Artist Inspiration – Wade Guyton

Artist Influence, Artist Influences, Studio, Studio 3, Summer Assessment 2018, Uncategorized

‘Untitled‘, 2011


‘Untitled‘, 2006


‘Untitled‘, 2008


‘Untitled‘, 2008


‘Untitled‘, 2012


‘Untitled‘, 2017


‘Untitled‘, 2010


‘Untitled‘, 2017

I am very interested in the work of Wade Guyton, and the way he uses digital technologies, such as printers and scanners in order to create his works, which show irregularities and mistakes, highlighting such so that they become the subject of the work, with the materiality of the process being absolute to the finished art object.

Guyton creates his works by feeding linen and other materials into an inkjet printer the printer is not designed to work with materials that are grained or uneven, and therefore, streaks, lines, marks and colour irregularity can occur. These accidents due to the nature of the printer cannot be predicted, and therefore each work is unique, proving the ability for an image of difference within the digital realms where images exist in simulacra, repeated and repeated and repeated.

I like the way in which you can see the clear line of the ink toner running out within some of the images, as well as the way in which there are clear colour fades or bleeding which help enhance the image to become truly one with its method of existence – it owes itself to the printer which gave it its deformities. I my own work, I would like to explore the deformities of the regular printer – not by printing on irregular materials, but rather by accepting the natural irregularities of photo printing. I do not want my block colour prints to be perfect, but rather will seek to display the natural colour bleeds or lines, in order to show the way in which my display has arisen from my own investigations – not professionally printed, but rather more personal – a compulsion in order to act and display my research.

Artist Research – Berny Tan

Artist Influence, Artist Influences, Studio, Studio 3, Uncategorized

‘After A Lover’s Discourse’, 2014


‘After A Lover’s Discourse’, 2014


‘After A Lover’s Discourse’, 2014


‘Study of Conversational Patterns in Phone Calls to my Grandmother’, 2014


‘Study of Conversational Patterns in Phone Calls to my Grandmother’, 2014

download (1)

‘A Visual Guide to References in T.S. Eliot’s The Waste Land (1922)’, 2011

Methods of displaying investigations have been the focus of my practice this year, and I am interested in other artists who explore charts, diagrams and sheets as ways of working through and processing information from an investigation. One of the most proficient examples of this contemporary engagement with the ‘aesthetic of administration’ is Berny Tan. Tan uses graphs and charts in order to plot the research collected from her investigations, using colour as a main factor in her organisation of data.

In her works ‘After A Lover’s Discourse‘, Tan studied Roland Barthes’ text A Lover’s Discourse: Fragments, analysing the way in which each chapter referenced specific genres, and making connections to show these reference through thread. Every time a chapter mentioned that specific genre or idea, the string would get wound again, creating heavier weighted lines between the most commonly referenced genres. I am interested in the way the text was analysed to find the commonality of references within the work, therefore reducing somewhat into an idea of an experience of phrases. The way in which Tan has taken an interest in a text, and manipulated this to find some kind of quantifiable science from within, is something I find connected to my practice, and therefore her rigid, yet playful method of display is something I would like to explore within my practice. The boring, unimpressive nature of historical conceptual art is revolutionised through the use of colour and sculptural form, giving an investigation the chance to enter into artistic objecthood.



Artist Research – Hanne Darboven

Artist Influence, Artist Influences, Studio, Studio 3, Summer Assessment 2018, Uncategorized

‘Kulturgeschichte 1880–1983’, (1980-1983)


‘Kulturgeschichte 1880–1983’, (1980-1983)


‘Kulturgeschichte 1880–1983’, (1980-1983)


Hanne Darboven exhibition at Sprth Magers, 2016


Hanne Darboven exhibition at Sprth Magers, 2016

Card Index: Filing Cabinet, Part 2 1975 by Hanne Darboven 1941-2009

‘Card Index: Filing Cabinet, Part 2’, 1975


‘Menschen und Landschaften’, 1985

I am highly inspired by the work of Hanne Darboven, in particular her exhaustive and innovative investigations, which when displayed present an overwhelming accumulation of wholly indiscernable information, which is at once shocking in its wealth, as well as beautiful and smart in its presentation.

The basis of Darboven’s research idea stems from an


Artist Inspiration – Sherrie Levine

Artist Influence, Artist Influences, Studio, Studio 3, Summer Assessment 2018, Uncategorized

‘After Monet’ from Meltdown (1989)


‘After Duchamp’ from Meltdown (1989)


‘After Kirchner’ from Meltdown (1989)


‘After Duchamp’ from Meltdown (1989)

David-Zwirner-London-Sherrie-Levine-1 (1)

Monochromes after Van Gogh Sunflowers: 1-12′ (2015)


‘Pink SMEG Refrigerator and Renoir Nudes’ (2016)


‘Orange SMEG Refrigerator and Renoir Nudes’ (2016)

I am particularly interested in the work of Sherrie Levine, especially in the way she uses colour as a method of reduction and quantification, used to renounce the fallacy of the male genius artist through a direct appropriation of the qualities of their works which made them so ‘original’.

Levine grew to prominence in the 1970s, as a member of the Pictures Generation. Her work operates between the realm of appropriation and plagiarism, as she examines historically-esteemed works through their replication, questioning their role as original and sacred art objects, and the political implications of these – often created by males and served at the highest level of commodity.

I am interested in her works which use block colour as a means of reducing the tones of a work down into its inherent properties. In order to create an image, one must use colour as the means of creating the image or object, and their choice of colours is often what is heralded about the work. In her ‘Meltdown’ series of works Levine “photographed reproductions of works by artists such as Marcel Duchamp, Piet Mondrian and Ernst Ludwig Kirchner, scanned in the photos, and then processed them through a computer program to reduce each work to 12 pixels. These pixels were then printed using woodcut, removing any sense of brushwork, and therefore ‘master’ artistic gesture. She had reduced the works into colour, quantifying an experience of ‘beauty’ into it’s essential characteristics.

In my own work, I have also been investigating colour, and reducing an experience onto the plane of the colour field. I am very interested in the way that Levine displays her work as pure colour, alone with nothing surrounding it. I have been debating ways in which I could display my own work, and I think Levine’s approach to discovering and displaying block colour in its most overt form is something I would like to take inspiration from within my own work.

Joseph Albers ‘Homage to the Square: Beaming @ Tate Modern

Artist Influence, Artist Influences, Show Reviews, Studio, Studio 3, Uncategorized


Following my initial research into Joseph Albers’ ‘Homage to a Square’ works, on a recent trip to the Tate Modern in London, I decided to view his work physically. I had read about the ways in which Albers had made these works intuitively by hand, without the use of rulers or printing, but rather drew the squares freehand upon the canvas. In addition, I had also read that Albers did not under-paint the canvas, but rather, in an attempt presumably to keep the colour true, painted the colours directly next to one another, with no overlap, creating a palpable sense of investigation within the physicality of the works.


Artist Research – Joseph Albers

Artist Influence, Artist Influences, Studio, Studio 3, Summer Assessment 2018, Uncategorized
Study for Homage to the Square: Beaming 1963 by Josef Albers 1888-1976

‘Homage to the Square: Beaming’, (1963)


‘Homage to the Square: La Tehuna’, (1951)

Study for Homage to the Square 1964 by Josef Albers 1888-1976

‘Study for Homage to the Square’, (1964)

Study for Homage to the Square 1963 by Josef Albers 1888-1976

‘Study for Homage to the Square’, (1963)


‘Homage to the Square: Apparition’, (1959)


‘Homage to the Square: Ascending’, (1953)

I am very influenced by the work of Joseph Albers, especially his renowned ‘Homage to the Square’ works. In these classic 20th century works, Albers creates different colour palettes, all within the frame of three of four squares, emploring the viewer to understand the works through the relationships between colours and tones. Albers made over a thousand of these works, starting from 1950 until his death, as both prints and paintings – each exploring a new set of colour variants and possibilities. Albers stated:

“They all are of different palettes, and, therefore, so to speak, of different climates. Choice of the colours used, as well as their order, is aimed at an interaction – influencing and changing each other forth and back. Thus, character and feeling alter from painting to painting without any additional ‘hand writing’ or, so-called, texture. Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways.”

There is a sense of optical illusion to the works, as different parts of the static and consistent composition seem to recede or pop out, depending on the colour, hue and intensity of the tones against one another. This creates an endless series in which colour can be consistently explored, and an investigation as such, into how colours react against one another, and thus there affect and implications to the viewer.

With colour being central to my own practice, I am very interested in the way that Albers explores colour as a means of creating an environment in which the viewer can project their mood through their feelings and associations towards colour. I find the way that Albers keeps the composition consistent, yet changes the colours very interesting, as that sets the precedent for a constant series, investigated within limitations in order to (have the possibility to) answer the question of colour. In my own work, I would like to experiment further with using the colours I collected from my mall photographs, and turn them into works which would not only tell of the relationships between the different colours, but also perhaps their relationship to space as well.




Sol Lewitt – Paragraphs on Conceptual Art/Sentences on Conceptual Art

Artist Influence, Artist Influences, Studio, Studio 3, Uncategorized

I recently read Sol Lewitt’s ‘Paragraphs on Conceptual Art’ and ‘Sentences on Conceptual Art’, and found this text very informative and instructive on how to overcome the debates about creating conceptual work, with regard to a final material outcome. I have struggled when creating work to transform an idea, or a research practice into a definite and finished object, as I prefer to focus on the act of doing, and neglect the transformation of the process into objecthood, which is needed. I have grappled with ideas about how to transform my ideas into a material work, experimenting with paint and colour, however, after reading this piece I feel an illustration of process may be the best way to confront the idea of object realisation. I want to show the viewer the administrative nature of my work, particularly the way in which I have used and processed data, and as such I am inspired to bring back the spreadsheet as a crucial element of my final design. I want to include this both as an artist’s sketch towards the project, and as a finished piece, as I find a certain beauty in the simplicity of the form of the spreadsheet as it directly disseminates information to the viewer in an acustomed format.

In addition, I find Lewitt’s writing very interesting as I look back onto a historic movement, appropriating their claims from a situation within contemporary art. Although my work uses digital technologies, I am inspired by the work of 1960s conceptual art, in particular the way in which they approached creating work where the end product was not the most important part of the process. Lewitt stresses the importance of the idea of the work, with material objectives or outcomes being secondary to the principle driving the project. He states, “the basic unit [of the work] be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work.” The aesthetic of the work needen’t exhibit a sense of beauty or shock, but rather can be quiet in its presentation of  an idea in order to mentally stimulate the viewer. The viewer is asked to interrogate the work, as the artist has interrogated the idea, relinquishing the nature of art from a compulsion to exhibit beauty. The work can appear uninteresting as such, which is something I will explore within the creation of my final piece.

After reading this work, I will look to these phrases as a basis on which to form the rules of my own practice, while challenging some ideas in order to revitalise a historic moment within 20th century art.

Key quotes:


  • “When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.”
  • “The idea becomes a machine that makes the art.”
  • “This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless.”
  • “It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry.”
  • “Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation (such as logic vs. illogic).”
  • “Some plans would require millions of variations, and some a limited number, but both are finite.”
  • “After that the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and the subjective as much as possible.”
  • “The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work.”
  • “The conceptual artist would want o ameliorate this emphasis on materiality as much as possible or to use it in a paradoxical way (to convert it into an idea).”



  • “Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.”
  • “Irrational judgements lead to new experience.”
  • “Irrational thoughts should be followed absolutely and logically.”
  • “The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.”
  • “The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.”
  • “The concept of a work of art may involve the matter of the piece or the process in which it is made. “
  • “Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.”
  • “The process is mechanical and should not be tampered with. It should run its course.”

Artist Research – Aleksandr Rodchenko

Artist Influence, Artist Influences, Uncategorized

Aleksandr Rodchenko, ‘Pure Red Colour’, ‘Pure Yellow Colour’, ‘Pure Blue Colour‘, 1921

Alexandr Rodchenko was a Russian Constructivist artist, who experimented throughout his career with form, material and composoition. I am particularly inspired by his works from 1921, entitled ‘Pure Red Colour’, ‘Pure Yellow Colour’ and ‘Pure Blue Colour’, as they use colour as an end form to denote a historical experience – the experience of viewing art as an illusatory space. With these canvases, Rodchenko aimed to reduce painting to its inherent material form – an experience of applied colour to canvas. He stated of the work:

“I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: it’s all over.
Basic colors.
Every plane is a plane and there is to be no representation.”

The works, depict the height of Modernist thought on painting, using the plane of the canvas as a site for formal investigation, on which painting could be brought to a logical end. The idea of the canvas as a window into another view was reduced, until illusatory space and representational forms were removed, leaving nothing but painted colour. However, Rodchenko reduced this even further, removing any sense of gesture or painterly application or choice in the mix of colours, and instead displayed three primary colours, the most common colours for an artist to mix, truly displaying the inherent simplification of the act of painting.

I am interested in this work, because of the reduction of an experience (painting) purely into colour. In my own work, I have reduced an experience of travel, destination and commodity into colours, however I have struggled with a way to display my investigation as a work. I am interested in using Rodchenko’s theories of logical reduction into my own practice, and experimenting with block colour, without context, viewed as a colour and a work within itself. My work focuses on very specific tones of specific colours, and I feel that situating these colours by themselves on the canvas will reduce my investigation down into a physical work within itself.