Throughout history our socially constructed binaries have shaped the way we perceive the world. However, within our contemporary age these 'pre-perceptions' are continuously challenged by artists and designers, who blur the line between set binaries and their defining conflictions.
Artists such as Austin Lee, Theo Jansen, Joshua Allen-Harrisand Kara Walker have influenced my work through their exploration of 'organic life' and synthetic objects within art and how far this influenced perception can be challenged. This perception is particularly relevant in our modern, technological era, as our sense of what is 'real' or 'organic' is constantly tested with the adaption of the digital within our environment, which forces us to question the very definition of 'real'.
In my work I continue to explore this concept of social binaries through the understanding of 'organic' compared to 'man-made', and the similarities found outside their opposing definitions through the representation and questioning of such social binaries.
My artwork, ‘Window view’, represents this constructed perspective through the shared expression of my own personal, every day view, which I see through my bedroom window. This scene can relate directly to the audience, not only from the depiction of the common town and Australian landscape but forces individual reflection and comparison of the natural and man-made within our own, everyday window view. This contemplation of our own experiences allows an understanding of the role of social binaries within our everyday and continues to question our perception.
This is emphasized within my artwork through the use of its curve, as the flexible base moves around a corner compared to the usual flat form, utilizing its translucent material to create a synthetic window inside the room. The 3D inclusion of power lines also exaggerates this perspective as it forces a recognized depth to the environment through layering and it’s connected form.
My artwork consists of similarly conflicting mediums and techniques to challenge our perspective of their depiction, as well as their roles as synthetic and organic materials. The expression of man-made objects in my scene, such as houses, the telegraph tower and power lines, are created using raw yarn and undyed, cotton thread. The use of natural colours and rough, hairy textures allow its instant recognition as an ‘organic’ material, contrary to its depictions. In contrast, all depictions of nature, such as the tree line and Australian Gullahs, are all made of recycled, translucent plastics. Their bright colours, such as neon green and pink, stand out against the clear base and natural stings, forcing the viewer to recognize their composition and follow the vector lines of their edges to further exaggerate their overwhelming presence within the artwork. Vague shapes and use of silhouettes are also used emphasize their synthetic medium, and allow a constructed, lifeless feel through their specific layering and geometric edges. The birds appear detailed through their individually cut feathers, which adds interest to their form, but fails to capture the character of a living creature through their still construction. Their inclusion, as national Australian birds, also adds to the depiction of an Australian landscape, and further relation to the audience from it’s familiarity.
The artwork is constructed with sewing, both hand and machine, as well as glue and double-sided tape. Sewing is commonly seen as more personal through the use of unique, imperfect stitching. This connotation was used within the construction of the man-made, which conflicts with it’s actual construction by machines in reality. A more synthetic binding of glue and tape was used to attach the natural depictions in the scene, which not only emphasized it’s translucent quality, but allows an unrealistic construction which exaggerates the confliction of the social binary it represents.
My artwork encourages the audience to question their own, personal lives and perspective of the world. Though it’s window representation, my artwork allows as universal relation from the audience, symbolizing their view of society through the deliberate expression of a local community. This forces comparison and self-reflection of the world we live in, allowing us to see past set binaries such as ‘synthetic and organic’ and blur the conflicting lines between them to further understand their role in our world.
Bibliography/ referencing
Austin Lee, ‘Serious Works’exhibition, march 2017, https://www.itsnicethat.com/articles/austin-lee-art-140717
Austin Lee, ‘Smother’, acrylic on canvas, 2015, https://www.itsnicethat.com/articles/austin-lee-art-140717
Calvin Nicholls, “Birds in art”,poster exhibition, 2017, http://www.calvinnicholls.com/567256/art-museum-and-gallery-shows/
Dorea Reeser, Natural versus Synthetic Chemicals Is a Gray Matter, April 10, 2013, https://blogs.scientificamerican.com/guest-blog/natural-vs-synthetic-chemicals-is-a-gray-matter/
Theo Jansen, kinetic sculpture, ‘Strandbeest’ (1990), 2016 exhibition, https://www.exploratorium.edu/strandbeest)
Sprout, Green Art Installations: Air Bear and Other Inflatable Bag Art, March 22nd, 2013, http://ldsearthstewardship.org/2013/03/green-art-installations-air-bear-and-other-inflatable-bag-art/)
Joshua Allen-Harris, kinetic sculpture, ‘Air bear’ 2008, http://ldsearthstewardship.org/2013/03/green-art-installations-air-bear-and-other-inflatable-bag-art/)
Kara Walker, Gone: An Historical Romance of a Civil War as It Occurred between the Dusky Thighs of One Young Negress and Her Heart‘, 1994, http://www.melissahuang.com/2011/11/06/women-in-art-kara-walker/
Melissa Huang, “Women in art: Kara Walker”, 2011,http://www.melissahuang.com/2011/11/06/women-in-art-kara-walker/
Singing wings aviary gallery, n/a, http://www.singing-wings-aviary.com/rose-breasted-cockatoo-galah.htm
Tony Rogers, how plastics are made and what we need to know about them, July 22, 2015, https://www.creativemechanisms.com/blog/how-plastics-are-made-and-what-you-need-to-know-about-them
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