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"Followers of Werner’s architectonic, illusionistic works might find it hard to imagine what goes on in her studio. Most of her exhibitions consist of large, site-specific designs that incorporate optical illusions to play with perception and representation. In her installation pieces, Werner often uses traditional building materials and mirrors to re-create or double the existing construction of a space. Through repetition and displacement, she manages to create a disorienting sensation for the viewer. In this way, she exposes the tenuous relationship between seeing and knowing. "


"she first fabricates a scale model of the space with which she will be working. She then begins to imagine how to create her site-specific installation, crucially working within the actual dimensions of the given location. Often, Werner has never even set foot in the space before she arrives with building materials, drill and handsaw to begin mounting the exhibition. The models serve as a testing ground and she constructs them with great attention to detail – even including tiny replicas of the collages to be mounted on the wall and to-scale people in the gallery space. Her constructions borrow from both architectural practice and the intricacies of set design. She uses precise mathematical measurements to map out, foreshorten and slightly adjust the nature of the space she works with in order to create almost hallucinatory effects. Werner is clearly very skilled at this kind of work, and her brain seems to work in a magnificently meticulous manner."



Werner's manipulation of space and the extremely precise calculation she takes to making sure her interior installations fit perfectly and obey the laws that perspective dictates is what first brought me to her work. The subtly jarring way that forgettable elements of architecture (eg. door lintels, frames, supporting walls etc.) is unique to Werner, and the distorted framing of her photography and installations mimic mirrors. She is aware of the way that the brain tries to make sense of her creations, and many of her site specific works can leave viewers feeling lost, as they try to gauge where they exist alongside her arrangement. exploring the difference 'between seeing and knowing' interested me in the idea of memory against imagination, and the controversies of leading questions. The part of the brain that perceives space and navigation (the hippocampus) also aids memory; this can lead to a phenomenon where the place you are in affects a situation that you are going through. This is most notably seen when people remember where they where as the events of 9/11 happened, many Londoners will say they heard about it in the morning (insead of afternoon due to the time zones) because events happened in the US in the morning.

going forward i want to look at the way humans interact with space, and the emotional attachment that some places get.

DAMIAN ORTEGA (material news)

'Sculpture as Action in Damián Ortega's Art | Brilliant Ideas Ep. 59 '



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His dependence on cheap and unearthed materials was a springboard for my sculpture. His unashamed reuse of materials helped me in the construction of my sculpture, because even though the materials he chose were from the local market, and had connotations with the poorer citizens of Mexico, Ortega displayed them proudly. he chose to sell these pieces at the price of vegetables at the market from which they came, exposing their humble beginnings, in a time where artists were only taken seriously if their work was sold for vast amounts of money.(below, are my notes made from the video. )d o .jpg

"Ortega’s works highlight the latent poetry of everyday objects as well their complex social and political implications. For Ortega, meaning does not belong to singular forms but rather is produced by the relationships that spring up between multiple things. Recombining and disassembling mass-produced and vernacular artifacts, he charts the constellations of social, economic, and political forces that underlie material culture" 


Collection: Taryn Simon- 'The Innocents'

innocents.jpgSimon's exploration of the fragility of guilt made me consider the criminality of a collection. She took the headshots of 45 wrongly convicted civilians who served jail time, along with each person in a location that was crucial to their case. My collection consisted of seven pieces of tableware, and the although they all seem like passive domestic objects, they are all stolen from pubs and restaurants. This dark context to my own collection made me examine my objects as individuals and to merge all 7 articles into one visual, like one of Simon's headshots, except my items are wrongly assumed to be innocent. Merging the items together created a strange mix of shapes that were hard to decipher as finite objects, therefore making a band new object. Furthermore, I cut up and rearranged the objects together to make another new piece, which made me question whether this hypothetical new object had the same level of criminality as its constituent parts. 

Contexual Practise Session: Sally O'Reilly- 'Actions Speak Louder'

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Whilst reading this article, all I could focus on was the extremely frequent use of unnecessary fancy words. It was very hard to read, and any interesting comments about the performative 4D pieces where overshadowed by the language used, so I circled every time a word appeared that I felt was unneeded, or was in an inappropriate place: there to make the author sound more informed then they are. Instead it made the author sound pretentious and dislikable, thus my piece in response to this is (in essence) a letter responding to Sally O'Reilly.

A. R. HOPWOOD (place)

The False Memory Archive

An exhibition of new collaborative artworks and a unique collection of vivid personal accounts of things that never really happened.

"Based on fascinating scientific research that demonstrates how susceptible we are to false memories, A.R. Hopwood’s The False Memory Archive evocatively reflects on the way we creatively reconstruct our sense of the past, while providing insight into the often humorous, obscure and uncomfortable things people have misremembered.

The exhibition features new site-specific works made at the museum, including looped night-vision video footage taken from the inside of Freud’s personal lift, a series of large-scale photographs of damage caused to the walls of the Museum by previous art exhibitions, an exchange with a fictional security guard, and a film of a FaceTime conversation between two characters. The site of Freud’s former home in Hampstead has provided a potent context for a project that seeks to explore the veracity of our own autobiographical memories......

......The subsequent works collectively explore where the truth lies in a ‘false’ recollection, while questioning how a blend of fact and fiction can be used to challenge assumptions about memory. The False Memory Archive examines what role artists can play in representing scientific information to the public, whilst presenting research into false memory as a potent signifier for our times."



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Long Weekend 09: Michelangelo Pistoletto


''A key artist of the arte povera movement, Michelangelo Pistoletto came to London in May to recreate a seminal 1966 performance in which he rolled a ball of newspapers through the streets of Turin. At Tate Modern he pasted together newspapers to make a two-metre sphere, and accompanied by his wife Maria and a huge crowd, took it out into the city. We follow Pistoletto as he travels over the Millennium Bridge, through the streets, then back to Tate Modern on a boat. The artist also explains the political and personal significance of staging such an action today.''

TRANSCRIPT: 'Michelangelo Pistoletto: That we move this sphere that was made with newspapers. The newspapers of the last time, last year’s, and they are – it is a copy of a newspaper sphere that they did in ’66 with the paper of that time. The sphere is done in order to go outside from the Museum, from the place dedicated to Art, and bring the Art in the street. In becoming a sculpture for walking – it is a walking sculpture. [Rolling newspaper sphere through the streets] The ball keeps going. We make a tour. We improvise, probably, a little bit. We like to improvise. How important is that? How important is it for Art to come out of the galleries, to be… Michelangelo Pistoletto: Well, for me the Art can also be democratic, it can also be very much involving with society. [People lifting sphere up between them] Everybody can come here, the eye, like a big statue. [Applause] Michelangelo Pistoletto: It is going well, as you see, many people is coming. I don’t know if everybody will go on with us. We see. [Sphere perched up on a plinth] MP: Wow, good idea! MP rolling the sphere: Wait for the fisherman! [Rolling down a street] [MP lifting the sphere against the wall of a building, like Atlas] [Through the streets again – across pedestrian crossings, down subways] MP [Collapses on a seat] : Ah! This is the boat? We take the boat? Yes! MP: Good. Why not? Okay. [On the Thames] [Children pushing it along the road – applause] MP: Arte Povera still is important for that reason, because we are in a moment of big change, of big transformation. We are… the progress is turning around. We cannot go half in the sense of the progress, the traditional sense of the progress. We have to make a big turn around. But I am trying to do that with Città dell’Arte, not only making objects, but making a nativity that is putting Art in social life, and social economy and social communication, in condition of moving and making this new turn around.'


Arte povera was a radical Italian art movement from the late 1960s to 1970s whose artists explored a range of unconventional processes and non traditional ‘everyday’ materials


His newspaper sphere, first made in the1960s was then remade in 2009, with totally new news on the pages, but still with the same intention to bring art to the masses. It was once again that this use of  virtually worthless material that aided my sculptural development.

ALINA OZEROVA (come here i want to see you)


Alina Ozerova


Take me, bring me
Participatory 5-channel sound installation

Alina Ozerova is a filmmaker and sound artist. Her video works and sonic installations are inspired by ‘journey’ as a narrative structure and physical experience: involuntary travels, evacuation routes, memory circuits and motion of sound. 

Her project ‘Take me, bring me’, performed for each visitor individually, encourages listening through the body and takes you on a sonic journey. It is a reminder of our physical vulnerability and. position of helplessness.

 Her works often start from a documentary standpoint. Working with time based media she also explores its manifestation in space through installations.


Alina Ozerova's unity of sound space was the main inspiration for our audio soundscape ('outside-inside mixdown', digital outcomes). her inclusion of audience participation in the installation also influenced us to remove visuals. documenting her journey was a beginning point for us to make recording of transportation methods.

Collection: Bernd & Hilla Becher- 'Gas Tanks"

original.jpgThe exact uniformity of the formation and restricted pallette of the gas tanks is where I got inspiration for my own arrangement of my dissected merged stolen object headshot. I wanted to explore how the constituent parts of the merged photo affected the overall image. By first overlaying the individual images on top of each other I created a ghostly fluid shape, which I then sliced into 60 identical squares and arranged in a grid.