Unit 2: Research and Contexts

I have spent much of this term experimenting with etching steel as a way of communicating through image, my research into the exploitation of the working class under Capital. My primary concept has centred around the theory of 'Common Sense' according to Antonio Gramsci and contemporary examples of this, such as; the introduction of unpaid breaks and anti-strike legislation, my own experiences with regards to labour and other media reports regarding this area. These are examples of primary and secondary research, as I have attended protests against the undermining of the working class, as well as reading theory and stories which influence my work. During this term I have attended the 'Marx Memorial Library', which is an extremely rich source of material and am looking forward to making further use of this to use in my work. This term has also seen many visitors whose comments about my work have helped me understand more about it and helped develop my ideas. I feel like much of my output this term is not complete work, but I am happy with developments made both technically in the workshops and with regards to research. During Unit 2 we have also had the chance to exhibit twice, away from Camberwell in gallery spaces, I believe these experiences have both been influential to how I think about my final output and applying for exhibitions.

Filet and Barge House (OXO Tower)

For me, the Filet Show did not go how I imagined it, as the curator chose to exhibit my 10x9.5cm print at the top of a large, spiral-like combination of works, meaning the detail and intimacy of the text, edges and textures were completely lost, appearing it as just a shape or an outline too far away to grasp. Following that, I decided for Barge House that I wanted to ensure my work was how I felt it had to be shown, as well as helping to curate the rest of the show. I believe this experience proved beneficial for me not only with how the exhibition went and how my work was shown, but for creating work moving forward with how the curating team might want to display it. I also feel fairly confident that I could also play a part in curating and would even consider this as a possible pathway moving forward for me.

With the degree show not too far away, I have been planning an installation of plates and believe the experiences gained here will help the work to be more successful. I will be playing particularly close attention in the BA shows (which are in the same building) to the spaces, their lighting, how installations react to other works and how to make my work, work best.

Visitors

Although there is an emphasis on off-site, influential experiences and contexts for this semester, much of what has underpinned the advancements I have made with my practice have come from conversations with visitors, including guest lecturers and other students in an exchange programme with Cambridge School of Art; so I have included a section on this because I believe it to be important.

Firstly, when critiquing my work, in a group format with students from Cambridge School of Art, we talked about the abstract forms taken when over-etching the steel plate so that it's edges were battered and torn as well as using marks made by sugar-lift in my prints as a way of portraying chaos under the current political climate. One of the comments mentioned how there was conflict in my work, but not simply with violent marks made, but between me and the steel plate and how I am working against it by exposing it to nitric acid for extended periods, as well as by grinding away parts to thin the material so that it deteriorates quicker. I quickly began to liken this to the treatment of workers under capital and it was also picked up by Denise Hawrysio, who mentioned how I am exploiting the plate to turn it from an ordinary steel plate into an artefact of worth and value. These types of conversations and critiques are vital to me because often I have ideas but find it difficult to express them with clarity, through discussions with others I find it easier not just to express my ideas but also to develop them further.

Another similar conversation was with Victoria Ahrens who gave a lecture on her research and practice which gave insight into ways of creating primary research. When we spoke about my work, she suggested the text used required the reader's concentration and more attention as it was smaller and had been eroded in sections ('Exploit') and that this created an opposition to headlines used by the media which are easy to interpret and therefore perhaps easier to forget. This was an element of my work in Unit 1 and I am glad that it had become apparent in my work here. Sometimes feedback is an indication that something is successful and works how it is intended to.

Extended Research: Marx Memorial Library and Workers School and protests.

As I have tried to extend my research further afield than the media and the library, I have begun to find other options for research which will go on to underpin new ideas as well as my current ones. The Marx Memorial Library in Farrington is a library with an archive of artefacts including books, pamphlets, posters, items and records. Recently I began to read 'Capitalist Exploitation of the Worker' which is full of important information and research which I may include extracts from in future prints. Also at this facility are lectures on Zoom and in person, as well as weekly courses which aim to educate on certain areas. Unfortunately I missed the course named 'Trade Unions, Class and Power' by a day but I have signed up for other online lectures which are approaching in the coming weeks.

Although incredibly useful, this kind of research is more relating to knowledge as opposed to experience, so I will also continue to gather primary research, done by attending protests as well as simply being a worker, working a job and referencing in my work what I am experiencing.

In a recent work 'Exploit', I etched a piece of text from; 'F. Berardi, 2017, Futurability, The Age of Impotence and The Horizon of Possibility', (mentioned in 'Critical Reflection) which is juxtaposed with a CMYK print of an image I took at a protest which was in opposition of the anti-strike legislation proposed by the Government. This is therefore then a combination of primary and secondary research which support each other according to their subject matter. It is also representative of an external event which helped influence specific work. As well as images, I have been recording phrases used by speakers to use in my work.

Samuel Ross - Land

White Cube

I visited this exhibition at The White Cube, a week after our Barge House exhibition and it provided an alternative with regards to curation and setting. The work itself was a compilation of paintings made up of collage and gesture, with the inclusion of industrial materials such as utility cloth, metal masonry paint, chipboard and industrial tape. The works paid homage to the artists background through both visually and conceptually including these elements, something which I believe I could incorporate as reference to working as a fabricator and how my work is representative of theory but is also personal to me. The paintings also used layering and texture to further portray this sense of industrialism, but in a more subtle way compared with how I sometimes assemble different materials. I especially admired the use of chipboard which he had painted over but due to its texture, was still visible when closely inspected. These are elements I could include in my work moving forward.

Antonio Gramsci: Common Sense

"The idea that one can succeed economically if one just tries hard enough is a form of "common sense" that has flourished under Capitalism. In other words, if one believes if all it takes to succeed is hard work and dedication, then it follows that the system of Capitalism and the social structure that is organised around it, is also just and valid.

It also follows that those who have succeeded economically have earned their wealth in a just/fair manner and that therefore those who struggle economically deserve their impoverished state"

- Gramsci on "Pulling one's self up by the bootstraps".

Fatigue, Work Breaks and Common Sense

- copied from my sketchbook for clarity regarding handwriting

You only need a break because you're at work. I started Morrisons when I was 17 (2011) and they told me every 4 hours *by law* they had to pay me for 15 minutes break time. I left in 2015 and at my new job they paid me one 15 minute break over a 9 to 12 hour shift with 30 minutes for 'lunch' unpaid. The lack of breaks during these shifts lead to fatigue, which followed with mistakes, which lead to retaliation and the mistreatment of workers (from exhausted management who lived off coffee). When I returned to Morrisons in 2019, they had taken away the paid 15 minute break and instead insisted on finishing 15 minutes later if you wanted a paid break. It's just scruffy as fuck.

It should be law that the worker is paid for break time as they are paid for working. You only need a break because you are tired (or will get tired) from working. Now 'Honest Burger' are threatening 'Fire and Rehire' for workers who do not accept changes to their policy regarding paid breaks.

- and that's where we're at after 13 years of Tory governing

Eddie Chambers - How Much Longer You Bastards? 1983

Some images of ideas for work with the influence of Eddie Chambers print "How Much Longer You Bastards". Also research done into CMYK screen-etch resist on steel.