The fundamentals of any art project is the research, the what, who and how. It can be as interesting as you make it, but for some people its a passionately hated part. I don’t really see it like that as I enjoy finding other peoples art and going to galleries, seeing what they’ve made and what its out of. I can find the final product a little uninteresting without seeing the work before it, as I literally wont pay any attention to rubbish suspended as the designs and the reason behind that sort of piece is what’s interesting and thought out. Id really like to see sketchbooks of the artists in display along with the work.
The down side to research will always be the analytical thinking behind all the images you collect, plus keeping track of the Harvard referencing don’t leave half of it on another device … Research will always need to have work behind it showing why you chose it and what the piece means etc. Which drives people mad on my course and I do understand as they just want to start creating. But I don’t know how anyone can just jump into such an open brief like FMP and then know where their going. You need to start it like most things at the beginning, so mind map themes and research themes to narrow down your path. Much like Ogres a project has layers so you go through each, one at a time and they lead you to the next.
I wanted to do the broad theme of nature so research was pretty broad, including taxidermy, photography, drawing, printing, life cycles, preservation, destruction, the senses like a lot of open ended stuff. I found out what I did and didn’t like as I didn’t want to produce any more 2D pieces nor balm to freakin goat though I do like his little jumper. My research led me to Manchester History Museum for the taxidermy, where I found out for definite that I wanted an interactive piece because look at him don’t you just want to pet. I hate museum rules and I used to always find a way to touch art that I shouldn’t as a kid ( goat joke ).
From looking at the taxidermy I new I didn’t want to ‘stuff’ to produce preservation but I want really interested in the decayed side, which is no surprise. It led to looking at galleries for others take on the effect of decay, galleries are pretty seasonal and even though I never found something exactly what I was looking for. I got still inspiration from other works, from the composition to materials. The galleries I looked at were Manchester to the ‘Strange and Familiar’ exhibition, which shows the Uk in the eyes of non natives, showing all the quirks and tendencies which brits do. It was one of the best exhibitions I’ve ever seen, It had a large display of photographers including Cartier-Besson and the layout of the exhibition so very good. I cant say I added much to my sketch book about the exhibition but I like the activeness of going out to look for the art instead of just using the internet.
We also went on a London trip which led us to as far as the Tate and their History Museum which gave me tons more taxidermy pictures. London does tend to have the more well known artists like Monet and Picasso, but they had a wide selection of modern artists and instillations. I was looking closely at instillations for their interactive properties, to help mine to be less by the numbers predictable. I also got to see some of Rachel Whiteread photography which did make me fan girl hard. The museum was actually pretty good at showing different ways for interaction and education which I semi tried with my work. I think its well worth going out and researching other artists as it can really help inspire your own work and you can see what you like and how its been done. Its also a really good place to start when wanting to think out side the box with your work, like the use of combined materials. Like in Magdalena Abakanowicz ‘Embryology’ the sacks are made from serveral materials, and Sheela Gowda’s work which used human hair.