Art Theory
Art Theory
Question:
How do I portray the emotional healing process of childhood trauma through the visual evisceration of organic forms? - in painting murals etc...
how to show my point of view in the depiction of the emotional healing process through the visual eviseration of organic forms in painted murals?
how does stepping inside the installation to portray ... to represent emotional trauma - how does it bring the viewer into mys shoes
make the artists trauma into the viewers trauma.
empathy - how does inviting the viewer to physically step into the installation encourage the development of empathy for the artist emotional trauma or healing process
how to show stages from verseral body parts and leading them into a re-birth.
Evisceration - To either disembowel or the re-movement of bodily parts - relation to the spillage of the organic forms I am creating with the molding and morphing of the different body parts of my work.
Visceral - relating to deep inward feelings rather than to the intellect. - Relation towards the feelings due to the traumatic stress from my own background and how, why, what and where it affects and affects my art and my practice.
Organic forms - Organic shapes are associated with things from the natural world, like plants and animals. - This in art terms is relating to my bodily forms, with the use of Ribs, Skin, and bones within the morphing and molding of the bodies.
(Childhood ) Trauma: - Childhood trauma can occur when a child witnesses or experiences overwhelming negative experiences in childhood. Many childhood experiences can overwhelm a child. This can happen in relationships e.g. abuse, neglect, violence. This is called interpersonal trauma. Children can also experience traumatic events. - Relating to the emotional side of my works. To help produce my work from a negative outcome to a positive.
going inside the body - reception
reception - how does people get it - dictate how they view it. they need to walk through
forcing the viewer to interact with the art and to make decision - uses nudity and confronts people - doesn't feel gross.
Relates to my project by making the audience uncomfortable and making them look at the works. Along with the rawness of the bodies and the UN-comfortableness of birth and how realistic the bodies are...
Walking through the galleries by naked bodies relates to my work with the installation side of it all. As with my work they have to view it by going inside the work - to represent the insides of the body, to either feel gross or hopefully to feel the emotions of the trauma from the artist.
-decision on size - how the viewer gets in to the installation - single person
A new identity is created through the merging of three subjects which depicts the relationship between the artist and model/s. Focusing on nude portraits of the human body and the study of the human flesh Emma Hopkins (1989, Brighton). Creates significant portraits with themes of anatomy and the idea to discover the hidden relationships of the body, inner self, emotions and mind. (Hopkins, n.d.) She states, ‘I want to understand as much as I can about what it means to be human,’ - ‘We are not just the clothed person we present to the world. We are the mind and body that we inhabit. There are aspects that connect us all and we are also unique individuals. I moved into painting portraits because it is a celebration of this.’ (Hopkins, n.d.)
– This relates to my own artwork as My work has evolved into a vulnerable body and manifestation of the bodily pieces merging together to create a new construct and identity. With the series I have created called “The Triage.” I have focused on the folding and molding and creases of the skin. The skin then peeling off to expose the bones and the blood vessels behind it. The skin is one of the main focuses as it covers us as one and protects us as one identity. Connecting Hopkins previous quote to my own works, the three of us are individual people but are melded into one. I have created this “Bond” and associated new identity with the combination of our minds and bodies.
Question:
How do I portray the emotional healing process of childhood trauma through the visual evisceration of organic forms? - in painting murals etc...
how to show my point of view in the depiction of the emotional healing process through the visual eviseration of organic forms in painted murals?
how does stepping inside the installation to portray ... to represent emotional trauma - how does it bring the viewer into mys shoes
make the artists trauma into the viewers trauma.
empathy - how does inviting the viewer to physically step into the installation encourage the development of empathy for the artist emotional trauma or healing process
how to show stages from verseral body parts and leading them into a re-birth.
KEY TERMS-
Evisceration - To either disembowel or the re-movement of bodily parts - relation to the spillage of the organic forms I am creating with the molding and morphing of the different body parts of my work.
Visceral - relating to deep inward feelings rather than to the intellect. - Relation towards the feelings due to the traumatic stress from my own background and how, why, what and where it affects and affects my art and my practice.
Organic forms - Organic shapes are associated with things from the natural world, like plants and animals. - This in art terms is relating to my bodily forms, with the use of Ribs, Skin, and bones within the morphing and molding of the bodies.
(Childhood ) Trauma: - Childhood trauma can occur when a child witnesses or experiences overwhelming negative experiences in childhood. Many childhood experiences can overwhelm a child. This can happen in relationships e.g. abuse, neglect, violence. This is called interpersonal trauma. Children can also experience traumatic events. - Relating to the emotional side of my works. To help produce my work from a negative outcome to a positive.
going inside the body - reception
Issue of Authorship:
- myself, personal identity and point of view as an artist why is it the story I want to tell.
- The authorship of my own family and historical background... The abandonment of my real mother and having to create my own family and new identity from the past traumas of abandonment
- “psychic automatism in its pure state, by which one proposes to express the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.” Andre Breton quoted from his first manifesto of surrealism
forcing the viewer to interact with the art and to make decision - uses nudity and confronts people - doesn't feel gross.
- how it's received along with how the viewer is interaction or viewing it
- If the audience can see the relationship and the connection between our friendship or the "bond" between each other.
Ron Mueck (Auzzie artist)- Hyper realistic sculptor
How the size makes the viewer very uncomfortable and having to look at it. - relating to the size of my works
Russian performing artist - Marina Abramović
■The Royal Academy of the Arts UK will be putting on a retrospective of Abramovic’s work in 2020
■Works include Imponderabilia, first performed in 1977 in Uruguay with Abramovic and her then partner
■Participants squeeze between a naked man and a naked woman to move from one gallery to another - They have the choice of going around or deciding which person to face the female or the male. She uses the body as a representation of pushing it to it's limits.
-decision on size - how the viewer gets in to the installation - single person
enough room for 3 people.
Triangular form - How artist 's above relates
- 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.
Emma Hopkins - surrealist and Hyper realist painter.
A new identity is created through the merging of three subjects which depicts the relationship between the artist and model/s. Focusing on nude portraits of the human body and the study of the human flesh Emma Hopkins (1989, Brighton). Creates significant portraits with themes of anatomy and the idea to discover the hidden relationships of the body, inner self, emotions and mind.– This relates to my own artwork as My work has evolved into a vulnerable body and manifestation of the bodily pieces merging together to create a new construct and identity. With the series I have created called “The Triage.” I have focused on the folding and molding and creases of the skin. The skin then peeling off to expose the bones and the blood vessels behind it. The skin is one of the main focuses as it covers us as one and protects us as one identity. Connecting Hopkins previous quote to my own works, the three of us are individual people but are melded into one. I have created this “Bond” and associated new identity with the combination of our minds and bodies.
- Ehren Tool - sculptor
An article from "The New York Times Magazines" written by By C. J. Chivers suggest that "Ehren Tool wants his visually brutal stoneware cups to start conversations about the grief and suffering of armed conflict. But his work can’t be bought." (https://www.nytimes.com/2019/05/01/magazine/ehren-tool-
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 put his emotion and feeling of his traumatic stress and opinions into his art.
- Putting his feeling and emotions into his works reflects my own work because a lot of my own influences are from my own traumatic stresses and backgrounds. To push my opinion and subject matter through. Giving me an emotional identity and making my own new identity with my own background.
key theoretical text:
Empathic Vision: Affect, Trauma, and Contemporary Art (Jill Bennett Stanford University Press, 2005 - Art - 188 pages) below...
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 artists who deal with past traumas through the use of art. Relating to topics of the memory of Trauma 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.
Comments
Post a Comment