
This current exhibition shows images of Hitler and Stalin on the fronts of Top Trumps-style playing cards. The walls are scrawled with unreadable words from his own made-up language, which was invented as a child. His Canvases consist of childish scrawling in bold colours along with images of Scarlet Johannson and symbols of dictators and politicians. His use of symbols such as the swastika alongside the images of Johansson produce a sort of strange neutrality, as the image of the celebrity gives the symbol the same sense of the everyday. Flowing lines give the feeling of a disgusting, necessary, liquid movement through the pieces. There is an almost offensive, manic energy throughout the show. These suggestive pieces are disturbing, shocking and repulsive and make for uncomfortable viewing; but at the same time the juxtaposed images cause the viewer to look at the content with new eyes, which results in a thought provoking experience.
The way he juxtaposes an image of Hitler with an image of SpongeBob reflects his belief that art has no problem with bad. SpongeBob has no problem with Hitler and nor does art. He revisits atrocious events from history and with his playful techniques turns them into nonsense. The artist sees this as a way of breaking these events down and as an attempt to destroy them. He almost tries to then make sense of this nonsense with his new fresh perspective. In the canvases which he displays as a series of triptychs, his belief that art does not require skill is reflected. These canvases have an almost grotesque, overly personal cohesion but show no technical ‘skill’.
Alongside canvases Meese presents sculptures of unrecognisable torsos. He believes these creations to be the upraised soldiers of the future. These bronze sculptures draw you in by their human-like activities such as smoking a pipe, but have strange features such as an eye which protrudes from the face in a suggestive manor.
In this ‘art world’ he’s created humans are insignificant creatures who will soon be gone, he sees humans as unimportant, not central to the world. As a result of this he believes we should behave like children; eating, screaming, and playing. Humans should only carry out actions they feel are necessary, hence the word ‘metabolism’ in the name, a necessary process for humans. This reflects his belief in a simple truth, where individualism is not needed.
With his use of soft toys, rocking horses, playing cards and sex dolls, Meese has turned this gallery space into a twisted, adult playground for the human race where we are expected to have no concept of right and wrong. There is a sense of an almost optimistic freedom throughout, a feeling of strange naivety and innocence when confronted with the evil in the world.
This metaphoric montage of imagery, however juvenile at times, explores disturbing historic events and will force you to think about society and the role of the art world in new ways. This show is a statement about what the truth about the world is to the artist, it confronts themes abruptly and is extremely invasive. The show runs from the 15th of January to the 21st of February, 2009.
Tuesday, 28 April 2009
4 Encounters of an artwork
November
A distorted figure gives the feeling of movement, the fluid like form gives the almost blurred impression of a figure moving forward. The way the figure is made up of cascading shapes is reminiscent of a waterfall. This gives the impression of the figure almost urging forward in a fluid motion, towards something unknown. There is also a sense of the space which the figure has moved from, due to the shapes dragging backwards behind the figure. Even though it is cast in metal it looks very organic and natural. It is reminiscent of how something which dashes past you is disfigured, distorted by speed. At the same time as looking organic there is also a feel of an almost mechanical body, particularly in the head where the viewer becomes more aware of the fact that it has been cast in bronze, due to the straight, unnatural lines. There is a feeling of kinetic energy within the figure, as if it is cascading forward unstoppably. This gives the impression of a suggested before and after image, as if this sculpture is one in a series of movements.
December
Composed from bronze, standing at 111.2 cm high, this sculpture depicts a futuristic style figure in a position which evokes a feeling of movement. the fluid form of this figure, consisting of cascading forms is reminiscent of a waterfall. due to this comparison you feel that it is a changeable form, if you look a second later it would have changed or disappeared. this itself links it with the feeling of transience and the passing of time. the way humans travel through time and space. although it is a static sculpture the movement depicted in this piece feels unstoppable, like a force of nature. the figure itself looks quite robotic in some respects, but this is juxtaposed with the soft, organic shapes it actually consists of. the mechanical, robotic aesthetic is seen more clearly in the head of the figure, where suddenly the organic forms have been replaced with straighter, unnatural lines. due to the fluid shapes flowing back from the figure the viewer is prompted to think of where the figure has been in the past, where it is moving from. this adds to the idea of the figure being transient.
February
this metal sculpture stands at 111.2 cm high. It consists of an arrangement of molten looking forms, giving a fluid aesthetic to the piece. The shapes used to create the figure cast extreme shadows producing a lot of contrast between the light and dark areas. There is an interplay between static and motion, a pull between these two opposed states. This gives a feeling of trapped energy within the sculpture. The figure portrays movement yet it is restricted by the restraints of the material from which it is made, it's reality. The stance in which the figure has been placed in, is one of power; this gives the feeling of it being an unstoppable force. Due to the colour of the metal and the soft rounded shapes from which it is formed, the figure looks like an organic object. This contrasts with the way that the shapes fit together, which gives a feeling of a mechanical object. We can relate to the sculpture due to its recognisable features of the human form, however it's unrealistic size produces a distance between the viewer and the sculpture. This makes us feel like we are onlookers to the 'event' occurring in this piece.
A distorted figure gives the feeling of movement, the fluid like form gives the almost blurred impression of a figure moving forward. The way the figure is made up of cascading shapes is reminiscent of a waterfall. This gives the impression of the figure almost urging forward in a fluid motion, towards something unknown. There is also a sense of the space which the figure has moved from, due to the shapes dragging backwards behind the figure. Even though it is cast in metal it looks very organic and natural. It is reminiscent of how something which dashes past you is disfigured, distorted by speed. At the same time as looking organic there is also a feel of an almost mechanical body, particularly in the head where the viewer becomes more aware of the fact that it has been cast in bronze, due to the straight, unnatural lines. There is a feeling of kinetic energy within the figure, as if it is cascading forward unstoppably. This gives the impression of a suggested before and after image, as if this sculpture is one in a series of movements.
December
Composed from bronze, standing at 111.2 cm high, this sculpture depicts a futuristic style figure in a position which evokes a feeling of movement. the fluid form of this figure, consisting of cascading forms is reminiscent of a waterfall. due to this comparison you feel that it is a changeable form, if you look a second later it would have changed or disappeared. this itself links it with the feeling of transience and the passing of time. the way humans travel through time and space. although it is a static sculpture the movement depicted in this piece feels unstoppable, like a force of nature. the figure itself looks quite robotic in some respects, but this is juxtaposed with the soft, organic shapes it actually consists of. the mechanical, robotic aesthetic is seen more clearly in the head of the figure, where suddenly the organic forms have been replaced with straighter, unnatural lines. due to the fluid shapes flowing back from the figure the viewer is prompted to think of where the figure has been in the past, where it is moving from. this adds to the idea of the figure being transient.
February
this metal sculpture stands at 111.2 cm high. It consists of an arrangement of molten looking forms, giving a fluid aesthetic to the piece. The shapes used to create the figure cast extreme shadows producing a lot of contrast between the light and dark areas. There is an interplay between static and motion, a pull between these two opposed states. This gives a feeling of trapped energy within the sculpture. The figure portrays movement yet it is restricted by the restraints of the material from which it is made, it's reality. The stance in which the figure has been placed in, is one of power; this gives the feeling of it being an unstoppable force. Due to the colour of the metal and the soft rounded shapes from which it is formed, the figure looks like an organic object. This contrasts with the way that the shapes fit together, which gives a feeling of a mechanical object. We can relate to the sculpture due to its recognisable features of the human form, however it's unrealistic size produces a distance between the viewer and the sculpture. This makes us feel like we are onlookers to the 'event' occurring in this piece.
March
This bronze sculpture stands at 111.2 cm high. This sculpture depicts what looks to be a figure in a running stance. It conveys a feeling of movement, of passing through space and time, due to this positioning. This is highlighted by the fluid forms trailing back from the figure. It consists of a series of cascading forms which gives the feeling of the figure tumbling forward. These forms are rounded and look soft and organic which contrasts with the reality of what they are actually made of. There is an interplay between what it actually is and what it looks like. The material is hard and static, yet the sculpture looks fluid, due to this, there is a feeling of the action being restricted by the reality of the material from what it is made. The form is recognisable as a human overall, in it's basic shape, which means the viewer can relate to it, however it has qualities which separate it from the human form, including it's urealistic size. This disconcerts the viewer creating a distance between them and the sculpture.
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