3 POLE PROP MUTTON CLOTH & PARAFFIN WAX 9m + 3kg
This piece is made by buying, weighing, cutting, and then dipping mutton cloth in heated paraffin wax, turning it on itself encircling it)and leaving each length lying on the horizontal to cool. The ‘knots’ in the third pole resulted from turning the coil more than the others.
Dimensions : each coil is 2 - 2.2 meters finished length
Materials :
Mutton cloth : each coil made up of a single length 3 meters of mutton cloth, measuring 40cm across, 80cm circular total width
Wax : paraffin wax, palm wax and damar crystals mixture - each coil used 1 kg
Miriam Ruberl ©
Dimensions : each coil is 2 - 2.2 meters finished length
Materials :
Mutton cloth : each coil made up of a single length 3 meters of mutton cloth, measuring 40cm across, 80cm circular total width
Wax : paraffin wax, palm wax and damar crystals mixture - each coil used 1 kg
Miriam Ruberl ©
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Many threads came together in this piece. These include :
1. The starting point for this work was exploring the properties and processes of wax, particularly that of heating it.
2. The revolutionary goal of modernist painting requiring a major historical shift from an art of representation to one of presence, ie. the direct experience of the object standing before you, having it’s clearest advocate in the work of Frank Stella who set out to make a picture that had nothing virtual about it : ‘My painting is based on the fact that only what can be seen there is there. It really is an object … What you see is what you see’.
3. The concept held in mind was that of encircling, one of the verbs on Richard Serra’s verb list of 1968, which reminds us that the art object exists as the result of actions performed on materials.
".....basically it gives you a way of proceeding with material in relation to body movement, in relation to making, that divorces from any notion of metaphor, any notion of easy imagery.”
4. Another aspect of Serra’s work, held in mind when deciding to make more than one pole, was that of tension and haptic experiences of the work, as in some of his prop and pole works. Also reflected are Serra's realisation that there is no content in the work other than that the viewer brings to it - and so as with Robert Ryman, the titles seek only to permit identification of the work but not guide the sublimation the viewer would wish to project on to it.
5. The radical shift in methodology of artmaking, with his floor placed horizontal workspace, although always intended for vertical viewing,in the work of Jackson Pollock, particular Blue Poles is integral to how my work was made.
6. The work of Eva Hesse, using ready made, frequently industrially produced, or by-products of production, materials as did an artist she (and I) admired hugely, Marcel Duchamp.
7. Rachel Lachowicz using wax and feminising as well as often offering feminist critique and reinterpreting works by male artists she admired
and on and on ... to be continued !
1. The starting point for this work was exploring the properties and processes of wax, particularly that of heating it.
2. The revolutionary goal of modernist painting requiring a major historical shift from an art of representation to one of presence, ie. the direct experience of the object standing before you, having it’s clearest advocate in the work of Frank Stella who set out to make a picture that had nothing virtual about it : ‘My painting is based on the fact that only what can be seen there is there. It really is an object … What you see is what you see’.
3. The concept held in mind was that of encircling, one of the verbs on Richard Serra’s verb list of 1968, which reminds us that the art object exists as the result of actions performed on materials.
".....basically it gives you a way of proceeding with material in relation to body movement, in relation to making, that divorces from any notion of metaphor, any notion of easy imagery.”
4. Another aspect of Serra’s work, held in mind when deciding to make more than one pole, was that of tension and haptic experiences of the work, as in some of his prop and pole works. Also reflected are Serra's realisation that there is no content in the work other than that the viewer brings to it - and so as with Robert Ryman, the titles seek only to permit identification of the work but not guide the sublimation the viewer would wish to project on to it.
5. The radical shift in methodology of artmaking, with his floor placed horizontal workspace, although always intended for vertical viewing,in the work of Jackson Pollock, particular Blue Poles is integral to how my work was made.
6. The work of Eva Hesse, using ready made, frequently industrially produced, or by-products of production, materials as did an artist she (and I) admired hugely, Marcel Duchamp.
7. Rachel Lachowicz using wax and feminising as well as often offering feminist critique and reinterpreting works by male artists she admired
and on and on ... to be continued !