Working in layers
The essence of working with found objects (or scrap material) is that their varying nature will impose different layers upon the composition. This effect is based upon the different origin, structure and function of the elements: wood, metal, glass, stone, plastic, etc. As a consequence, each bears a different weight and ease for penetrance (transparency), that will influence the composition. Each element also has a different affinity to secondary layers such as paint.
On top of this, steered by the artist, the position of the elements will profoundly affect the nature and complexity of the artwork composed.
Thus, for one art-work, I will start by choosing a firm undergound like a multiplex wooden panel, and build upon this smaller or larger elements fixed with glue or screw. Next, it is time to add other elements, elevated upon a tiny screw or nail as supportive tiny structures, that bring these elements to float above the underground. Wires attached to nails, may connect the former pieces, and at the same time, are to a large extent independent and flying for much of their length.
In a next artwork, thin wooden sticks will be connected and used as support for complex bodies (wood, metal) that may get cover of a wired mesh. At juxtaposition – at the same level or above -, pieces of glass may be placed. The latter, if put under (sun)light, will present yet another dimension by reflection of parts of the environment. As such, this environment adds to the multi-facetted dimensions in the complete composition.
In some works, solid structures imaging buildings, may carry stakes that stick outward, or – in reverse – inwards. This will create emotional layers, not structural ones. Doubt about one-self, about the outside world, may lead to introduction – often late in the assembly – of tiny details that question the impression arising at first glance. In the end, it is the eyes of the spectator, with his / her experience of life, that lead to the ultimate image and understanding.
One and the same art-work, can lead to completely different seeings and 'immotions', varying between spectators and between artist and spectator.
(artwork depicted: Kaleidokopus)
(c) drager meurtant, January 2014.