eliaroehrsprojectone-blog
Elia Roehrs
Studio Project One documentation of 2017
64 posts
Don't wanna be here? Send us removal request.
Last Seen Blogs
ndakota2a
Ndakota2a
roameye
Broken for Him ... ...Moved by Him
architectsrules-blog
Architects Rule
justrandyyxp
Randy / Blu !
Photo
“Thick Slice” (2017). Metal frame, nylon, cotton, latex, cotton thread. 170 x 100cm.
0 notes
Video
“Be My Buttercup Baby” (2017) Video Documentation
0 notes
Photo
“Be My Buttercup Honey” 2017. Metal Frames, pigmented latex, organza, cotton thread, tracing paper, honey. 170x100x110cm
0 notes
Photo
I have began playing around with my yellow pieces of fabric and seeing how I can engage them with food. As I felt the previous honey work wasn’t as harmonious as I would have liked with its components, mostly because of the red and gold honey, I wanted to make an all gold and yellow work to really make honey the focus. I have sewn yellow tracing paper onto a yellow organza with circular stitching patterns; the thread used is a more brownish colour which I know will match the honey. I thought the honey would more easily soak in the honey and hopefully hold position better than the textile, not sliding straight off and onto the floor.
0 notes
Photo
Documentation of making the red piece. I used offcuts that would other by wasted by a fashion student at QUT, trying to repurpose them. These have been included with a strip of latex I made when collaboration with phoebe, as well as some red mesh. Circular holes were cut and the mesh sewn on the under side. I didn’t mind if it was applied messy as I knew it would make bulges on the surfaces.
0 notes
Text
Revisiting Claire Barclay
I came across Claire Barclay’s work early in the semester and was very interested in it then, however it hasn’t been the last few weeks to realise her influence on my work. Her use of the industrial which reflect the historical setting of the gallery in contrast to very clean cut and artificial materials is something I also utilise. All the objects appear to have no utility purpose, which I something I have always been interested in as I take textile away from their functionality as an item of clothing by featuring the translucent and uncomfortable. In my research I also discover her sculptural installations whilst not aiming to be a full on sensory experience do engage the audience with it’s scent. They are described as not unpleasant but heavily mechanical smelling , particularly like a factory with the help of using oils. Her very neat and geometric arrangement of objects which is broken by the objects unreliable structure is something I also do, my work trying to enhance these differences to focus on the fabric’s texture.
0 notes
Video
Video Documentation of ‘creamy’ (2017)
0 notes
Photo
“creamy” (2017). Metal frame, concrete, cotton, cotton thread, condensed milk. 170x160x110cm
0 notes
Text
Food included in work
Recently I have come to realise that my artworks have to be less about the human form in its representations, and can focus more on exploring bodies in relation to each other. How one human body responds to another in terms of attraction and repulsion and the relationships that stem from each other. I think too my work will become much less technically driven in needing to look a certain way, and play with material can come much more into focus in my practice.
Introducing food into this will explore this play between repulsion and attraction with the use of food substances which are hard to pin down their exact identity such as condensed milk, honey and other sugary/syrup like foods. Their tactile nature and uncontrollable behaviour will help to enhance their repulsive side whilst remaining alluring due to the scent.
Elizabeth Willing’s presentation of her work came at an excellent time as I was already thinking of how food could be used, but this furthered my desire to engage with these materials due to her playful side and lowbrow aesthetic. The everyday and diy use of materials really appeals to me and how it can construct bizarre and humorous works. Also her work forces a lot of trust needed between viewer and artist and they engage into the unknown when consumer her work.
Elizabeth Willing. “Afternoon pick-me-up (Kinder)”. 2016. Kinder chocolates in wrappers, glue. 300x80x.5cm
0 notes
Photo
I have an idea for a work, continuing the idea of using food like the previous honey work; this work will be in all white and feature condensed milk. I am using an old sheet because of its density as a fabric and ability to hold shape, but also its connotations in terms of people’s relationships. I wanted the stitches to not be neat and look like its come in a demolished the site. The thread gathers areas and is not flat, I wanted to create depth and a lot of shadows, like craters. I added another more translucent material over the top of the cotton sheet to see if that would also add more depth which I think it has. I don’t like how its off white so I may bleach it to make the work more uniform.
0 notes
Text
Camille Norment ‘Rapture’ (2015)
In 2015 I went to the Venice Biennale and saw Camille Norment’s ‘Rapture’ installation in the Nordic Pavilion. It responded to the physical space and used sound to create a visual peaceful sensory experience. The sound included was of the glass armonica, a instrument common in the 1700s and known to be arousing to female listeners due to its very high pitch. The installation uses this sensory experience to focus on vibrations and the moment of ecstasy.
Norment’s response to the space uses the pavilion as a body itself, reflecting on what is shown on the inside and outside of the form, particularly through the pavilions wide open windows and trees throughout. Sound that it makes is the purest to sound waves in electronic music , and their visceral nature ability to produce human physical response such as goosebumps. The vibration of the instrument was considered at its time of invention to be healing and overly enjoyable to many people, particularly for women, but due to this ecstatic response it was also considered to have the potential to harm and kill, leading to it being banned. The instrument was considered to stand in the middle of being the right kind of stimulus for women and suggesting healthy sexual arousal.
The sound of the glass armonica is also placed with the voices of a 12 piece female choir singing 2 tones of the tri-tone, which was considered to be satanic by the Catholic Church because of its unsettling sound. By using these tones however with the female voice produces something much more alluring and seductive that seems to have an unknown end.The broken glass elements in the installation have resident audios pieces adapted and it is as if each object is beginning to get excited.
I think this work shows the potential of sound being used as the primary material in a work, and the physical objects adapted are more used as visual stimulus to further enhance the sound. The physical space or objects do not always need to be the dominant aspect in a work. Also this work shows how incredibly important research in audio and sound can be, what the history of tones are and its potential to produce physical response I find really fascinating. As I am beginning to look at how to make sensory installation I think it would certainly be worth investigating different musical genres and focus on its different tones.
Videos below show the work with the audio in the space, and also a video of a special live performance by artist Camille Norment and David Toop of the glass armonica.
The installation of Rapture at the Nordic Pavilion at the 2015 Venice Biennale.
Image of the glass armonica instrument
Videos:
Camille Norment and David Toop performing at Nordic Pavilion, Venice Art Biennale 2015: https://www.youtube.com/watch?v=G2lKxJHbiAk
Camille Norment: Rapture. Nordic Pavilion at Venice Art Biennale 2015. Interview: https://www.youtube.com/watch?v=x6Ym9cjz1jU
1 note
·
View note
Photo
“Honey Lick Me” (2017). Cotton, Cotton thread, honey. 100x140cm
0 notes
Photo
“Honey Bunny Why You Always Leaving” 2017. Honey, Plastic sheet. 1.2 x 0.5 x 0.6m
This work utilises the left over assisting elements of the (textile honey lick me) installation, transforming the honey covered plastic sheeting into a sculpture of its own. It like this works simplicity and documentation style quality.
0 notes
Photo
Red textile work coming into construction. Each circle is stitch using the sewing machine, then cut into quarters or sixth, and then pulled apart using my fingers to create a porous like quality.
0 notes
Photo
Draft planning of red installation in a fan like shape that pulls out of the wall and is drawn out to the neighbouring walls.
0 notes
Text
Honey
I’m becoming more and more interested in using food, particularly honey. Since looking at the abject in Contemporary Art Issues Ive been intrigued by repulsion and attraction and the appearance of liquid like substances. Honey as always been my main focus if I was to use a substance because of its golden colour and sticky texture. Its a highly enjoyable food to consume, but a complete nuisance if touchy anything outside of its contained area and mouth,, and how we engage with it changes in a second when it enters our living environment and gets in the way of functional operation. Honey often is used in many beauty products so has many preexisting links to the human body in terms of its upkeep and desire to stay healthy and attractive. I also like that its a pure product, derived from the natural world and is not tinted by artificial products and the mass produced. In my research of honey I discovered many more sides of its use in rituals than I had already known. Honey is considered a sacred substance and often symbolises the purest and noblest in nature, and a protector from all evil. Other pagan customs and traditions with honey include the blessing of fields with honey to ensure good crops. Honey would be mixed with milk and poured on the field following the first furrow, this practice is called “Ackersegen” and was especially used when there was a suspicion of magic being used in the area. There are many other traditions specifically involving women which I find interesting such as good future in love for Finnish women who kept honey under their pillow, and the fear of menstruating women from being near hives and otherwise it was believed the honey would turn sour.
Honey’s rich history really interests me to include it more in my work in a variety of ways, as well as its makers the bees. After looking at Ann Hamilton’s installation ‘Privation and excesses’ from 1989, it make me realise Honey’s potential to not only be visually stimulated but also its ability to create more sensory works due to honey’s strong scent. In this installation pennies where placed in mass covered with honey, the work smelling strongly of honey’s sweetness and the metallic cooper.
0 notes
Text
Female body in Art research
I’ve been reading a few articles about the female body in contemporary art and the abject. Many of these focuses on the male gaze, and the total destruction of beauty ideals. Reading about the Mae gaze has really made me question what my purpose is with displaying the human form. It is just to sit dormant and be observed, and if otherwise how is it engaging more critical thinking in forming new concepts of beauty.
Sliwinska, an art historian and theorist who focuses on feminist practices, discusses Venus and Medusa roles as symbols of opposing beauty. Medusa is associated with monstrosity, ugliness and is distorted and wrong, the opposite to Venus who connotes perfection and unity. The discourse between beauty and ugly, complete and incomplete. Many artists though purposefully unite these two themes to represent the contemporary woman, showing that unease in appearance does not ,mean it cannot be considered beautiful. Venus’ narcism can also have negative traits, being vulnerable and irregular, their most definable trait determined by another's opinion. I often consider this, how beauty only exists in relation to multiple people, and attraction can’t exist solo. our engagement with each other form these concepts and therefore they way we participate. I particularly found interesting in Sliwinska’s book the section where she talks about politics in beauty, particularly women enjoying food.
Books I particularly found noteworthy ideas from:
Betterton, Rosemary . 1996. “An Intimate Distance: Women, Artists and The Body.” NY: Routledge
Sliwinska, Basia. 2016. “The Female Body in The Looking Glass: Contemporary Art, Aesthetics and Genderland.” NY: I.B. Tauris
0 notes