To (e)merge; A case study in the re-claimed object.

                              

Stuart Bailes; “The Empiricist”,  2011

 Stuart Bailes’ work presents the subject matter as real-ity - a resting-place, or a prompt for ongoing thought, rather than an artistic imitation of reality.  The photographer arranges forms much like a designer would.  The original meaning (or purpose) of the subject matter intensifies, expands and evolves when placed (with intention) in the artistic realm, in this case, by selective release of information. ‘The Empiricist’  is framed in stained wood, and a  reductive photograph depicts a pile of tree stumps with a (seemingly) nonchalant piece propped up against them. The (implied) duality of the artwork asks the viewer to question and find their own meanings beyond the information presented. It asks confronting materialistic questions of use and life-cycle, allowing the viewer to form their own conclusions. Therefore, the work could potentially lend itself to a self-realized sustainable-living action-plan. And so Stuart Bailes’ work is a re-organization of the ready-made, photographed in a simplistic yet dualistic way that challenges and encourages (our own) ideas, evolving (ongoing) understandings, prompting truth-finding beyond the original intended form of the objects in question. 

"71 - Δ 1853", 2011

     Bailes’ images act as a resting-place where the artists’ intentions and my own thoughts battle and (e)merge to take their own form. 

The work of Stuart Bailes can be found here. 

Also,  one third of a Triptych;  "71 - Δ 1853", a favourite piece to think with. 

           

Subodh Gupta “Very Hungry God”  2006

The sculpture of Subodh Gupta utilizes everyday ‘readymade’ objects rearranged in exaggerated scale to extend their meaning and create ‘new’ symbols for interpretation. Bringing them into focus has potential to remind the viewer of their (intended) meaning, shift perception of original intention of the object, and challenge (the viewers’) perception of value. ‘Very Hungry God’ is arranged using stainless steel buckets and kitchen pots. They could entice personal memories of family cooking and childhood bathing, a human connectedness. The buckets also, however, perform with a shiny hollow-ness, an emptiness. Juxtaposing these features of the object, the sculpture questions cultural values of mankind through our associations of everyday (personal vs. big-picture) actions. 

 Therefore the brilliance (understandings) and power within the work as a whole lies in the viewers own individual view-point, his or her own memories, thoughts and values, rather than the original intended purpose of the individual objects. 

Maison Martin Margiela “Glove Top” 2001

Re-claiming has been a constant theme for Margiela throughout his career. The designer’s Artisanal collection takes (often unwanted) ready-made objects and re-claims them, re-purposing them and re-organizing them to create a wearable garment. Here, a halter top arranged entirely from old driving gloves demonstrates history or a passage of time by extending the life of the gloves, indeed re-purposing them in a new life (light), and expanding their original (intended) purpose. It is in this way Margiela challenges our associations of use and identity in clothing. A glove which was once misunderstood or perhaps ‘given up on’ now becomes a process in which, when arranged with other like things, it can form new (ongoing) interactions. The object in question has (is given) a (renewed) open potential, for it’s physical life is not over. As the original (intended) meaning of the glove is stretched, it asks the viewer/wearer to stretch their mind, too. Challenging our perception of objects questions our interactions with them, bringing  with it transformational ideas of sustainability in action. 

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References and Further Reading

http://www.debutanteclothing.com/1stdibscom_presents_resurrecti/ 

http://www.dazeddigital.com/fashion/article/12523/1/maison-martin-margiela-haute-couture-s-s12 

http://www.dazeddigital.com/fashion/article/15478/1/maison-martin-margiela-clinical-precision 

http://www.metamodernism.com/2012/05/09/photography-a-metamodern-alchemy-the-work-of-stuart-bailes/ 

http://www.stuartbailes.com/Conscientious%20%7C%20A%20Letter%20from%20London-%20Stuart%20Bailes%20and%20the%20Solitary%20Image.pdf 

http://www.edelassanti.com/artists/25-Stuart-Bailes/works/ 

http://fireplacechats.wordpress.com/2012/07/02/delhi-based-subodh-guptas-transformative-symbolic-sculptures/ 

http://www.youtube.com/watch?v=CseSQvrdunU 

(re)claiming.... (from) the place where forgotten dreams go

for a time after one leaves ‘love’ or love-image there is a (re)claiming.

one remains as before, but in a new context of the mind, or frame

places visited with the other, which belonging to one before the exchange

are taken back from the love-image

memory-places infused and entwined in the exchange are pulled from their (love-image) 

association and returned to one in the context-frame of the self. they are self-memory-places.

hanging as fog on the city, corners of rendezvous long dissolved into memory,

each with a tear attached, move in a ‘love song’ movement towards oblivion (the place where 

forgotten dreams go)

tender as the breeze and just as invisible, the memory-places return to one’s repertoire and 

are welcomed with open arms

even places which before the exchange were not memory-places are re/claimed, 

territorialised and formed as part of the repertoire.

                           
  
                             again and again claiming and (re)claiming; toward totality

                             complete encapsulation; a mirror to the love-image to which it attempts to          
                             escape, yet only manages to mimic.






                                                                            a (conun)drum plays on.. .



                                                                                                                          n.c
                                                                                                                          5/4/13

navigating the b/order(lands)

What is a b/order?              

                                       How do we define borders?

The border is an in(between) space/place, often thought of as the edge of to 'other' territories.

                                                     {   A + B = C (the border)  }

but perhaps it is the silhouette of the border (it's outer edges) that define the 'other' place.

Working out of a middle outwards, this way, the border becomes active(-ated) because it is performing, rather than produces (as a consequence of something else, a remainder, a left over, a product)


It is given priory - it is the defining space, rather than the space-defined.

                                          http://www.travelvictoria.com.au



The border(lands) are spaces of 'exchange' (however, this may not be the best word). We cross borders; move across them, they are permeable: inventions)

                             'Borders are essentially inventions....

                                they are implied; or im(posed)...'

Even physical, geographical borders, are really only implied, invented lines, held in the mind, or drawn on paper, it is only because we value these lines as 'REAL' that they exist, but the border can be taken beyond this and seen as liminal, dynamic, creative, and in-flux. They are places of creative adventure.

                            

                                      We are border walkers.