Exploring the Tate Modern exhibition, I found the installations to be immersive; using colours or absence of colours with the contrast of neon hues and the dark to accent the lights, as well as suspending the lights. Yayoi Kusama uses different types of materiality such as having water below the path, reflecting the lights and providing a zen feeling with a connection to nature.
Infinity mirrored room – filled with the brilliance of light, created 2012
“Forget yourself. Become one with eternity. Become one with your environment.”
Yayoi Kusama
I would like to incorporate this materiality into my project to aid the immersive experience, such that, to use the hydroponic system integrated within the structure and allowing the growth of food to surround my spice pods, so the user can visually connect with the food ingredients and see/feel the texture of the plants.
The use of vibrant colours dotted around the space is also an element to consider for my project. To signify areas of functions in my space, and for the user to make a visual connection to their experience with accented colours.
There was a sense of unity in her installations, as though we were one with the environment. This is the true intention of immersiveness I would like to achieve with my project.
Mike Nelson’s intent appeared to create immersive works and utilising our senses to the highest. Within his work there seems to be an abstract narrative, and a spatial aspect as well as a psychological effect on our senses. Going through his exhibition, there was an internal conflict, of seeing and feeling one thing whilst my mind was overriding, and my consciousness was kicking in.
I, Imposter, 2011, Various materials
A lot of his transported me into another dimension, creating a space without context and informing our own situation from it. For instance, the photography room built within the sand hut was painted in red light, creating a very ominous environment straight from a horror movie. Through the light, and bringing in menacing ambiguous chemistry equipment with hanging photographs, the random combination together made an uncomfortable environment to be in. As if it was once inhabited by a menacing character. This control Mike Nelson has over the audience’s feelings, like myself, by working with our senses, is something to consider when designing for my own project. What environment do I want to convey for children? How can I achieve this with the combination of the senses? The ambiguity in his work allows us to actively seek connection and search for meaning. Which means we are doing the work for him; he allows us to be the storytellers from our own point of view.
The darkroom, 2011
His work had a distinct smell of old and used materials. It created a sense of eeriness and disorientating at times. I believe it also controlled the direction of travel, avoiding or being curious where the smell led towards. For my project I wish to incorporate the sense of smell in my design, so it informs how the user interacts within my space.
Nelson’s room full of his sculptures ‘The Asset Strippers’ came of my interest as they first appeared to be agriculture equipment. I instantly began to think about their purpose and how they move when they are activated. However, the sculptures are fictional, being constructed from parts of industrial and agricultural machines. He attained these through online auctions from company liquidators. This means they stood as a reflection of the loss of British industry. I was reminded of the labourers who once operated them and the reduced amount of these bustling industries. It brought the question of the value of these labourers and the industry as most things are mass produced and automated. This connotation relates to my work as I am focusing on the act of growing and cooking food. I wish to develop a link to the methods and importance of cultivating food and the connection between people and farming in my design.
The Asset Strippers, 2019
His work is also influenced by science fiction. He is inspired by a novel from Stainslaw Lem where it states language is distorted and morphed to create new words that describe things that will exist in the future. Applying this concept to his own work, he ponders over the human desire to predict and control the future, when we are only constrained to work in the present. With my project focusing on hydroponics, I wish to consider the futuristic and science aspect of growing food to sustain for the future. Possibly exaggerating the concept in my design to emphasise the futureproofing of growing local produce.
I also liked the idea of the rooms connecting, such that one door led to you being positioned on one side of the bar, where the other door led to the other side so that you were serving the other person. Nelson cleverly designed the corridor, doors and rooms to be connected, disorientating the user of the space so that they lose a sense of purpose and function of the room. The control allows a manipulation of space being used which I would like to use in my project. Controlling the roles placed in the space through the configuration of the doors, passageways and interior.
I visited William Kentridge’s exhibition at the Royal Academy and this was my first encounter with the artists’ work. I found it inspiring the artist worked with a multitude of media spanning from etchings, drawings, collage, film, sculpture to tapestry, theatre, dance and many more that would tell a story and convey poignant messages.
His work encompassed many techniques, one being animation where he would transform his charcoal drawings by rubbing out or adding to them to create a storyline, with some use of sound effects. It was this art form where I found myself being immersed in the story and the atmosphere Kentridge had created. It was the expressive movement in his pen strokes that took me on a journey wanting to find out more of the story and be a part of the experience. It was as simple as a pen mark being followed across the page and transformed into a larger scene. There was a constant path in his work from one destination to another, and it all felt connected. It felt like I was observing, and being a part of, the whole process. This made me think of my portfolio, how I also want to convey a story and path from start to finish, and leave traces of my previous design work onto the next.
Drawings for Projection, 1989
He almost uses palimpsest in his animations, layering evidence on top of evidence, to create story arcs and depth to historical or political events. It creates a sense of reality and realness to his work, and allowed me to really feel convinced by his drawings. Another recurring technique he uses are words and phrases in the animations that transition into a scene, therefore allowing the audience to focus on the keyword and message of his work and what he is trying to convey without needing to much explanation or additional context. It was clear and set the tone of the scene. These are the ideas I want to influence my portfolio work, with clear intentions and layered evidence to back up my work.
Other Faces, 2011
Kentridge erased and left behind traces of his previous drawings in his animations which felt like an echo of the story. It allowed myself to absorb the remnants of the past as the next part of the story was progressing. I noticed he projected his charcoal drawings onto the walls of the gallery which exemplified the artist leaving traces, scars and memories of his work for the viewers to absorb as they went around the gallery. It was all part of a journey to tell his story. I wish to use this in my work by projecting and extracting aspects of my design ideas and paste them beside my overall design so individual elements can have a focus point yet also convey the general intention I want to create.
Drawing fragments from Ubu Tells The Truth, 1997
The artist builds and outlines his story using words from newpapers, or circling evidence that strengthens his points such as his Landscape pieces where he highlights the terrain changes that have been made by European influences on South Africa. This technique could influence the way I present my interior design work and I may use this method to highlight my design ideas.
Hunting the Spurwinged Goose (Colonial Landscapes), 1995-6
He also uses contrasting symbolism for example in “The Conversationist’s Ball” where he highlights the realities of South Africa under apartheid by drawing wild animals that represent government officials and embedding threat into the scene, juxtaposing with white South Africans enjoying their extravagant lifestyles in the same art work. This can relate to my interior design practice by designing spaces with a juxtaposition and contrast in design to accentuate the message I want to convey in my space. This could be using colour, shape or form.
The Conversationist Ball, 1985
In his tapestry and map works, I was intrigued with the layering again, and using red lines to cut through the map, as if Kentridge was mapping a trajectory for the viewer. I would like to use this imagery and technique for my site mapping and analysis as this is a very interesting visual to read and inviting. It would be a unique approach to looking at the site history and layering a site development.
Carte Hypsometrique de l’Empire Russe, 2020 (left) and Drawing for the Head & the Load, 2018 (right)
Puppet for Waiting for the Sibyl, 2019-2022, designed by Greta Goiris
His theatrical exhibit featuring puppets for “Waiting for the Sibyl” inspired me to think about my Project 4 Material Objects, especially with the puppets involving wood. The compilation of the raw material, with a colourful fabric, deemed the puppet to be exciting and dynamic. I wish to incorporate this into my sculpture with contrasting colour of green against the natural wood colour. It also made me ponder on the type connection and material wood I want to go for.
Metal sculpture by William Kentridge
This sculpture I found in my opinion had a slight resemblance to a plant silhouette and inspired me to consider the form of leaves and plants and how it will direct a space in this manner. I possibly can play with this arrangement, and it made me think about the absence of boundaries of a space, vertically and horizontally. That a space does not have to be linear or at right angles or in straight lines.
