Category: Installation

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Phase of Nothingness

Artist : Nobuo Sekine

Year : 1975

Size : 5 15/16 x 35 7/16 x 35 7/16 inches

Media : Bronze

connection between this artwork and my practice:

Sekine was one of the artists in Gutai group, his works are about the idea of relationship between artist and the materials, He has also worked on relationship of the object in space.

The phase of nothingness was the period of time which he was interested in topology, which is the reason behind the title “phase”. In this artwork the idea started from a suspended stone of Japanese garden, which he decided to suspend. As he couldn’t go against the gravity he decided to use stainless steel to reflect the surroundings and creates the feeling of the stone floating in the air.

The connection with my work is in the way he uses materials which complete each other’s existence. By placing one next to the other the normal meaning of the object changes. Each material is separately usual but by placing them next to one another he creates a new unusual experience. They are in contrast but they complete each other. The newness of the object, relationship of it with the space and how the space can add extra dimensions to the work is interesting for me. Also the type of materials which sit together is important, changing one of them can change all of the experience.

Keywords: choice of materials, reflection of space in the material, importance of materials

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Little Known Series Black FRP

Artist : Nobuo Sekine

Year : 2014

Size : –

Media : –

connection between this artwork and my practice:

 “These works mark a crucial shift in Sekine’s practice — away from a focus on raw materials and malleability toward the surface qualities of solidified forms. Sekine deliberately made it difficult to identify the material used to create these works — at first glance it is not evident whether they are made of stone, glass, metal, or plastic. When installing these works, Sekine considers their placement to be a “topological scene” governed by aesthetic principles similar to those found in Zen rock gardens — namely, asymmetric arrangements of disparate elements that combine to represent a broader landscape of seas, islands, and mountains. ” (Blum & Poe 2019)

The interesting part of this artwork is the way Sekine has moved away from the materiality of material in this artwork deliberately and only focused on form and surface identity. We can still see that the relationship of the object with the space is one of the important elements of the artwork. It is interesting to see how making materiality of the object less important would shift our perception to other elements in the artwork such as contrast between the surface, shapes, aesthetic, connection to zen garden stone, placement or any other border readings .

© 2019 BLUM & POE. ALL RIGHTS RESERVED.

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Right After

Eva Hesse - Right After
Eva Hesse – Right After

Artist : Eva Hesse

Year : 1969

Size : 5 × 18 × 4 ft (152.39 × 548.61 × 121.91 cm)

Media : Fiberglass

connection between this artwork and my practice:

Eva  originally pursued a career in commercial textile design, which is close to me as a commercial ceramist and how she become postmodern artist by exploring the use of the simplest materials to create  biomorphic and geometric forms.

Similarity of Eva Hesse’s works to my projects is the simplicity of the forms and our methods of using materials and objects to draw, paint and sculpt in space but our connection is way deeper than forms. There are personal connections such as “The artist’s struggle between impulses that causes a piece to be started and what actually happens, more freely, once its creation has begun” or “such a pragmatic tearing and reconfiguring freed Hesse from making decisions about the forms in advance”

she shows use of hand

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Installations, Gosia Wlodarczak

Artist : Gosia Wlodarczak

Year : 2012

Size : –

Media : Frost Drawing

connection between this artwork and my practice: 
Wlodarczak says: ” am fascinated by one’s awareness of the moment and the mind’s relationship with the outside world conducted through the senses”
She is one the artists whom I admire. She creates the personal connection to her and her body in the installation in simple forms. One of her best works is the one she draws on glasses. I think connection between drawing lines and glass creates a unique relationship between temporarily of the materials and the ‘moment’.

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Untitled,

Artist : Robert Morris

Year : 1967–8, remade 2008

Size : –

Media : –

connection between this artwork and my practice: 

Morris’ artworks follow an entirely different aesthetic, “Anti-form”. What makes me interested in his works is his idea of making process, minimal forms, and his choice of materials such as fabric, steel, fibreglass and plywood.

I believe he was one of the artist who was aware of his emotions and how to transfer them in a logical way. Relationship between form (Anti-form) and space in this artwork is one of the most important element for me.

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Vertiginous Detour

Eva Hesse - Vertiginous Detour
Eva Hesse – Vertiginous Detour

Artist : Eva Hesse

Year : 1966

Size : ball 16 1/2 in. (41.9 cm) diameter; rope: approx. 154 in. (391 cm) long

Media : Acrylic and polyurethane on papier-mâché, rope, and net

connection between this artwork and my practice: Hesse was interested in the process of making, the importance of hand making, creating inner and outer spaces in her work, her perception of the negative spaces and other elements and their beauties. “If you use fiberglass clear and thin, light does beautiful things to it …it is there__ part of its anatomy” adds extra similarity to my projects in addition to our similarities in use of biomorphic and geometric abstraction or transferring line in space.

I am interested in her work and specially this sculpture because of geometric aesthetic and Balance, hanging from the ceiling, organic form and being a minimal installation. Shadow and light and the way she created the sculpture by letting the weight of the ball shape the net art are other important elements.

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Terracotta Circle

Artist : Gilberto Zorio

Year : 1969

Size : –

Media : Mixed media

connection between this artwork and my practice: 

Zorio is an Italian artist associated with Arte Povera movement, which was contemporary with the Gutai group in Japan.

He is known for his use of materials and I am interested in this artwork because he places the clay next to other materials, the Diameter of terracotta is based on the artist’s arm-span and the circle was moulded as he moved around at floor level. Which relates to my interest of relationship between body movement and the form.

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Grand Boules

Sheila Hicks - Grand Boules
Sheila Hicks – Grand Boules

Artist :  Sheila Hicks

Year : 2009

Size : 

Media : textile

connection between this artwork and my practice:

Sheila Hicks is one of the most recent artists I have found and I believe she and her work will help me a lot in most of my works. Hicks’ media is textile and she has all sort of work from commercial objets to massive installations.

She paints and sculpts in space. Connection between her, site-specific installations and space, wall hanging objects, transforming a space through colour-soaked and large-scale sculpture  are all fascinating.

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Sculpture as Place

Carl Andre - Sculpture as Place
Carl Andre – Sculpture as Place

Artist : Carl Andre

Year : 1958–2010

Size : 

Media : Installation

connection between this artwork and my practice:

Carl Andre uses the same sculpture forms such as cubes in different versions of installation. Repetition of simple geometric form in large scale and they way they interact the them creates ascetic pleasure. His semi-industrial, physical structures took all my attention to this artwork.

his minimal artwork and connection of each sculpture form with the space and repetition of the objects are what connects my projects to his work.

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