Tate Modern:
Bruce Nauman
On 17th November 2017, I was, like a moth, instantly attracted to the bright lights of the Bruce Nauman exhibition (Tate Modern). His work demanded the viewer to (literally) take a step back and consider the purpose and context of his work. Nauman's extensive and imaginative use of media transmits a multitude of different ideas simultaneously. It is clear that his previous studies in Mathematics and Physics informed his practice and are a domineering influence on his work. One piece which caught my attention was 'Violins, Violence, Silence' (1981).
Violins, Violence, Silence
1981
Bruce Nauman
The artwork itself was made of coloured neon tubing with a clear glass suspension frame. As the letters overlap, it is hard to initially distinguish what the piece is actually conveying, proving rather disorientating. Additionally, the buzzing noise which accompanies the piece (originating from the neon tubing) is somewhat distracting. However, it is ironic that while reading 'violins' evokes a pure and unpolluted noise, in reality you are faced with a low, droning buzz. I enjoy the irony of Nauman's work and the complex ideas which lie behind the lights. There is much more to this piece than is initially apparent and I hope that other visitors to the gallery take the time to consider its complexity.
Another piece in the exhibition which caught my attention was 'Raw Material Washing Hands'(1996). The video, which documents one individual washing their hands constantly for 55 minutes is difficult viewing. It is reminiscent of a person suffering from obsessive–compulsive disorder (OCD) in which the individual is performing a routine repeatedly, as though it were a ritual. The video becomes painful to watch as we see the individuals skin being overworked by the soap and water and I must admit that although the video runs for just under an hour, I watched it for no longer than 10 minutes.
Raw Material Washing Hands,
Bruce Nauman
1996
After seeing Nauman's work, it is clear that he questions and stretches the boundaries of what it is to make art. He has purposefully left behind traditional notions of 'fine art' and has distanced himself from paint as a medium.
Latex
I needed to make a couple of masks for one of my recent projects entitled 'A Multifaceted Medium', and after some extensive research I decided that latex would be most appropriate. After borrowing a plaster face from the Theatre Design department, I started the lengthy process of building up layers of latex on the model. After many attempts, 6-7 layers proved to be the right amount for my project, with anything below being too delicate and anything above being too thick and opaque. When I had added 4 layers I would then add hardened pieces of oil paint (that I had previously mixed, prepared and dried), and coloured PVA glue. The application of such materials allowed me to distort the faces, giving them undesirable physical imperfections such as benign growths, scar tissue and indentations(Figures 1 & 2).
Fig. 1 Fig. 2
I would then apply the final 2-3 layers of latex over the top to secure the material and to give the impression that the imperfections were under the skin. In places I would add additional layers of latex, for example on the brow ridges and cheeks, in order to create further physical manipulation. Once the latex had dried I found it extremely malleable, allowing me to contort it in a multitude of ways. I was pleased with the final results (Figures 3 and 4), and would like to revisit the material in my future work.
Fig. 3
Fig. 4
I became fascinated by the nature of latex and found it interesting that its many indentations and ripples were reminiscent of damaged skin. I produced a series of drawings, three of which are pictured below.
