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
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,
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.
Pandora was born in Norfolk, England, in 1995. She attended Gresham's School, Holt, where she held the Fishmonger's Fine Art Scholarship, before going up to Trinity College, Cambridge, graduating in 2016 with a BA (Hons) in History. Whilst at Trinity, she founded the college’s Fine Art Society, becoming its first President, and was commissioned by the college to paint two large works. She also acted as an illustrator for the university student magazine, Travisty. Following working as an illustrator for a London company, she received a Thriplow Scholarship to pursue a Master of Arts degree in Painting at the University of the Arts London, before completing a Master of Research degree in Fine Art at the Royal College of Art. In 2021, she received a Postgraduate Certificate in Education from University College London.
Selected Group Exhibitions:
2019 Royal College of Art M.Res Making Public show, Hockney Gallery, London, UK
2019 Reachers show, Blyth Gallery, London, UK
2019 Exhibited drawings at the WIP Show, Royal College of Art, London, UK
2018 Wimbledon College of Arts MA End of Year Show, London, UK
2018 62 Hands, Lewisham Arthouse, London, UK
2013 Nicholson Gallery, Holt, UK
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