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BVA313, Art Theory

BVA313, Art Theory

 Question Developing:

How to conceive the idea of viewership of the relationship between two different people. To portray the idea of perceived surrealism?

How to perceive to an audience the link of a relationship between a subject form and a maker-ship form?

 * am re-writing these questions as my work has evolved along with my question with the work.

 from my previous blog I wrote keywords that could help me further my questioning below...

Identity.
  • metamorphosis  - in art terms a visual metamorphosis is a term of the indication of shape shifting in art. Allowing the artist to transform a shape to another shape representing something else such as... a tree merging into a woman. that's a visual representation of a metamorphosis. (http://www.everypainterpaintshimself.com/theme/visual_metamorphosis)
  • three people becoming 1
  • creating own family - The abandonment of my own family lead me to make a new family for myself. and creating a "sense of identity from who surrounds me".

  • family name - How the family name is so important that loss of family name can be lead into abandonment issues. Or how in olden days era the family name is your form of "identity" what clan or group you are born into. Along with carrying the "family name" having pride in this family name. and it becomes a "national identity".

Triangular form


  • connection of trauma between mother abandonment unite the triangle form of a friendship - The friendship is made up of three. Myself, Ema and Sam. creating a 'Triage" of friendship
  • form of a triangle - I have formed a triangle piece with my work merging the three "Identities" together to create own ultimate "identity". To create three people becoming 1.
  • Naming my piece "The Triage". - in medical terms the definition of Triage means "the sorting and allocation of treatment to patients and especially battle and disaster victims according to system of priorities designed to maximize the number of survivors." https://www.merriam-webster.com/dictionary/triage. So basically sorting the patients according to the urgency or emergency of care. So in terms of my own works I can create this assortment of issues, emotions and feelings from urgent to not so urgent. Say painting when I'm angry has more urgency to paint and to get out the anger and ideas more than the dormant urge to look at the blank canvas. To create this "Triangular Form" or a pyramid of emotions and feelings. To create the skeletal forms to make the foundation of the body. Where the bones of the friendship are strong. Creating this new "Identity " of emotion's and feelings.

 From what I get from these key words I could have the questioning like...

 How do I to create A new family from the birth of a new identity? Can the connection of past background trauma effect the development of this new identity?
The connection of three female friendships can create the bones of a family or a sister-hood to form a new identity? 

 Can the identity of three people make one to form the bones of a new identity? 
*These were the other keywords that I formed from the development of my works below...

Techniques used for the making of art.

  • techniques performance aspect to the making of the art
  • examining as the artist to perform the painting - the script of the creation relating to the body that am painting and the body doing the creating 
  • finger becomes a brush - Using finger painting to gain a connection and becoming the artwork.
  • art theorist that talks about emotion and trauma and using the body - (from previous blog) Ehren tool - ceramics potter artist.


Ehren Tool is a ceramics potter artist whose heavily influenced by his own services in the Marine Corps. Then leading into the real world of civilization he didn't know what he wanted to do and what the world is without the Marine Corps.


 Talks about the horrors of war that he has seen. 
  • He then took classes in pottery and ceramics and his influence and memory from the Marine Corps came into contact with his art. His subject ct and themes are politically based and puts his emotion and feeling of his traumatic stress and opinions into his art. 










  • literature texts that relates to my work in a different way. - 

    Empathic Vision: Affect, Trauma, and Contemporary Art (Jill Bennett Stanford University Press, 2005 - Art - 188 pages)

Trauma and contemporary art... I came across this scholar texts by searing on google scholar and found that she talks about her curation of an exhibition only containing works from contemporary artist who deal with past trauma's through the use of art. Relating to topics of the memory of Trauma's in the past. She became aware that the works that was emerging from this were interesting with the emerging ideas that they have come from a traumatic background, along with how identifiable they are with different traumatic situations from child abandonment ,PTSD, Holocaust survivors to even worse situations etc... and how they artist dealt with it through the use of art and unlocking the memory of it. Bennett explains that most of the works relate to fantasy and fictional narratives creating a story from a new identity. Becoming what she calls a "Visual language" from the experiences of the trauma relating to the conflicts of loss and well-being.


wounded warrior project
how is my work a response to the healing process to three becoming one from past traumas
how does the substitution of physical internal organs work as physical trauma
alienation
nationality replaces clan identity. 

beauty of the ugliness -
identify a issue of
production - the making of the work or the creation and involvement of the work
reception - how it's received along with how the viewer is interaction or viewing it
authorship - myself, personal identity and point of view as an artist why is it the story i want to tell

technology

visual translation to make a new language

ultimate vulnerability of the human body
bones stripped back
symbolism
psychological and physical

  • Creative process.

From painting to sculpture. 


  • When does it become a sculpture 

  • Sculptural qualities between drawing and painting

  • How i am making my work and how their making in that way

  • Modern art museum in Minnesota USA - sculpture paintings video art - The body involvement with my work when does the body become a tool of painting and creating the art?
6.The depiction of myself as the painter merged with those portrayed more accurately reflects the idea of a portrait.
Las Meninas, Diego Velázquez (1656) baroque. - (Gresle, 2006

The gaze from the audience - reception - how it's received along with how the viewer is interaction or viewing it

  • This is not just a portrait, it’s a paradoxical portrait. Las Meninas by Diego Velázquez (1656 – Baroque.) (Searle, 1980) created this diverse scene of multiple portraits that invite the audience to be apart of this scene. With this Paradoxical aspect to these “Classical pictorial representation” (Searle, 1980) As J. R. Searle explained in his article, he feels as though its constant watching of the portrait’s creates this paradox feeling that you are being transported into that time. The involvement of the painting is set in the same position as when you investigate the painting. Giving a relationship between the figures of the painting and the audience looking into it, Like a constraint or a glimpse of time (Snyder, 1985).

  • The reason why I react to this painting in relation to my own work’s is that I wanted to create that bond with the audience like Velázquez has in his painting. To help explain to them that it’s not just a painting of a portrait but it’s a reflection of myself and these other people as a portrait and not of the single person. To invite the audience into the scene to create this link and to know the relationship between each other. Perhaps this could not be edited out as there are more relevant arguments in your dissertation that could be further elaborated on.



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