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).
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Violins, Violence, Silence
1981
Bruce Nauman
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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.
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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.
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Raw Material Washing Hands,
Bruce Nauman
1996
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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.
Michael Harding Paints
From my first week at Wimbledon, I was introduced to Michael Harding oil paints. Having never strayed from Windsor and Newton, the introduction to a new brand came with considerable excitement. However, the joy was short-lived when, as an impoverished art student, I learned how expensive some of the paints could be! Regardless, I purchased a set of eight and started to integrate them into my paintings. The difference was immediately noticeable, with the greater pigment content in the paints giving the work a more vibrant and richer feel. I also learned that the increased pigment content allowed for greater resistance to fading. Although they come at great expense, the Michael Harding paints do, I believe, live up to their reputation, and it would now be rare to see an oil painting of mine which lacks their Warm White Lead (No. 137), or Indian Red (No. 123)!
