Tuesday, 7 July 2009
Rart Rant
Manifesto 1 is exploring and championing the deconstruction of our everyday surroundings to create a different visual language.
The poetic potential of working with seemingly unrelated objects has been attested by Seitz’s convincing account of the ways in which poets and artists began to experiment with found materials at around the turn of the last century, this technique;
“raises materials from the level of formal relations to that of associational poetry... [as] when paper is soiled or lacerated, when cloth is worn, stained or torn, when wood is split, weathered or patterned with peeling coats of paint, when metal is bent or rusted, they gain connotations which unmarked materials lack” Seitz (1961).
The artistic use of that which has been discarded or damaged, opens up poetic associations through the traces of human presence. Through this technique, objects are able to bear witness to (and lead to) the world by exposing “something that already lies open to view and becomes surveyable by a rearrangement” Wittgenstein (1953)
The poetic potential of working with seemingly unrelated objects has been attested by Seitz’s convincing account of the ways in which poets and artists began to experiment with found materials at around the turn of the last century, this technique;
“raises materials from the level of formal relations to that of associational poetry... [as] when paper is soiled or lacerated, when cloth is worn, stained or torn, when wood is split, weathered or patterned with peeling coats of paint, when metal is bent or rusted, they gain connotations which unmarked materials lack” Seitz (1961).
The artistic use of that which has been discarded or damaged, opens up poetic associations through the traces of human presence. Through this technique, objects are able to bear witness to (and lead to) the world by exposing “something that already lies open to view and becomes surveyable by a rearrangement” Wittgenstein (1953)
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