Research - Henri Lefebvre

Lefebvre's critique of the everyday life is an interesting discussion on the definition of the "everyday." The strategy I've adopted incorporates my 'everyday'.

"Would you go so far as to say that everyday life cannot change? If so, you destroy your own argument, because you have already admitted that it can." Lefebvre, H. (2008). Art and the Everyday. In: Stephen Johnstone The Everyday. London: The MIT Press. p26-34.

Of course the everyday changes, however, I imagine for some people that due to lockdown this may not feel like it. Even though my systemised approach appears as this everyday, mundane task. I feel that I must prove this wrong, by picking up on different details. My daily task of walking may be stay the same, the route may be repeated, the same buildings passed. However, my mood may change, sounds may change, the air changes. As Lefebvre goes on to say, "What is most important is to note that feelings, ideas, lifestyles are confirmed in the everyday." (Lefebvre, H. (2008). Art and the Everyday. In: Stephen Johnstone The Everyday. London: The MIT Press. p26-34.)

This leads us to why the reaction by my senses is important. They report on changes to my everyday. The colour of the sky, the smell in the air, the breeze on my skin.

To expand further on my question, the everyday does change, but by what cause? Natural causes and our choices as humans. What if we were to test the everyday? Something that would interrupt daily routine. Well, in my case COVID-19 has done that. Although a natural cause, the way governments have decided to operate around the matter have certainly turned the country's daily routine on its head. This is probably the biggest example of the everyday being disturbed. Thus, highlighting the importance of the virus's impact. Whilst giving reason for documentation through contemporary art practice.

When discussing activities, Lefebvre states,

"In this earth they are born. If they emerge, it is because they have grown and prospered. It is at the heart of the everyday that projects become works of creativity." (Lefebvre, H. (2008). Art and the Everyday. In: Stephen Johnstone The Everyday. London: The MIT Press. p26-34.)

This describes exactly what my creative goal is. Not just that but my practice as an artist. Even previous to this project my work has emerged from some part of the everyday. My everyday. The seed for all my art has been planted by the everyday for sure. It always flourishes into a successful body of art. Lefebvre elaborates;

"...it is in everyday life and starting from everyday life that genuine creations are achieved, those creations which produce the human and which men produce as part of the process of becoming human: works of creativity." (Lefebvre, H. (2008). Art and the Everyday. In: Stephen Johnstone The Everyday. London: The MIT Press. p26-34.)

This just reiterates the statement that our creativity does come from the everyday. But also what makes us human. "It surrounds us, it besieges us, on all sides and from all directions. We are inside it and outside it."

(Lefebvre, H. (2008). Art and the Everyday. In: Stephen Johnstone The Everyday. London: The MIT Press. p26-34.)

The everyday certainly makes an artist. And personally, when reading the text I felt myself strongly agreeing with this. It cannot be escaped. The impact of the lockdown on our routine is not ideal. But at least we can try take something positive. Dedicating some time for self reflection or a drive to produce art. Whether we like it or not; if the process of creativity stems from the everyday. Which has been affected by the virus. Then it is reasonable to claim that all artists on this planet have been effected. (Which I will expand on a different post.) As part of this research intends to compare my own afflictions with the pandemic to others.

Artist Research - Rachel Whiteread

The Turner Prize winner is a very strong influence in my work. From both materials to concept. I like to adopt that similar minimalist style in my sculpture and also feel very drawn to industrial materials like plaster, concrete and clay. The method of casting is a strategy I regularly pursue. I believe this fits perfectly with my method, as casting really preserves something forever. It's a storyteller. With autoethnography, the intention is to educate and tell the story to an audience, of the artist or writer's culture, social and geographical background.

Rachel Whiteread

Untitled (Rooms)

Plaster, fibreglass, wood and metal

In particular to my question, I also want to compare the impact of lockdown on other artists. In this article, Rachel Whiteread explains how drawing became a comfort to her. I did find this article a very good read.

“My drawings are like a diary. I can generally say where I was when I did it. It’s about where you are sat and how you are feeling. These mean lockdown to me. Being in Wales and the birds singing,”

Thorpe, V. (2020). Artist Rachel Whiteread urges young: don't give up on your dreams. Available: https://www.theguardian.com/artanddesign/2020/oct/18/artist-rachel-whiteread-urges-young-dont-give-up-on-your-dreams. Last accessed 29th Oct 2020.

The impact on the artist here was location and emotion. I can compare this to my diary entries where I note how I'm feeling on that day. Sometimes happy, usually content, sometimes tired and bored. Some days I complete the walk and I felt completely uninspired and gained nothing. But the opposite happens the next day. Whiteread mentions being specifically in Wales which isn't her home. Showing that change in environment because of lockdown had an effect on her work. In comparison, I'm resided in my real home but I do notice slight changes in my surroundings. At the height of lockdown walking Lulu was the most peaceful task. There was no traffic on the roads as we had nowhere to be or visit. I live next to Britain's longest street as well as the motorway. But not a sound. It did feel unusual and sometimes eery.

I picked up on "birds singing" as I noticed this also. However, there was more animal life than usual. I believe this was down to lack of traffic. With less vehicles polluting the environment, the air was definitely clearer. It was fresher to breath, it smelt fresher too. Therefore animal activity flourished. Singing was louder and more of it, more wildlife on the streets as the roads became less of a danger. As well as minimal people on the street, no humans to watch out for. I think that peak of lockdown must have had some positive impact on my area. Since it is so close to the city centre. That was definitely a significant change I want to reflect in my work.

Article link: https://www.theguardian.com/artanddesign/2020/oct/18/artist-rachel-whiteread-urges-young-dont-give-up-on-your-dreams

Blind drawings

More blind drawings. The different shapes I've got from these are good bones to develop into either 2D or 3D. For now, the motive is to stick to a 2D format, specifically painting. Eventually these will lead into bigger, complete series of art. I also believe these are good starting point for printmaking too. But for now, the focus is on acrylic painting. I've chosen this because I wanted to lead on from my leap into painting in 3rd year. I'd produced a large scale abstract architectural study which was the catalyst for this research.