Over christmas i contatced Mark Powell through his email with questions i wanted to ask about his work and the meaning behind his work. I was lucky enough to obtain a response from the artist in a few, very detailed replies. I have since been analysing these emails and relating them to my own work. I have displayed these emails within my portfolio in a small black book:
I asked Alasdair about the reasons behind preserving garmets in stone and why garrments, not other objects. I also asked him whether this was for his own personal reflection or for others. In reply to my questions he emphasised the fact that he just loves creating beautiful objects in stone. This is clear for anybody to see in his work. The most intriguing statement that he made in reponse to me, which i found truly inspirig was that he wanted to 'challenge peoples perceptions' and also their 'expectations of the limitations' of what can be achieved in stone. He illustrateed his point perfectly by comparing the views of people when viewing different styles of art work. I can relate to the fact that when viewing some contempory art, i often put up front against it because sometimes i find it hard to understand the true meaning behind it. However, when viewing Alasdairs work, there is a certain niostalgic quality about it, giving it accesibillity. Because of this, there isnt a 'barrier' of concept that may aliente many viewers of contempory art. Instead, upon visitng Alasdairs works, i instantly had a connection with the pieces because they resonated with me and i was able to identify with them. As Alasdair states, meaning is not dictated by these pieces but instead you are able to create your own meaning. This a really inspiring concept which i have taken forward into my final piece. I want the viewer to be able to put their own meaning onto my work. I want it to make them think and resonate with it. Alasdairs work has truly made me think and question which is why i approached him via email becasue he is a true inspiration in my project.
Since visiting Alasdairs work, i have become increasignly interested in drapery and the movement of fabric. Alasdair provides an explanation for this curiosity which i can also relate to. Whilst doing his research at the Scottish National Portrait Gallery, he came to realsie that firstly he did not have the skills to carve anatomy and secondly he was actually more intrigued by the large swathes of drapery wrapped around the bust rather than the busts themselves which he had firstly intended to carve. Following this discovery and after a year of experimenting he embarked on teh Fabricae series and consequently 'The Identity Collection'. In relation to my art work, Upon seeing those beautifully carved dresses and garments, i was instantly attratced to the idea of drawing drapery and like Alasadir i am more intersted in drawing the fabric surrounding the models than the model themselves. I proved this point to myself whilst visiting the Ashmoleom Musuem in Oxford and viewing all of the greek statues. I was more intereted in running my fingers through the carved stone fabric and seeing how it fell upon and around the male and female figures rather than the quality of the model themselves.
Another interesting concept which Alasdair talks about in his emails is the sentiment and bond that he had with his work. He explains that he asked family and friends to donate articles of clothing that had been 'lived in and loved'. They were items that had 'real value and sentiment, which made them precious'. Alasdair consequently sacrificed the content of the series by allowing other to decide what he carved instead which again added a personal element to his work. Alasdair contrasts this feeling of sentiment with a recent sculpture that he carved of a wedding dress saying that he felt 'much less invested in it' because it was 'so much less personal'. with the identitiy collection he says that he had them hanging on his studio wall for month, however with the gown he flew home on the same day that he finished it and he never got any time to finish it. This made him quite sad.
I can relate to this feeling of sentiment. For my final pieces i have chosen to include and draw setimental garments. I have drawn my mothers wedding dress in chalk and charcoal in the style of leonardo da vinci on a very large scale. this drawing has been hanging on my bedroom wall for a number of weeks while I finish it. I have been looking at it every day since and have formed a sentimental bond to it. And like Alasdair states, it adds a 'human element' to my work because the presence of my mother can be seen within my portfolio.
Since analysing these emails, i have found it easy to relate to the artist Alasdair Thoimson and i understand his works better. I have taken inspiration from his words and produced a final piece with him in mind. This should be evident in my final outcome.
Alasdair also sent me a video of him carving one of the sculptures featured in the identity collection which was very interetsting to watch as a could gain a sense of the craftmenship that goes into each piece. This can be viewed via the web link:
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