Elements of ‘digital absurdity’
On reading an interview with Jessica Stockholder, the interviewer Lynne Tillman mentioned that her work, particularly the piece ‘Recording Forever Pickled’, (1990), contained an “element of the absurd in it.” She goes on to say that the block colour of yellow on the floor brings itself to attention as just a colour, stating that it is “bright, challenging, odd”. When I look at my work I can similarly see this happening - my intense ‘digital colours’ stand (almost burst) out as abstract forms which appear to be intruding the space and composition of the piece as if it was just an unintended and incomprehensible occurrence which is separate to my process of assembling the rest of the materials together. Stockholder explains that her use of colours are keyed together so that they “carry the eye around”, which is similar to how we look at paintings.
Stockholder goes on to say that she uses the colour white in her works as well as bright bursts of colour, as it “visually sinks back into the wall of the gallery”, creating an illusion of space. This is interesting in terms of the presentation of my own work when it comes to the graduate exhibition.
"I like there to be places where the material is forgotten; but I also love to force a meeting of abstraction with material or stuff. Colour is very good at this, always very ready to assert itself as independent of material."
Jessica Stockholder, in conversation with Lynne Tillman in Jessica Stockholder (1995), London: Phaidon Press
When reading this part of the interview I immediately measured my current sculptural assemblage against Stockholder’s views on colour and materials. There is a variety of elements which I have so far used which mimic that of the scanned prints/materials in my 2D print pieces; but among these the colours which I have utilized seem to stand as a separate and independant, abstract form against the composition of materials. The colours which I utilize are mainly fluorescent, intense and what I like to refer to as ‘digital’ - these are usually presented in an abstract, block form and contrast with low tech, poor material such as everyday, home found metal garden wire, kitchen foil, MDF wood and video tape which are easily accessible. Within both my 2D and 3D pieces I have begun to realise a strong contrast between the natural elements and the digital colour, which stand separately against each other yet at the same time bring two different realms -the digital and the natural- together.
Forms Derived from a Cubic Rectangle (1990) by Sol Lewitt.
Set of twelve etchings with aquatint.
Who Wishes For The Cloth Of Heaven, Simona Pries.
(Source: uvre, via seantaal)