David Shrigley is widely knows as an illustrator who uses text and child-like drawings to create humour. He started off in the fine art based field but found he is wasn’t fully appreciated or understood. His work has become more present in books and prints for mainly commercial purposes.
I love the brave use of text that illustrates struggles in life, awkwardness, social situations, unpleasant thoughts and honesty but displayed in a humourous and ironic way. He brings light to uncomfortable topics and uses strange, odd sketches to illustrate and exaggerate them. Also he plainly states unconventional conversations and talks in a child-like, direct way that creates amusement. I hope to involve this sense of honest and pureness in the text I use for my final collection of work. I feel that if art conveys true emotion, thought and expression it is more memorable and thought-provoking.
Joseph Kosuth, a famous artist of Conceptual art movement is hugely influential in his written, minimalist and installation work. His ideas evolve around the use of language and text instead of visual imagery and explored the relationship between objects and words that are used to describe them.
His most famous artworks were from the series of One and Three installations (1965). This involved an object, a photograph of the object, and an enlarged photograph of the dictionary definition of it. This explores language and how we process words in relation to their meaning, as well as question what actually is the object – whether the text can be a part of the object too.
The focus on language and communication really interests me and I am thinking about creating a final piece, or series of pieces, that works with more conceptual, minimal use of text, and plays with the question of what can be considered art, or an object.
I discovered Johanson in ‘Vitamin D’ and was interested in his use of colour, blunt and entertaining text with childlike figures and diagrams. This artist didn’t have any formal education in art but started off painting skateboard and walls – always used to his work being judged by someone. He went on to belong to a movement names the ‘Mission School’ – The boho quarter of San Franscisco who were strongly influenced by mural, graffiti art as well as comic and cartoon art.
Martin Herbet comments on Johanson: ‘Drawing allows him hit-and-run speediness – and clearly more concerned with uncorking a flow of interrelated images than with an intermittent spluttering of masterpieces.’ – I love this explanation of the artist, who, similar to my practice, would rather get his ideas and thoughts across to an audience quickly and clearly than create painstakingly detailed interpretations of things.
Johanson says ‘I am for an art that embroils itself with the everyday crap and still comes out on top’. His work could be escribes as ‘Documentary Painting’ and plays with ideas of society and pessimism, the grind of daily life.
At the upcoming exhibition at the West Wharf Gallery, which I chose to be the environment for my work in this site specific project, I will be displaying a series of works instead of one final piece. As my work has slowed down in development, and I wont have a final piece until the summative assessment, I want my work to show a series of pieces as a collection to really show my ideas and experiments.
With a huge interest in Keith Arnatts’ work, I want to play with what I display in a public place. I have the idea of using ‘insignificant’ text, things i’ve jotted down or remembered, and then displaying them professionally. This makes normally unnoticeable words stand out, making it significant. I then want to loosely display my drawings to contrast with this neatness, having the appearance of coming from a sketchbook. This plays around with what art is art and what is seen as important to the viewer, widening the opinion on subject matter.
Christopher Wool is an artist who was born in 1995 in Illinois. He is best known for his large block painted black lettered paintings, but also works with printing, spray paint and silk printing.
The reason Wool is interesting to me is his use of overflowing text, the way the letters do not follow the structure of the words and so there is disruption when the audience reads the text. This links to my text pieces of conversation when there is little or no gap between sentences, and words carry on to the next line. With Wools’ painting it gives them an edge of urgency and really makes the words strong, as the difficulty in reading makes the reader go over it many times to make sense of the art. The words used also have a kind of humour and oddness to them, made more pronounce by the large block lettering in black.