Art & Perception

The “tradition” of using non-traditional materials and found materials in art goes back awhile – from Braques and Picasso’s collages to Duchamp’s urinal.  By now we are accustomed to seeing everyday things in the museums or galleries  For me, the use of non traditional or found materials has to transform that material so that it becomes something else than the novelty of the material itself.  A couple of artists came to mind when thinking about this today.  I recently discovered and artist named Il Lee. 

BL-069, 2006, Ballpoint pen on canvas, 48 x 42 inches more… »

When I first showed these rock formations I’m calling Bones of the Earth, I was quite unsure what to do with them (I still am…). They seemed to invite a number of treatments. In particular, I found myself wishing I could paint them. Since I’d been admiring Sunil’s paintings of late, I naturally wondered how he might handle them: “Sunil, are you out there? Imagine these rocks as a weathered old face, what would you do with it?” I was not thinking that Sunil would actually see a face in them, but rather that considering the rock surface as skin might suggest coloring and brushwork that would give an interesting treatment. That was before my own musings on the power of face recognition. And if anyone has an over-developed fusiform gyrus in his brain, it’s Sunil (I can barely rotate 90 degrees, he easily does 180). Well, as you can guess, Sunil did see a face there — in fact three — and has recently posted on his blog the painting that resulted. It’s reproduced (with permission) below:

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Cennino Cennini devotes his Il Libro dell’ Arte (late 14th c.) to a practical explanation of the materials and techniques of painting. And yet Cennino also writes of painting as an occupation that deserves “to be crowned with poetry”, because the painter has the ability to compose from the imagination, “presenting to plain sight what does not actually exist.”
It might seem there is a mismatch between focusing on the physical aspects of the work, and at the same time emphasizing the role of imagination in creating art. But this combination of the mundane and the fanciful is appropriate for a simple reason: an artist creating from the world of the mind must nonetheless work in the world of the materials. The physical nature of those materials, and the way the artist uses them, will inevitably influence how the inner world of the mind is discovered and expressed.

Contemporary artist Hanneke van den Bergh recognizes and makes use of this interplay of the imaginary and the physical in her clay sculpture. She explains “I like to make the heads by moving a little lump of clay until I can just see the face. I like this quality of the imaginary form beginning to emerge from the raw material.” Van den Bergh does not attempt to disguise the properties of her materials. In the example shown here, Danae III, she leaves visible the coils with which she constructs the main form. The contrast of the repeating pattern of coils with the rhythm of the body contributes to the expressive effect of the work. “By avoiding too much detail,” she says, “I maintain the contrast between material — the physical — and the imaginary.”

Some weeks ago there was a discussion on this blog about why I don’t photograph people as part of my studies of Manhattan.  Since that discussion, I have, of course, become obsessed with photographing people.  In case you were looking for an example of how we influence each other on this blog, you now have a very good example.

With all respect for the various and wonderful women of the world, as a man there is an undeniable connection between my brain, my eye and my penis so, not surprisingly as a gay man I have pretty much focused my camera on me…and the streets of Manhattan are chock a block full of beautiful and sexy  men. And at the risk of stereotyping and generalizing, as walkers, men and women are very different.  Men are going somewhere and they are focused on that–even if it’s nowhere–almost oblivious to there surroundings.  Women are observers. They’re moving more slowly and looking at store windows, how other women are dressed, what possible threats there may be to their safety–and if they’re being led by a man, they are never looking forward.  It’s actually pretty funny to observe.

I’ve also learned that male Manhattanites are so focused on their “missions” that you can stick a camera up a man’s ass and he’s likely not to notice unless it has a vibration mode–and even then he might mistake it for a passing subway train.   As a result I’m loving the ability to capture unposed body language and, more specifically,  Manhattan male motion.

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I have thought about ladders, and over the last four or five years I have made some.

The whole thing may have arisen from cleaning the gutters or some other patchwork chore related to holding the house together. What emerged from my ascents and descents, bruises and strains was an awareness of the ladder as a sculptural framework that regulates motion, and to some extent, emotion. I might have felt aspiration as I toed tentatively yet deliberately upward, toward the peeling patch of paint under the eaves. I might then have felt exasperation as I discovered that I hadn’t brought the scraper with me and now had to gingerly make my way back to the ground.

There’s nothing like having one’s nose up against a rung to encourage contemplation, especially when it’s going to be there for a while. I pondered ladder-ness as a sculptural premise. Big, little, red, green, yellow? How much detail? Would a ladder sculpture be enhanced by the inclusion of cleats, rods and other such? Was there an acceptable level of abstraction? What would be the point?

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Walking up through lush forest

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