Loss of FamiliarityMedium : Mixed Media
Completion Date : May 2021 This installation encourages viewers to question existence. How things can easily become brittle and disfigure them self in front of the human eye. Gordon Matta-Clark is the inspiration behind the destroyed building, as he uses anarchitecture to tell a story of displacement. Whilst Christo and Jeanne-Claude were behind the clothed monument, a significant style to their works as they depict obscurity and how common knowledge can shape the figure back to life.
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Artist Inspiration
Gordon Matta-Clark was born in New york, in 1943 to two artists. As he grew up he loved to paint and draw, which then led him to architectural college. He eventually turned away from the concept of perfection, where measurements are meant to be set and polished. Instead he created anarchitecture with fellow art members of the community. The movement allowed sculptors to dismantle an already made building and mold it to their liking. These buildings were often times ones that were set to be demolished soon, so most of his works were temporary. Clark liked to cute circles into the framework of the building in order to let viewers see in the inside of the house. Other times he would shift the areas he cut out and put them in peculiar places in the building or shifted in an odd way.
Gordon was most famous for reconfiguring everyday life and making people question his art's purpose. Before his passing at age 35, his artworks were featured in various museums. From ones in Chile, to Germany. It had influenced many people and his artworks remain stable and the same as of today. |
Christo and Jeanne-Claude are an artistic duo. Christo was born in Bulgaria, in 1935 and Jeanne in Morocco, in 1935 as well. The pair met in Paris as Christo was working as a portrait artist. Originally it was thought that Jeanne was only her husband's manager, rather than his equal to art making. It wasn't until their artworks became more notable that they began to get the credit they deserved. Their works feature fabrics strewn atop peculiar objects one wouldn't see in everyday life. To trees and monuments to oceans and buildings. The fabrics were recyclable and were assured it would be easy to take off if it were to harm the environment in any way.
After Jeanne's death in 2009, Christo carried out their project "Big Air Project" which wasn't completed until 2013. It was an inflated dome that extended in 90 meters in height. When it was exhibited, multitudes of people were able to fit inside and see what an air envelope looks like without a skeleton. It was impressive enough as there was nothing keeping it up except air and two powered fans. |
Planning
Starting off this project I sketched different ideas into two general topics. These were both architecture and abstract. Having these genres allowed me to comprehend how fluid figures attest to strict measured buildings. Each image was either from past recollections whilst others were from general artists. Looking back into the pieces, I decided to choose ones that I was interested in. In the end, I chose the destroyed building, tunnel sticks and clothed fountain.
With my options broadened I decided to only make two figures. Having three would make the focus point uneven and it would be harder to concentrate on one thing. The details would be lack luster as one installation would compete with the other for the viewers eyes. Having two allows people to spot the differences and compare and contrast them to the general them. It also depicts two familiar objects that people see in everyday life, only in a different format. This will make them question the projects importance and how it connects to real life. |
Deciding on the materials that would be used was the next step. Cardboard and paper were the obvious choices, yet I didn't know how to conduct the inside of the destroyed building. It was between the thin wooden slabs or paper, in the end the wooden slabs won. With these in mind, I sketched the placement of the site installation and its foreground. Grass would be on the ground with the monument in the middle and the destroyed building towards the back left. |
Experimentation and Process
Before I created the the main figures of the installation piece, I made the foreground. This consisted of a cardboard the size of 12 6/8 in x 17 6/8 in. From there I marked the middle point and the lines that go both horizontal and vertical. This helped establish the area in which the monument would go, the surrounding dirt areas and the position of the destroyed building. The pathway to the monument measured to 1 in, whilst the area around was 6/8 in. However, the actual base of the monument was 3 in x 3 in. Moving onto the destroyed building, it was placed to the left back area so it wasn't too close to the monument. The measurements for its base was 3 1/2 in x 3 in. |
After the measurements were done for the bases, it was time to create the rest of the figures and add grass. The height for the destroyed building was 2 1/2 in. However, the monuments base was 1/2 an inch as it needed to progressively build up. Adding a pole that was 2 in tall furthered the height. In addition to the actual platform and figure, the total height came out to be 4 1/2 in. The grass was cut in 2 in width with 12 in in length. Folding it twice allowed me to cut the negative spaces so it branched out and allowed for two strips of grass which covered the area well. |
Continuing the streak with the grass allowed the area to be covered so it didn't seem too 2-dimensional. I left the areas uncovered where the figures would go, as well as the walk and pathway to the monument. After, I put together the figures and balled up tape for the figure atop the monument. For the building, I cut out a spot for a cracked window, a door and random areas to show destruction. I then put all the walls together, except one of the 3 1/2 in to set 2 pieces of wood inside. They were slightly broken to match the disfigurement of the building. |
Instilling the last wall to the building was the last step to the architectural aspect. From there, I ripped a piece from a garbage bag in order to wrap around the monument. It needed to be tight so the figure can still be prominent. This was successful due to the tight wrapping of the plastic and a yellow string. I wrapped the string around core areas and tied it along the bottom so the effect was still viable. Finally, I glued the figures to the board as the end result.
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Reflection
This project was a lot more interesting and fun than I had imagined. Although it was time consuming with the little grasses I had made. Next time I would like to space them out so it takes up less paper and so that way it can be staggered, which in turn would give a more natural look. I found that the current grass lacked a realistic tone, but still held up to its association. This was the same to both of the figures. The destroyed building didn't hold a structured feel to it. Holes were plastered randomly about and next time I would be more strategic in how different sizes and areas can affect the presentation. In addition, I would add more detail to both the inside and outside, specifically with more windows. As for the monument, I would make the piece atop more detailed and have it go straight instead of it leaning like it does.
I am content with the work I have produced. Pulling inspiration from both Gordon Matta-Clark and Christo and Jeanne-Claude was justified with the final result. Each style from both of their works were found within my project. Despite the holes being random within the destroyed building, it gave it a scrappy look. This enhanced the theme of loss of familiarity. It's also very intriguing how wasn't entirely affected by the negative space.
I am content with the work I have produced. Pulling inspiration from both Gordon Matta-Clark and Christo and Jeanne-Claude was justified with the final result. Each style from both of their works were found within my project. Despite the holes being random within the destroyed building, it gave it a scrappy look. This enhanced the theme of loss of familiarity. It's also very intriguing how wasn't entirely affected by the negative space.
Compare and Contrast
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SimilaritiesStyle -
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ACT Responses
1. Clearly explain and describe how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
Gordon's works featured completed buildings that were destroyed strategically by his hands. I followed the same concept and as a result my building was covered in negative space. Christo and Jeanne also influenced my work as they used a cloth to cover miscellaneous buildings or objects. The result was a plastic covering a monument. Each artists influenced my work and it's specifically shown in the site installations.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
Both artists have a positive view on my topic as they concur. Loss of familiarity is a common term and can be applicable to multitudes of circumstances. For the Claudes it's their hidden objects within a blanket of obscurity. As it is the loss of a sense of stability and sanity within Gordon's works.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
Whilst researching for my inspiration I have come upon the conclusion that site installation can be a range of things. It doesn't have to be architectural, it can easily be a geometrical or fluid object that is pictured in ones mind, brought to reality. Measurements don't have to be precise as long as a sketched plan is set and ready.
4. What was the central idea or theme around your inspirational research?
The central theme around my research was obscurity and anything that was falling apart. Things that once held meaning but are now morphed into the unknown or lesser.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
I have come upon the conclusion that people are not accepting of new artwork when it is introduced to society. They are judgmental and will take months to years in order to process change in the art industry. This is specially seen in both artists, as Gordon had backlash for deconstructing buildings, despite them being scheduled to be destroyed soon. The same for the Claudes as they were "wasting" cloth, even though the materials they draped over buildings and objects were easily recyclable.
Gordon's works featured completed buildings that were destroyed strategically by his hands. I followed the same concept and as a result my building was covered in negative space. Christo and Jeanne also influenced my work as they used a cloth to cover miscellaneous buildings or objects. The result was a plastic covering a monument. Each artists influenced my work and it's specifically shown in the site installations.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
Both artists have a positive view on my topic as they concur. Loss of familiarity is a common term and can be applicable to multitudes of circumstances. For the Claudes it's their hidden objects within a blanket of obscurity. As it is the loss of a sense of stability and sanity within Gordon's works.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
Whilst researching for my inspiration I have come upon the conclusion that site installation can be a range of things. It doesn't have to be architectural, it can easily be a geometrical or fluid object that is pictured in ones mind, brought to reality. Measurements don't have to be precise as long as a sketched plan is set and ready.
4. What was the central idea or theme around your inspirational research?
The central theme around my research was obscurity and anything that was falling apart. Things that once held meaning but are now morphed into the unknown or lesser.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
I have come upon the conclusion that people are not accepting of new artwork when it is introduced to society. They are judgmental and will take months to years in order to process change in the art industry. This is specially seen in both artists, as Gordon had backlash for deconstructing buildings, despite them being scheduled to be destroyed soon. The same for the Claudes as they were "wasting" cloth, even though the materials they draped over buildings and objects were easily recyclable.
Bibliography
The Guggenheim museums and foundation. (n.d.). Retrieved May 10, 2021, from https://www.guggenheim.org/artwork/artist/gordon-matta-clark
Davidzwirner. (n.d.). Gordon Matta-Clark - ARTWORKS & BIOGRAPHY. Retrieved May 10, 2021, from https://www.davidzwirner.com/artists/gordon-matta-clark
Christo and Jeanne. (n.d.). Retrieved May 10, 2021, from https://christojeanneclaude.net/artworks/realized-projects/
Christo and jeanne-claude. (n.d.). Retrieved May 10, 2021, from https://www.britannica.com/topic/Christo-and-Jeanne-Claude
Davidzwirner. (n.d.). Gordon Matta-Clark - ARTWORKS & BIOGRAPHY. Retrieved May 10, 2021, from https://www.davidzwirner.com/artists/gordon-matta-clark
Christo and Jeanne. (n.d.). Retrieved May 10, 2021, from https://christojeanneclaude.net/artworks/realized-projects/
Christo and jeanne-claude. (n.d.). Retrieved May 10, 2021, from https://www.britannica.com/topic/Christo-and-Jeanne-Claude