project 1 research - colour inspiration and initial installation

Yves Klein Blue Monochrome 1961

"Yves le monochrome," as Klein called himself, saw the monochrome painting as an "open window to freedom, as the possibility of being immersed in the immeasurable existence of color."

It is interesting that even though the Blue reflects Kleins utopian vision of the world that he also saw the idea that just viewing a colour can represent a whole concept. Also in viewing the colour you are immersed into the idea of what it represents and is a 'window' into this idea. It not only visualises the concept but allows others to be immersed into it as well.

Yves Klein Blue Monochrome 1961

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Conversation Dome, Jessica Frelinghuysen, 2015

Harrison showed me this picture from pinterest today. I think it was good inspiration for a feasible way to make someones own space without dedicating a room to my work. 

By just surrounding the head so your immediate viewpoint is cut off then it would create a more reasonable piece that I could create in the time we have and still have a successful effect.

Conversation Dome, Jessica Frelinghuysen, 2015

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Piero Manzoni Achrome 1958

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Rachel Whiteread Study (Blue) for ‘Floor’ 1992

I came across Whiteheads work as it showed a way to portray white space as she filled in the 'white space of object' creating sculptures of it. Even though this was a different perception of white space I got looking at her other work which included these drawings. 

I found it interesting that these drawings are an accompaniment to er sculptures. They aren't a plan or a sketch of what it would be but a drawing in its own right that would accompany sculpture. 

I found it quite interesting and something that I could note that I can create work that accompanies something I have made and be a piece of work in its own right. For example the documentation of an interaction or a book describing or telling the story of how I feel about white space. It doesn't even have to be a book but something that also describes my reasoning. In a way my body of work will all be accompanying pieces to one another describing and trying to show others about how i want to explore white space.

Rachel Whiteread Study (Blue) for ‘Floor’ 1992

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'Ledger' , Robert Ryman, 1982

one example of an artist who has chosen white as a colour of nothingness. Ryan describes white as an unemotional colour. This is the basis of my interest of white space and the primary research that interested me to using white space to connote nothingness. As white is unemotional it allows things to be viewed as just how they are with no emotional implications. 

I would like this to be the basis of all of my projects- white being just as it is and showing just what something is. It may be joined with another theory but generally this is the overarching theme to my body of work.

'Ledger' , Robert Ryman, 1982

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At the Edge of the World II by Anish Kapoor

I thought of this installation when thinking how to make my own installation - creating a space to 'just be', with white  material as white connotes nothingness. Kapoors installation has an interesting effect as from the side you can tell that there is a dome within the piece. However when you go beneath the piece you can't tell there is a dome at all. This is because the material used is matt and didn't reflect any light.

I think this could be a good inspiration for the material I should use for my own installation as I don't want you to have any distraction but just focus on being. Having something that you are unable to tell the depth of and that you can really focus on just being - there will be no distraction. This could be especially useful as the installation will go over your head and be relatively close to you and this idea may help you almost forget about that it is so close and create an almost surreal illusion of just white all around you, not knowing how far or close it is to you but not needing to you can just lose yourself in the white space as if it were a fog surrounding you or no surroundings at all - nothingness. 

 

Also the way that it is mounted from the ceiling so that people can walk under it is a useful tip as people could walk under and into my piece. This means that the interaction is not being distracted by something that may be supporting it to stand up and this support won't be mislead as part of the object or interaction.

At the Edge of the World II by Anish Kapoor

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At the Edge of the World II by Anish Kapoor

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Liu Jianhua Blank Paper 2012

This work relates to my idea in a few ways and I have picked up some ideology I agree with and would like to experiment with with my own project. 

Firstly this piece like others I have researched has the core basis is, even though you may think it is jus a trick to look like paper it actually just 'resolutely declare their status as objects made of porcelain' - these objects are just objects made of porcelain not a trick. It concentrates on the materials of what it is made out of and just letting that be what the art is - viewing the porcelain objects just as they are. "an art object – in its own right."

 

Jianhua also talks about how there is an interactive element between "existence and non-existence" pointing to the "Buddhist concepts of emptiness and non-existence". 

Tate perfectly writes that "Blank Paper uses a simple object to give visual shape to this fundamental idea of a simultaneous awareness of existence and non-existence". 

This statement almost sums up the theory behind my work as well as how I would like to approach my work. To be able to communicate through immersive or interactive art that uses an object that is tangible or intangible (existing or not) to communicate how I view white space and what experience I want to create.

Liu Jianhua Blank Paper 2012

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The chapel - Rothko

The chapel including Rothko paintings is a place for all people to come and reflect. This is definitely a great piece of inspiration. It is almost like an installation of somewhere that people can just come to and be. This is very similar to what I am trying to create - a place for people to go and not feel a certain way but to just be there and be clear of everything- bombarding views. 

In the chapel there is a very clear use of colour with the Rothko Paintings. This, I am assuming, is supposed to neutral and suggest reflection. I can adopt this use of colour to fit a certain surrounding to my own concept of creating a space to just be and using white as an unemotional colour. 

The Chapel - Rothko

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