Artist Research, Contexts and Professional Practice
In this section I will talk briefly about some of my influences. These include artistic influences such as Peter Kennard, Charles Bukowski and Chila Kumari Burman. Fundamental to my practice is the writings and ideas of Antonio Gramsci, Franco Berardi and ultimately those of Karl Marx, although his impact I will discuss through Gramsci.
Crehan. K, (2016), Gramsci's Common Sense Inequality and its Narratives, London: Duke University Press
Antonio Gramsci
I first heard of Antonio Gramsci when researching Thomas Hirshhorn and his work. Hirshhorn had created a large-scale installation named Monumental Endeavor: Thomas Hirschhorn's Gramsci Monument, which through participation of the public brought Gramsci's ideas and philosophy to the 21st Century. What stands out for me about Gramsci is his understanding of why Marxism did not prevail in Italy and the West in the way Karl Marx believed it would. Marx believed that a working class uprising was inevitable, but as we see in today's capitalist society, this was not the case. Gramsci outlines how the ruling classes manipulate the lower classes through forms of social, economical and political hegemony. This means that capitalists utilize entities such as the media, religion, education and other social institutions to condition the people to accept this as simply a natural way of life. This allows rulers to 'peacefully' maintain their position. Within my recent work Spent and Consumed, I have described The Royal Family as the most obvious example of this. A family whose rule and wealth is widely accepted because of the way the media and social institutions and traditions elevates them above everybody else.
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The idea of "pulling oneself up by the bootstraps" is one of 'common sense' and is used by capitalism to manipulate workers into extracting their labour power into a profession in the exchange for capital. In other words, if capitalism is fair and just then those who work hard enough will achieve success and those who do not, will not. This of course, is simply not the case and is often the opposite of reality, with executives and owners accumulating wealth by having wealth to begin with. It also ignores that fact that those born into wealthier families have a head start on the lower classes. 'Common Sense' in this instance, also forgets those who may be subject to discrimination which may effect their chances of 'success'. This manipulation of labour power has determined much of my work right through from Unit 2's Overtime, to Abraded, Slog and Toil Worn.
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Cole, NL. (2020) What Is Cultural Hegemony. What Is Cultural Hegemony? (thoughtco.com)
Charles Bukowski
I thought I would mention Bukowski here amongst other artists because his work has influenced the texts I have written. Bukowski famously became successful later on in life after working numerous jobs, often resorting to alcoholism and gambling to keep him going. His works are authentic because they come from a worker and talk of working class subject matter. Whilst his work is clever and witty, it is often hard-hitting and straight to the point, often appearing crude and violent. I began writing with his spoken word performances playing on loop in my head - as words and songs often do. I have found my writing shares a rhythm with some of his works such as 18 Cars Full of Men Thinking About What Could Have Been and specifically with Abraded; Dinosauria We.
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"Days with glass edges and the impossible stench of river moss worse than shit -
solemn and sun-glazed up a road, where a man man sits awaiting among the blue jays and wrens nested in and sucked a flakey grey.
The days of the bosses, yellow men with bad breath and big feet, men who look like frogs, hyenas, men who walk as if melody had never been invented.
Men who think it is intelligent to hire and fire and profit..."
Bukowksi. C, Eighteen Cars Full of Men Thinking About What Could Have Been, charles bukowski - eighteen cars full of men thinking of what could have been - YouTube
Chila Kumari Burman
Riot Series (1981)
Riot Series is a politically charged series of prints which uses the qualities of etching and what you can achieve with these qualities to create an atmosphere and a texture which is worked upon with other forms of print such as lithography and screenprinting. It is perhaps the first example of image collaging within photoetching that I was exposed to and in terms of visual language it certainly influenced my work, particularly in Unit 1, but also throughout the MA. Her work also features evidence of fragmentation; images being broken up through process to portray chaos and anarchy. The way she approaches process and exploits materials and their properties has been fundamental towards the way I approach printmaking and image making.
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Chila Kumari Burman MBE - Triptych No Nukes, 1982
Peter Kennard
Before the degree show I visited his exhibition "Silent Coup" at SPACE Studios, 6 Stannary Street, London. The exhibition was in collaboration with his son Matt Kennard and his book written about global capitalist super powers that exploit poorer countries for their assets. The work was hung using beam clamps which changed my perspective on ways in which prints can be exhibited. The clamps and steel rods gave the work a new meaning, appearing it more physical, industrial and three, dimensional, even though they were on paper. It also allowed for lights to shine onto the paper, which flashed on and off on a timer, so that different prints in the series became visible whilst others dimmed. The subject matter of the show supported the themes of the book and used photomontage upon newspaper containing information on the stock market and Wall Street. It was an excellent example of working towards a case study in collaboration with a researcher, in order to raise awareness towards global issues through artistic practice.
Later on in the year, I attended a talk with Peter Kennard and Loraine Leeson who both discussed their use of photomontage and how it can be used to spread awareness regarding political injustices. Leeson spoke about how her and her group used billboards in the 1980s to display artworks, which they kept adding to, layering new image over the top. Kennard spoke about his work as activism and effective ways of making work and reacting to what is going on in the world.
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Peter Kennard, Britain 2022
I will add here some other elements that have impacted my practice and the way I think about making art and how it is presented. Firstly, in October I worked at Frieze contemporary and was exposed to hundreds of contemporary art works including paintings, prints, drawings, sculptures etc. When I was there I studied mostly, the Timothy Taylor gallery's curation of the work and sketchbook of Eddie Martinez. I feel that moving forward I have ideas on how to present my research and thought of working this way at our research festival. To add to that, I was observing how artists use frames. Scrap paper drawings and collages when framed correctly can be viewed entirely differently. Two examples which stood out to me in this regard were Franz West and Giacometti. (Frieze Masters)
Franz West
Giacometti
Recently, I have been accepted into the Small But Mighty open call with the Royal Society of Printmakers. I will also be exhibiting work at The Clifford Chance Postgraduate Print Makers Award ceremony in late November. Whilst preparing for these opportunities, I have considered the different kinds of frames, glass and the way in which the paper is either floated or mounted. I have contacted and dealt with professionals regarding these details for the first time and feel more prepared for life after university when applying for open calls and other possibilities.