Scroll
Using a similar format as the Japanese book I decided to use a scroll that I purchased in Tokyo, the use of this scroll has certain personal or autobiographical elements to it which are very much unknown to the viewer but I find it interesting to note that the scroll was purchased many thousands of miles away and I had kept it in storage for a long time before I decided to use it, there is an artifact quality here that is not necessarily anything beyond personal interest but for the scroll to travel to my place of making and then the mark making experience travels across its surface has an interesting quality. the process of the art works coming in to being began many years before I made the first mark.
Milsom,
P.
2015.
Scroll (Scrolling Process).
[Pencil, Graphite Powder, Erasing and
Video]
Provided by Artist.
Taking what has been learnt through the freer movements explored so far and the use of erasing as an integral part of the mark making the intention of this work was to explore the process of the emerging shapes that occur through physical action and how over time physical actions take on meaning beyond their original intention. There is a clear link to gestalt theory in this, where what first appear to be disparate moments of action that have little concious goal in their creation can, when performed in a series, take on a meaning collectively beyond their individual quality.
Where is the point when the physical action becomes a larger whole? Is there an identifiable moment or does it happen immediately when a mark is made? Of course when we look at something being presented in the context of art we immediately begin to perceive more than just the physical phenomena, but one dot on a piece of paper would, I suspect, has less potential for a percieved meaning than 1000.
when does the mechanical actions of craft become an aesthetic experience?
Taking what has been learnt through the freer movements explored so far and the use of erasing as an integral part of the mark making the intention of this work was to explore the process of the emerging shapes that occur through physical action and how over time physical actions take on meaning beyond their original intention. There is a clear link to gestalt theory in this, where what first appear to be disparate moments of action that have little concious goal in their creation can, when performed in a series, take on a meaning collectively beyond their individual quality.
Where is the point when the physical action becomes a larger whole? Is there an identifiable moment or does it happen immediately when a mark is made? Of course when we look at something being presented in the context of art we immediately begin to perceive more than just the physical phenomena, but one dot on a piece of paper would, I suspect, has less potential for a percieved meaning than 1000.
when does the mechanical actions of craft become an aesthetic experience?
Milsom,
P.
2015.
Scroll (Scrolling Process)(Detail.)
[Pencil, Graphite Powder, Erasing and
Video]
Provided by Artist.
Regarding the questions of when the art work begins and what mark is the catalyst for the transition from an action to an aesthetic experience the immediate thought that springs to mind is the first mark on the surface. the origin event of when the art work transcends from the mind into the physical world. this first action holds a great deal of importance as from this point all proceeding marks are informed by this action, directly or indirectly. there is no taking back this event, it would be impossible, even by erasing it, it still remains the point that the intention of the artist has become a physical phenomena and it remains on the consciousness of the mark maker. however when looking at a drawing as just the drawing we may not, as observers, be able to identify this first mark, so how might it be presented?
Milsom,
P.
2015.
Scroll (Scrolling Process).
[Video]
Provided by Artist.
Milsom, P.
2015.
Scroll (Scrolling Process).
[Pencil, Graphite Powder, Erasing and
Video]
[Installation]
Provided by Artist.
Yves Klein
Anthropometry of the Blue Period (ANT
82),
1960
Musée National d'Art Moderne, Centre Georges Pompidou,
Paris
Penwald: 6: project, recoil | 2011
graphite on paper
90 min
60 x 180 inches
graphite on paper
90 min
60 x 180 inches
WhyNot!, W139, Amsterdam, NL
Photo by Bart Dykstra
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