Introduction
I am a 4th year student of BA in Contemporary Art Practices at Galway-Mayo Institute of Technology (GMIT) Castlebar, Ireland. This portfolio is a selection of work and research done for the fulfillment of the modules Self Directed Project and Community or Context-based Project. It also reflects learning from the modules Art and Public Sphere, and Contemporary Art Theory. The Self Directed Project includes research and art practice based on independent inquiry into a selected subject/theme.
Context and Research
Art practice is a vehicle for inquiry and knowledge development. It is defined as the application of skill in the production of visible works of imagination, imitation or design (painting, sculpture, architecture, etc.) according to aesthetic principles (SOED, 1993).
My self-directed project was an exploration of the concept of 'nonduality' in contemporary art practice. In the Western philosophical traditions, nonduality relates to the mind-body or subject-object issue. Nondualism primarily refers to a mature state of consciousness, in which the dichotomy of ‘I’ and the ‘other’ is "transcended’’. In the Eastern traditions (Advaita Vedanta, Buddhist philosophy and Sufism in Islam), nondualism is similar to the 'spiritual experience', or 'experience of oneness'. Non-duality means "not two" or "one undivided without a second". It is the human experience of oneness with all things; a sense of connection to and identity with the entire universe. In my studio practice, I explored materials, mediums and methods used by contemporary artists to express nondual or 'spiritual' experience. My practice is supported by my thesis 'Contextual Review of Nonduality in Contemporary Art Practices'. The thesis compared Western and Eastern secular concepts of nonduality, methods used by contemporary artists to create nondual art, and suggested a framework for studio practice. |
The main learning points from the thesis were:
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Artists
Below is a selection of artists who have made work which stimulated discussions around subject-object nonduality.
Kasimir Malevich (1878-1935)
Malevich named his art Suprematism to represent "supremacy of pure feeling or perception in the pictorial arts" (The Art Story Contributors, 2020). Malevich rejected representational art. In an essay he wrote that ‘Painters should abandon subject and objects if they wish to be pure painters’ (Malevich, 1915). Suprematism envisioned man as both originator and transmitter of absolute non-objectivity – world’s only true reality; ‘...a blissful sense of liberating non-objectivity drew me forth into a "desert", where nothing is real except feeling...’ (Malevich, 2003, pt.ll). I feel drawn to Malevich's work because of its simplicity and minimalist style. His approach opened my mind to possibilities of expressing philosophical ideas like anti-materialism and nondualism through visual art. |
Barnett Newman (1905 – 1970)
One quality of a spiritual artwork is it being ‘sublime.’ A large Newman painting can create a sense of wonder and awe what is described as the sublime (Shaw, 2007, p.7). I am influenced by the colour field paintings, in general, which 'captivate' the viewer because there is no form, distinction or a sense of reference. This type of artwork is also an example of 'immersion' into a state through a physical object, the artwork. |
Bill Viola (born 1951)
Viola’s conceptual work is an example of broadening the definition of art to encompass 'spirituality'. He creates environments that are more about thought with less emphasis on the concrete. Viola references spiritual and religious teachings in his work, including Chinese Taoism, Sufism, Judeo-Christian mysticism, Buddhism, and Zen Buddhism (Guion, 2008). I am particularly interested in Viola's use of double video screens juxtaposed to convey an idea. |
Mona Hatoum (born 1952)
Hatoum explores a variety of different subject matter via different theoretical frameworks. Her work can be interpreted through the concept of space as her sculpture and installation work depend on the viewer to inhabit the surrounding space to complete the effect. There are always multiple readings to her work. Hatoum's work provokes unique and individual reactions from different viewers. I especially like her objects and videos which evoke a strong psychological and emotional response. |
The computer generated imagery of the Irish artist Ailbhe Ní Bhriain represents the theme of nonduality, perception and interplay between parts and the whole.
Some other artists who have similar themes in their work are:
Agnes Martin, Adolph Frederick Reinhardt, Anslem Kiefer, Anthony Gormley, James Turrell, Shirazeh Houshiary, Mark Rothko and Damien Hirst.
I am also influenced by how these artists have used various materials and mediums:
Robert Rauschenberg, Richard Tuttle, Ellsworth Kelly, Eva Hesse, Rachel Whiteread (House, 1993), Robert Ryman, Idris Khan, Frank Stella, Brice Marden, Douglas Gordon, David Row, Richard Van Buren (work in 1970s) and Sarah Sze (Fragment Series).
Agnes Martin, Adolph Frederick Reinhardt, Anslem Kiefer, Anthony Gormley, James Turrell, Shirazeh Houshiary, Mark Rothko and Damien Hirst.
I am also influenced by how these artists have used various materials and mediums:
Robert Rauschenberg, Richard Tuttle, Ellsworth Kelly, Eva Hesse, Rachel Whiteread (House, 1993), Robert Ryman, Idris Khan, Frank Stella, Brice Marden, Douglas Gordon, David Row, Richard Van Buren (work in 1970s) and Sarah Sze (Fragment Series).
Studio Practice
The work I produce is conceptual, interdisciplinary and research oriented. I start working on a project by researching and identifying theme/s for the work. This is followed by selecting materials, mediums and methods and the production of work. The work is evaluated and analysed to recognise new knowledge to refine the practice (adapted from framework presented by Gray and Malins, 2016).
My initial engagement with materials and mediums is usually without any preconceptions of what they are going to look like. This gives me a 'way in' to develop an insight about the material I am going to work with: how can it just 'be', or how it can change/transform, etc.
Often materials, objects, incomplete paintings, ideas written on paper, lie around for a long time in the studio without any engagement or with very less engagement (like changing its position or putting it beside something else). This is followed by a 'testing' phase where I apply various methods and note down results (e.g. drawings, digital processing, models, etc.). These 'tests' are evaluated to select the final form, scale, etc. Sometimes a work in process seems to better represent the original idea and it is left as it is.
I had planned to produce an installation for the degree show by assembling various selections from my work. A variety of methods I used to produce work are presented in the section Methods.
My initial engagement with materials and mediums is usually without any preconceptions of what they are going to look like. This gives me a 'way in' to develop an insight about the material I am going to work with: how can it just 'be', or how it can change/transform, etc.
Often materials, objects, incomplete paintings, ideas written on paper, lie around for a long time in the studio without any engagement or with very less engagement (like changing its position or putting it beside something else). This is followed by a 'testing' phase where I apply various methods and note down results (e.g. drawings, digital processing, models, etc.). These 'tests' are evaluated to select the final form, scale, etc. Sometimes a work in process seems to better represent the original idea and it is left as it is.
I had planned to produce an installation for the degree show by assembling various selections from my work. A variety of methods I used to produce work are presented in the section Methods.
Reflection and Analysis
Evaluation and analysis of the artwork is part of the process of making artwork, to interpret practice outcomes. Producing an installation based on a theme required skills to not only create cohesive elements of the installation, but also to have a body of work which is supported by a theory.
Challenges
The main challenges in this project were: working with different types of materials and mediums (drawing, painting, video, objects), trying to bridge the theory with practice, and improving my studio skills in light of feedback from my teachers and colleagues.
In light of a previous feedback on my work, I made efforts to overcome my lack of consideration of material by research, experimentation and reflection. I learnt about importance of duration (time) in process of making art, respect for materials (especially paint and surfaces), and developing 'depth' in work through practice. I improved my surface priming approach for painting, research skills and 'tested' materials before creating the final artwork.
I developed parameters of practice to demarcate my practice like making a practice plan, selection of materials, colour palette, and techniques.
During the process of making art, I kept myself as much aware as possible, of what am I doing and why? These are difficult questions and probably there is no one answer to them. But repeated questioning resulted in developing a focus and direction. This is something I lacked when I started the project, and it improved my conviction to work. I gained more confidence about my work after fruitful discussions with my teachers, and interaction with colleagues.
Future
I want to continue with the line of inquiry I chose for my Self-directed project.
I would like to improve on ways to write and talk about my work, in addition to strengthening the practice-theory link.
I would like to develop a research-based practice in future by incorporating and building on the the skills learnt at GMIT.
Challenges
The main challenges in this project were: working with different types of materials and mediums (drawing, painting, video, objects), trying to bridge the theory with practice, and improving my studio skills in light of feedback from my teachers and colleagues.
In light of a previous feedback on my work, I made efforts to overcome my lack of consideration of material by research, experimentation and reflection. I learnt about importance of duration (time) in process of making art, respect for materials (especially paint and surfaces), and developing 'depth' in work through practice. I improved my surface priming approach for painting, research skills and 'tested' materials before creating the final artwork.
I developed parameters of practice to demarcate my practice like making a practice plan, selection of materials, colour palette, and techniques.
During the process of making art, I kept myself as much aware as possible, of what am I doing and why? These are difficult questions and probably there is no one answer to them. But repeated questioning resulted in developing a focus and direction. This is something I lacked when I started the project, and it improved my conviction to work. I gained more confidence about my work after fruitful discussions with my teachers, and interaction with colleagues.
Future
I want to continue with the line of inquiry I chose for my Self-directed project.
I would like to improve on ways to write and talk about my work, in addition to strengthening the practice-theory link.
I would like to develop a research-based practice in future by incorporating and building on the the skills learnt at GMIT.