Back in the studio today after two weeks of non-stop writing! Excited to say that my essay is all done now and it’s the last one I ever have to write! I was all set to carry on working in the casting room, finally getting this mould finished! However this wasn’t to be the case as there was no silicone to put on my next layer! Not to be defeated I thought right what else can I do? A while ago one of the technicians had suggested I use the sandblaster to remove the magnolia paint on the figures. I’m running low on my figurines at the moment, as I got too excited by the magnolia process, so though yeah why not? And here’s the result! This is something I had wanted to do right at the beginning of this year, it’s as though I’ve erased their presence, their past and their history. They are no longer “silent witnesses to our most private and vulnerable moments.” They become so eerie without a face. You can see the difference the sand blaster can make to remove the magnolia. I like the half sand blasted effect, leaving some of the past behind. Once I’d fully removed the magnolia paint I then experimented dipping the figures into other colours- sort of resembling Katharina Fritsch’s 4th Plinth Sculpture.
The plan with these ornaments, as it was before; I want to place them on plinths, placing art works on plinths is a very “fine art” thing do. This was something that was mentioned when getting feedback on my piece; Untitled (Ornamental Figure), again the titling; a very fine art thing to do. I agreed with the majority that generally I don’t like works being Untitled however for this piece they kind of liked it. It’s very fine art way of titling, yet it was almost emphasizing the setting that the piece was in. They said that it was a statement about being made by an artist- for a contemporary art setting. When I began making the work, the use of the plinth was about taking these figures out of their home context yet bringing back somewhat of their original context by using the wallpaper. This is what I intend to bring through in the next series of plinthed ornaments.
When I began thinking about the plinth some more I remembered the 4th Plinth; situated in London’s Trafalgar square. The plinth was originally intended to hold an equestrian statue of William IV, but remained bare due to insufficient funds. Since 1999, the plinth has become a home to temporary contemporary art works. Contemporary artists are commissioned to make works for the plinth. Some of these artist include Antony Gormley, Yinka Shonibare and one of my faves Rachel Whiteread! Her piece Monument is pictured above. The newest addition is Katharina Fritsch’s: Hahn/Cock. The big blue cockerel also pictured above. I really like the idea behind the 4th plinth and I think it relates really well with what I’m doing here with my wallpapered plinths.
I found some really interesting articles about it too: This one about Rachel Whiteread: http://www.theguardian.com/theobserver/2001/may/27/features.magazine47
and this one about the latest Fritsch’s Hahn/Cock where it says; For Fritsch, colour is what transforms a sculpture from a naturalistic ornament into a symbol. “It evens it out, makes it abstract – like a visual sign, an icon. That is important: my work is always on the borderline between a detailed sculpture and a sign. http://www.theguardian.com/artanddesign/2013/jul/24/katharina-fritsch-fourth-plinth-cockerel-sculpture