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.
Trial by Ordeal
I took, as inspiration for this painting,the the medieval ducking stool and applied it to a modern-day scenario by taking head and shoulder photographs of myself, underwater, in a bath. I wanted a face up position, so the 21st century fluorescent lighting would reflect on my face through chlorinated water. Much time was spent painting bubbles and skin discolouration – the water was deliberately quite cold. The final piece was covered in transparent cellophane – the connotation being the serious modern environmental problem of ‘being drowned by plastic’, as, indeed, some wildlife is.
Drowned in Plastic (1)
40.5 cm x 30.5 cm
Oil on Canvas with cellophane overlay
Drowned in Plastic (2)
40.5 cm x 30.5 cm
Oil on Canvas with cellophane overlay
Drowned in Plastic (3)
40.5 cm x 30.5 cm
Oil on Canvas with cellophane overlay
I further went on to use different colours of cellophane to alter the viewer's experience. The use of colour proved exciting, as the block of colour blocked-out crucial parts of the face whilst also exposing others.
Drowned in Plastic (4)
40.5 cm x 30.5 cm
Oil on Canvas with cellophane overlay
Drowned in Plastic (5)
40.5 cm x 30.5 cm
Oil on Canvas with cellophane overlay