Proposal for An Advanced Art Project First off, I need to propose my theme that will encompass the majority of my art works in my stated media. Out of painting, print making and sculpture, I am choosing to work with the latter for two main reasons. One, I’m not that great at capturing visual ideas on the somewhat two-dimensional surface of paper or canvas. Adding to that I thought that sculpture would allow me to have a greater release of creativity as my work can explode into the third dimension with many added features. After pondering upon ideas for a theme, I hit upon four major factors that I want to incorporate within my work.
Firstly, I want it to make a definite immediate visual contact with the viewer through use of thought provoking forms and features. Next, I may wish at times to incorporate audible stimuli to further draw the viewer into my work. Thirdly, I want some interaction of the sculpture with the viewer, so that they can make a more intimate contact with the piece through tactile and kinesthetic action, so that they thus may “get into it” more and begin to experience some of the passion & feeling that I put into my work as it is thus conveyed to and impressed upon them. As a title theme for my year’s work I have come up with “Multifaceted Interactive Involvement With The Electro- Magnetic Spectrum.” This includes many different forms of radiation, light and waves. I am also integrating sound to give an added flair.
Some practical project examples that I intend to carry through and actually construct can be found in ideas 11 and 12. As my topic theme is fairly limiting, this is quite challenging, but great, as it allows me to create many different forms of work, all tied in to a common specific point. I thought it also might be interesting though if I deviated slightly from the main theme and as a secondary little theme chose something to do with the people in the class surrounding me. There are six in total, including myself and the teacher. There are six sides on a cube and this gave rise to idea for a project. The final result of this co-relates to idea number 9.
Soon after, idea 10 followed as I got to thinking about the “average” student of art. This can also include the teacher, because no matter what level we are, we still may always learn more. One thing I seem to find is that by working around the late night/early morning period, my creative juices just seem to flow better and I get a lot more productive work done. Also I need many special tools and thus maybe I will spend the majority of my project time in my room where I have all the things I need all around me. That way I can also work in bits and pieces, working whenever I get the inspiration to do so.
This way, my art will benefit in the fact that it was made in the most fruitful portions of my labour. It can also be made more enjoyable this way, if I know I don’t have to work within a structured time on the project. Maybe the time I spend in the classroom can be spend on finishing touches with paint and other items that I don’t have available to me in my room. Also I can do sketches and drawings of improvements and modifications to existing proto-sketches. I have had considerable difficulty finding a main mentor, first of all because I think my style is fairly obscure, and I also use such a variety of materials, that I couldn’t seem to locate an artist that I could relate myself and my work to.
By a twist of fate, while looking through Canadian Art magazines, I came across an article titled “The Body Electric.” This article describes Jana Sterbak, originally native to Czechoslovakia, she came to Canada in 1968 at the age of 13. She has been educated in New York and Vancouver, having also lived there and now shifts between Montreal and Toronto, where she frequently exhibits her work. In a way she reminds me of Van Gogh in that she creates her work for herself, and then attempts to impress the vigor and zest that she feels with her work upon others in an enthusiastic way. She utilizes many different forms of materials, and likes to use electricity to her advantage to bring some life into the piece. One piece of her work that I really enjoy is entitled “I want you to feel the way I do.” This sculpture, while seemingly relatively simple, is associated with a lot of strong feelings of the artist, and through her work she is attempting to impress them upon you, the viewer.
As you approach the piece, a motion detector senses your movement and activates the power to the projector and the nichrome wire that encircles the wire mesh frame. The projector shows a message on the wall that helps convey the feelings of the artist while the nichrome wire surrounding the wire mesh heats up like a toaster, giving off a wave of heated air towards the viewer. If this doesn’t draw your attention to the piece, not much else will, and it serves it’s dual purpose quite well. Another mentor, Rockne Krebs, who was born in 1938, has used different gas lasers to produce another much admired piece, called: “Day Passage.” This work uses several red helium/neon and blue/green argon lasers and mirrors which the many beams are bounced off of and reflected from the mirrors to create a large constantly changing light show in a L-shaped corridor. While this artist had the assistance of the corporation Hewlett-Packard for this project, this work was done in 1971, before I was born, but technology has advanced so significantly since then that I could put together a low cost similar light sculpture without any additional help. In fact, I have already designed an interactive light sculpture whereby the spectator may alter the laser light forms through the manipulation of controls on a panel.
Next, another artist with a similar style to mine is Sebastian, a Mexican born in 1947. Like myself he is interested in the production of transformable sculptures that the viewer can manipulate to change configurations within the piece. Now that I really look, I see that there are many possible mentors, and that I can be quite choosy. But I might as well detail the styles and works of some other artists whom I find encompass at least one aspect of my personal style. Robert Irwin was born in 1928, and enjoys using light and shadow forms in his work.
In 1968, he created an untitled piece that effectively hides a plexiglass disk within the shadow patterns of light and colour that are projected on the wall through the use of four lights to provide illumination from behind the disk. Len Lye was born in 1901, and thus is either quite old, or has passed away since the book that I consulted was published. He was interested in exploring movement through art, and created several pieces that either moved through the turning of cranks by spectators or by electrically driven motors. At the age of 64, he created a kinetic sculpture with stainless steel wire mounted in a wood base. The base rested on a motor, and rocked gently back and forth creating the effect of grass blowing in the breeze.
Thus, the composition is entitled: “Grass.” These artists combined, make use of sculpture that uses sound, light and movement to go a new direction in art. This could be described, together, as Kinetic Intermedia, and so I believe I have at last found my niche in the art world. Here are some random ideas for projects: 1. An interactive laser system, whereby users may control various beams of light through the manipulation of motors and mirrors, to create their own personalized light art form. 2.
A light box with many different openings and cut-outs, allowing projection …