Project Content Analysis

New art 1:

Symbolic references:

Black and white chequer leading to red/ danger. The concept of Yin Yang ignored.  Reference to their being danger in familiar territory.

Hints of silver, gold and sunflowers as jewels amongst the danger.

Contrast of the colourful and pallid.

Offset and the irregular.

Work based on cities. Taking what may be familiar into unfamiliarity. The offering of a fresh, revitalised perception.

Roots and maps, from knowledge into the unknowing. Spiritual reference to the cleansing of perception.

Beauty in error.

Both direct yet abstract: puzzles, mystery’s to be solved as in life. Opportunity for the viewer to have a new level of interaction with the work. To learn something about themselves possibly in the process.

Solving problems: Design.

Direct reference:

Taking things out of context.

The asymmetrical balance in harmony with the symmetrical.

There is a deliberate abandon for want of perfection in this work. The allowance for total experimentation and the results becoming the very essence of the work. In contrast to this there is also well crafted work. This speaks of mans stupidity in the rejection of the imperfect- a concept that will run throughout the passage of my study. I am keen to portray social issues within my work.

As with designers such as Dieter Rams and company’s such as Sony believing they could ‘clean up the world’ with well ordered and honest design.

“Clear honest design to help the democracy- to build a new society” Rams quotes. I oppose yet do not reject such theory, simply adding chaos to the theory. A careful balance of order and chaos I believe is what makes up the world, the utopian ideal.

Indeed, recently, and be it the zeitgeist I don’t know? Design Museum ran a project focusing of ‘the pursuit of imperfection’, with the aim to herald the hand crafted in a heavily manufactured world of design. Their project appeared skin deep and although I did write to them to attain further in-depth knowledge on this project, to date I have not had any reply that suggests otherwise. Could it have been aimed at an all too perfect design world, a world that serves to alienate that which is natural?

Further direct reference includes obvious control within this work. Balanced with subconscious artistic expression in line and pattern form. The work was intended to be as spontaneous as possible both in its design and conception as well as its artistic direction. Due to the balance of the spontaneous and contrived I believe this is both a work of art as well as design. It certainly is the work of form follows fate.

The new mixed with the old and the ignored with the popular. Equality in material, and in context.

As with designers such as Philippe Starck or say the Memphis movement, an anything goes attitude is present yet it offers rationality in absurdity and visa versa.

NEWART 2:

Partner work to newart1, this work is still very much under construction and follows the very essence of what makes up newart1. Taking the every day out of context.

NEWART3: ‘USELESS’

One mans rubbish another mans treasure. Emphasis on the philosophy of Yin Yang. Polar apposite should attract . The spiritual path, making good and better of what we have and have been given which includes the inclusion of all that is wasted. Ecology.

Again this work is under construction. It has taken on the form of a more sculptural design work. Theories lap over from newart 1 & 2 yet with additions: Found objects, recycled, salvaged goods that are damaged, require renovation and are other wise ‘useless to society’. Objects otherwise useless made good and beyond. demonstration of renovation skills, new and old technology and re-introducing old craft values.. dovetailing, wood jointing. Laser, cad cutting technology..

NEWART4:

nearing finalising of the spectrum

Direct references:

Nature; nothing repeating itself, appearing the same yet not. The natural beauty of nature, mankind, reality.

Colourful and the pallid.

Order and chaos.

As with previous art works in my repertoire a concentration on opposing the automatic response in ones creative endeavour. Taking opposite routes to those which are consciously arrived at and visa versa. Opposing intention.

Continuation of conscious and subconscious creative endeavour.

Balance.

Aesthetic and anti aesthetic.

Symbolic reference:

Art that is designed to speak of nothing that we can readily relate, thus hopefully allowing a free flow of inspiration for the viewer. Neutral neuro linguistic programming if you like. Art Nouveau for the 21st century?

Art that is never the same twice, a recurring theme in my work, reflecting nature and to me, the truth in beauty. Beauty in the regular and irregular.

Colour sequence displaying the potential of the infinite. Reflecting the magic of life. Contrast to the pallid upper half/ higher states. Do we as humans aim for such states in our daily life’s practice?

There is a colour missing from the spectrum. Replaced by greys. Life not fulfilled.

Ask yourself, how balanced does this image appear to you?

This image has a missing part as yet to complete design in its entirety by which time it will be on exhibition and open to discussion and free interpretation… Unless you read this blog, which will now decode half the work for you which goes against why I create this work though I must satisfy requests to inform my Masters study.

It may appear as art yet is also design in my eyes. As yet, I cannot fully place this work within historical context. That was not the intention behind the design at all. I offer this statement below by Marcel Duchamp.

“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. – Marcel Duchamp”[7]

7: Marcel Duchamp, from Session on the Creative Act, Convention of the American Federation of Arts, Houston, Texas, April 1957.

I also offer these quotes for consideration.

“Design is that area of human experience, skill and knowledge which is concerned with man’s ability to mould his environment to suit his material and spiritual needs.” 1

Design is essentially a rational, logical, sequential process intended to solve problems or, as Jones put it:

“initiate change in man-made things” 2

References:

1. Archer, B (1973) “The Need for Design Education.” Royal College of Art
2. Jones, J.C. (1970) “Design Methods and Technology: Seeds of Human Futures”

NEWART 5: Sculptural furniture

This work is mid way under construction.

This piece derives from an artwork- demonstrating a universality in design approach. This speaks of a certain non-discriminative nature within my work and is a common thread spanning years of previous work.

 

Art techniques to be applied via print making and acid etching jewellery techniques. Again traversing media and medium.

Upholstery techniques will be applied. Cabinet making skills. Laser cut laminates will also be applied, mixing everyday materials with the high end taking materials and techniques out of usual contexts and re introducing them to a new audience so as to inspire interest in historical crafts and new technology alike.

Again, as with the nature element of my work, this piece will appear irregular yet will function with proportions in built.

One-off objects that are art, furniture, sculpture all in one.

As part of my furniture range I have been working on designs that combine gaming with every day utilitarian uses. Interactive, multi functional works of art.

Historically this work can placed along side the likes of ‘Ontwerp Duo’ who create quirky furniture utilizing craftsmanship and modern technology. They do also produce game like furniture though not functionally so to my mind. This is a reference I found latterly to conceiving of the gaming furniture idea. As always, my aim is to be as original as possible, always taking inspiration from within.

Future themes will include polar opposite materials. Contrasting and deliberately discriminative. Dish cloth any one?..

I wonder to call the range of designs ‘For better or for worse’.

I am simply aiming to create what I believe is good design. Socially conscious with moral obligation.

References the likes of Joe Columbo, Verner Panton with his disposable ‘no strings’ attitude to designs for life.

Ettore Sohsass- personality in furniture.

Mark Newsom, the man who sells ‘sculptural’ furniture for hundreds of thousands of pounds. Mixing art forms that clearly do not sit together! ??

The Memphis movement where anything goes as long as it is not rational or even long lasting is a great historical reference to my concept of designing furniture that is broken, or decomposes, or even that you can eat and enjoy with the kids etc..

There is a link with William Morris who championed the hand crafted yet did not dismiss new technology. The striving for beautiful organic designs that put the people at power not the machine.

Ecologically sound furniture, recycled, recyclable, kind to its user, non-permanent, fun etc. Design that doesn’t cost the earth.

Objects that are as free from definition as possible, that speak of a certain freedom and choice human beings have the birth rights to.

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About generalmagnetic

Designer Maker / Technician 3D Design - Architecture
This entry was posted in Aesthetics, General Editorial, Theory. Bookmark the permalink.

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