Public Art work- Project by Gemma Garcia

Public Art work- Project by Gemma Garcia

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Task Public Artwork

Public Artwork comments by Gemma Garcia

PUBLIC ARTWORK

“Flourish” by Mandy Ridley

 Artwork comments by Gemma Garcia

What positive attributes does the artwork contribute to the public space?

WALL ART -2013 “Flourish”. Southbank Ernest Street Tunnel .Public Art Project

In my opinion the positive attribute is giving the public a sense of space,  colour, patterns, and a way to enjoy the environment in this part of the city where it is very dark, dirty and noisy due to the train underpass.

Does it fulfil the original brief? Why?

Yes, the artwork is adapted to the public space, columns, and walls, it is in relation to the environment and the design is integrated with the open space.

The artist explanation is clear:

“The artwork evolves naturally from my art practice; that of immersing people within a celebratory environment that can make an individual’s lived experience visual and tangible

My conceptual response to the site of the Southbank Tunnels, Flourish! Summons the interior in order to evoke qualities of home, security and welcome. This design references fabric which is intrinsic to the history of the site; that of the railway employee uniform. Motifs sourced from decorative trim found on the uniforms provided ample impetus to the project Flourish!

The design is interpreted in two distinctly different colour ways across the opposing sides of Ernest Street. Each palette is chosen for particular effect allowing the pedestrian to vary their engagement with the work during their daily traverse of the site. The Northern face is configured with cooler serene blue green colours. The opposing South face presents a more dynamic and lively burst of warm colours. Large arrow-like way finding motifs embellish the ends of each surface. The aesthetic culture of the adjoining retail/residential precinct likewise has impacted on this response, by emphasizing the contemporary trend to blur the distinctions between work and home into a concept of lifestyle.

   

In both visual and practical terms, the highly fragmented nature of the surfaces of the site required a nuanced response. Individual cut out and patterned forms are combined along the length of the site with the design mirrored on the other side of the road. The work plays with repetition, hybridity and the use of pattern to build up interest and complexity, transforming the pedestrian underpass into a dynamic multi-layered installation.” [1]

How might the design have been improved to be more successful?

I think, at the space where the artwork is, is adequate, colorful and interesting.

My ideas for a complete new design (existing, removed, same criteria)

I think each artist will have different ideas how to paint a wall, the space is well completed (in the permitted areas) so I don’t feel I need to complete anything more.

Annotation:

Taken pictures of the wall, I saw some graffiti on the artwork and I was really disappointed with this way to deface the wall artwork, so I decided to put some information in relation with this. 

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[1] http://www.visualartist.info/mandyridley/2013-flourishnbspsouthbank-ernest-street-tunnel-public-art-project

Disappointed by Gemma Garcia

This is a statement about my frustration that someone draws a graffiti on an art piece.

 

Mandy Ridley- PUBLIC Artwork Brisbane

PUBLIC Artwork

Flourish  Mandy Ridley

Brisbane

Australia

All images have copyright ©

http://www.visualartist.info/mandyridley

ASSESSMENT TASK

TAFE

DIPLOMA OF VISUAL ARTS

Task 3

By Gemma Garcia

My Opinion of the Art exhibition:

When I arrived to the Art Gallery it was a nice surprise to see that one of the artists at the exhibition was my teacher in the Printmaking  class at  Ithaca TAFE on 2013.

I love printmaking and etching so I enjoyed very much her art work.  Her art work is amazing, innovative and creative.

The combination with another artist, using different medium like photography, is a great idea to me, because I was thinking of my own art exhibition with another artist if we are working on same topic, but different medium. This would be good.

Also, my idea of an exhibition is to have all complete, at this exhibition the printmaking and photography  were unframed, this point was another point to think… It is a rule to have framed the art?

I enjoyed the exhibition; I love the Art that has a meaning, like this exhibition. It shows the role of the woman, the social context and the impact on the public in general.

Student:

Gemma Garcia

Visual Artist

http://www.spanishartgemma.blogspot.com.au/

ARTISTS SYNOPSIS

ARTISTS  SYNOPSIS

CAROLYN  McKENZIE & HEIDI STEVENS

Carolyn McKenzie- Craig

Carolyn mckenzie-craig is a brisbane based printmaker whose work examines the  signage systems of language and institutions . Her work has been shown in sydney, brisbane, melbourne, hong kong, great britain and bangkok. Carolyn teaches printmaking for impress printmakers and flying arts.

She was my teacher at Certificate IV of Visual Arts at Ithaca Tafe on 2013.

Heidi Stevens

Heidi Stevens is a visual artist based in Brisbane, Australia a recent graduate of the Queensland College of Art completing a bachelor of Photography in 2009. Heidi is a video artist focuses on a dialogue of femininity created through performance and costuming.

Heidi has exhibited her work throughout Queensland most recently at The Queensland Centre for Photography with a solo show feather light. She was a finalist in the recent Artworkers national acquisitive Erotica Art Prize at the PS Gallery Paddington. Her work is held in various private collections including The Daryl Hewson Collection, Queenslands largest private photography collector.

THE EXHIBITION

THE EXHIBITION

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ART HISTORY Links with this exhibition

ART HISTORY Links with this exhibition

Contemporary art

Contemporary refers to the now, the present moment, so at any point in history, the making of new art is always contemporary. The term ‘contemporary art’, however, has a variety of meanings.

It may refer to what has been made within the last six months or a year. 

For some curators and critics, it could stretch over possibly two to ten years. For art historians and cultural commentators with a longer view, it often begins after World War II with the rise of abstract expressionism or with the shock of pop art in the 1960s. For many who associate it with the rise of postmodernism, it refers to art made after 1970. 

For others, it is not a question of when but how the ideas expressed in the work resonate with the art of our time. Contemporary art then, as the term itself suggests, is an ever-shifting field of activity.

Though pushing boundaries is characteristic of contemporary art, it does not mean that what is past ceases to be of interest. On the contrary, it lives on as a vital touchstone. 

One very tangible example of this relationship can be found in appropriation art, which is a contemporary art form that involves the reproduction and use of existing objects or artworks.

The term avant-garde was introduced in the mid 1800s to describe artists who were exploring new ideas and forms, and today it is strongly associated with modern art movements of the late 19th and early 20th centuries such as futurism, cubism and surrealism. 

This idea of artistic innovation and originality, with its roots in the avant-garde, remains an important one in contemporary art.

Among the key issues that have shaped the character of contemporary art since the mid 20th century is the way artists began to respond to new technologies. Korean artist Nam June Paik (1932-2006), for example, helped redefine television and video as an art medium. 

Other important markers include the beginnings of installation art and conceptual art, the use of new materials, the impact of indigenous art, and the rethinking of the found object in art or what was coined a readymade by the influential French artist Marcel Duchamp (1887–1968).

With the availability of the internet, high speed communications, faster travel and increased mobility, contemporary artists have access to an enormous range of human culture. As a result, relationships to place, people, ideas and geography have been radically revised. 

This continues to be evident and explored in contemporary art. 

(http://www.artgallery.nsw.gov.au/discover-art/learn-more/contemporary-art/ information)

MATERIALS & TECNIQUES

Carolyn McKenzie- Craig

Mckenzie-craig_carolyn

DESCENT-without-GAZE-mulit-plate-etchings-and-linocuts-120cm-by-120cm

Medium:

Drawings and printed text, solvent releaser, etchings, mixed media and video.

Etching technique:

In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with a pointed etching needle where he or she wants a line to appear in the finished piece, so exposing the bare metal. The échoppe, a tool with a slanted oval section, is also used for "swelling" lines. The plate is then dipped in a bath of acid, technically called the mordant (French for "biting") or etchant, or has acid washed over it. The acid "bites" into the metal (it dissolves part of the metal) where it is exposed, leaving behind lines sunk into the plate. The remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, leaving only the ink in the etched lines.

The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the etched lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the plate shows much sign of wear. The work on the plate can also be added to by repeating the whole process; this creates an etching which exists in more than one state.

Etching has often been combined with other intaglio techniques such as engraving (e.g. Rembrandt) or aquatint (e.g. Goya). (Wikipedia information)

Printmaking technique:

Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable of producing multiples of a same piece, which is called a print. Each print produced is not considered a "copy" but rather is considered an "original". This is because typically each print varies to an extent due to variables intrinsic to the printmaking process, and also because the imagery of a print is typically not simply a reproduction of another work but rather is often a unique image designed from the start to be expressed in a particular printmaking technique. A print may be known as an impression. Printmaking (other than monotyping) is not chosen only for its ability to produce multiple impressions, but rather for the unique qualities that each of the printmaking processes lends itself to.

Prints are created by transferring ink from a matrix or through a prepared screen to a sheet of paper or other material. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the screenprinting process. Other types of matrix substrates and related processes are discussed below.

Multiple impressions printed from the same matrix form an edition. Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition; the matrix is then destroyed so that no more prints can be produced. Prints may also be printed in book form, such as illustrated books or artist's books.

Heidi Stevens

Heidi-stevens

My-monstrous

Medium:

Mixed media, archival print, Photographs

Archival Print

"Archival-Prints" are Museum-quality Fine-Art reproductions. Sometimes called "Giclee Prints", these artworks are made with an ultra-high-resolution fine-art printer, using the very finest archival inks and papers. Independant testing by Wilhelm Imaging Research Inc. (a world-leader in image-longevity testing) has established that these "Archival-Prints" will last more than 200 years before any noticable shift in color integrity occurs. They are truly "Museum-quality Fine-Art reproductions".

Archival-Prints are made with 2 different kinds of paper. The satin finish of the "Semi-Gloss" paper is the ideal surface for reproducing oil paintings. There is enough coating to provide the richest and most accurate colors, but not so much coating that reflective gloss makes the image difficult to see. Drawings and watercolor images are reproduced on "Archival-Matte" paper, an uncoated stock which gives the reproduction the look and feel of the original. The "251 gsm" weight of the paper (corresponding approximately to 100 Lb. cover paper) is also ideal. These art prints have not only the look, but also the heavyweight "feel" of fine-art prints: they are both sturdy and tear-resistant. (http://www.jonathonart.com/digital.html information)

GALERY REPORT - THE GALLERY

GALLERY REPORT

THE GALLERY

We are The Hold Artspace, a contemporary exhibition space located in West End, Brisbane. Our aim is to support and enrich critical emerging art in Brisbane by providing an outstanding exhibition space for artists to present their work. Our comprehensive curatorial service provides a platform for artists, curators & writers to develop their professional practice and gain exposure to wider audiences. We emphasise the importance of critical dialogue by engaging with audiences through our public programs and digital publications. We take pride in every one of our exhibitions and we strongly believe in working collaboratively with our artists to ensure that every exhibition is tailored to the artist's specific needs and is executed at a professional standard.

We are always looking for artists, artist groups and ARI's, writers, curators and volunteers to join our busy exhibition calendar. If you are interested in getting involved please click here for more information.

Luke Kidd & Kylie Spear

Co-Directors

The Hold Artspace

http://www.theholdartspace.com

Address

Level 2

274 Montague Rd

West End Q 4101

Phone: 0414 441 922

email: info@theholdartspace.com

Operation hours

Wednesday - Friday 10:00am - 4:00pm

Saturday 10:00am - 2:00pm

VIDEO OF THE EXHIBITION

VIDEO RECORDING

OF THE EXHIBITION

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