TRASH CONVERTER: the Process of Contemporary Alchemy Collecting, Copying and Arranging in Sculptural Forms
Total Page：16
File Type：pdf, Size：1020Kb
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2018 TRASH CONVERTER: The Process of Contemporary Alchemy Collecting, copying and arranging in sculptural forms Sarah Goffman University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Goffman, Sarah, TRASH CONVERTER: The Process of Contemporary Alchemy Collecting, copying and arranging in sculptural forms, Doctor of Creative Arts thesis, School of the Arts, English and Media, University of Wollongong, 2018. https://ro.uow.edu.au/theses1/365 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] School of the Arts, English and Media Faculty of Law Humanities and the Arts University of Wollongong July 2018 TRASH CONVERTER: The Process of Contemporary Alchemy Collecting, copying and arranging in sculptural forms Sarah Goffman 4422429 1994 Diploma of Arts (Fine Arts) with Distinction 2000 BFA National Art School, East Sydney This thesis is presented in partial fulfilment of the requirements for the award of the Degree of Doctor of Creative Arts University of Wollongong ABSTRACT This practice-lead research project examines the materiality, collection and conversion of rubbish: things, objects and stuff that we define as discards from contemporary culture. By focusing on trash as artifact and trash as treasure, this project suggests that we re-evaluate the commodity and draw attention to an alternative consumerism which values the packaging as much as what it used to contain. Using tropes of decorative design to imbue objects with a new life and re-commodify them in consumer terms, the project works with techniques of copying and simulation to re-position rubbish within a contemporary framework of material cultures. My exegesis revisits two decades of art practice, focusing on elements that have explored ecological and cultural themes that often appear to be contradictory. In order to look at the expanse of decorative arts that are available, I bring together a new perspective that connects my fascination with historically significant works of Asian art, and contemporary consumer waste culture. I unpack my past works adjacent to the present, forming an analysis of the aspects that inform and confront me along the way. The exegesis accompanies a major new exhibition. I am a 3-D printer involves the intertwining and co- mingling of cast-off items to create new objects and environments, demonstrating that beautiful visions can emerge from the detritus of modern life and illuminating the gap between the original and the copy. The exhibition includes copies of seventy pieces from the Wollongong Art Gallery’s Asian collection that are presented alongside other works inspired by Silk Road exchanges. The research project as a whole suggest that within consumer culture the original can be reinterpreted by introducing slippages. The result is a series of flaws, mistakes and errors in objects that are expressive of the ruptures and contradictions of contemporary material culture. By re-making valuable commodities out of found trash there is a correlation formed between user and consumer; and, in merging contemporary understandings of trash with priceless antique objects an alternate materiality is found. ii iii I, Sarah Goffman, declare that this thesis, submitted in partial fulfilment of the requirements for the doctoral award of Doctor of Creative Arts, in the School of the Arts, English and Media, Faculty of Law Humanities and the Arts, University of Wollongong, is wholly my own work unless referenced or acknowledged. This document has not been submitted for qualification at any other institution. Sarah Goffman Date April 18, 2017 iv ACKNOWLEDGEMENTS I sincerely thank my principal supervisor Dr Su Ballard and co-supervisor Dr Jacky Redgate. In addition, the Wollongong Art Gallery and all their staff for the opportunity to work with their Mann-Tatlow collection. Elvis Richardson and Jane Polkinghorne for so many fiddly bits and formatting, whose assistance made this all possible. This doctorate and research has been conducted with the support of the Australian Government Research Training Program Scholarship. v LIST OF FIGURES (All figures follow bibliography) Figure 1. Bulk Load 2007, collected plastic bags dim.var. p.114 Figure 2. Trashcan Dreams 2008, collected plastics, 20M x 3.5 Photograph Garth Knight p.115 Figure 3. Refuse 2005, collected plastic bags, bamboo poles, 3M x 3M x 2.5M Photograph Gary Warner p.116 Figure 4. Her secret was listening to flowers wear out their colours 1994, silver gelatin prints on board, 960 x 480 p.117 Figure 5. Karakusa Chair 2011, found plastic chair, 1M x 600 x 500 p.118 Figure 6. Outhaus 1998, waxed cardboard, nails, wood 2.5M x 2M x 1M p.119 Figure 7. Blueprint 1998, cardboard, wood, nails, hot glue, cinder blocks 3M x 2M x 1.75M p.120 Figure 8. Mikala Dwyer Goldene Bend'er 2013 Photograph ACCA p.120 Figure 9. Hany Armonious Selflok 1994-2001, Photograph Roslyn Oxley p.121 Figure 10. Small Mall 2007, Installation view, mixed media dim. Var. Photo Silversalt p.122 Figure 11. Cornflake Bowl 2007, cornflakes, hot glue 900 x 600 Photo Silversalt p.122 Figure 12. Self Portrait in Food 2007, watercolour on paper, papiermache, Perspex shelf, 2000 x 1.5 Photo Silversalt p.123 Figure 13. Believe 2009, Mars bar, 900 x 300 p.124 Figure 14. Swell 2002, Installation view, mixed media, dim.var. p.124 Figure 15. VICTORIA! 2007, mixed media, dim.var. p.125 Figure 16. Dentures 2007, hot glue, balsa wood, paper, 500 x 300 p.126 vi Figure 17. Fatty and Slender 2010, installation view, mixed media dim.var. Photo Jane Polkinghorne p.126 Figure 18. Jakuchu copy 2010, bakers clay, cardboard, ink, hot glue Photograph Jane Polkinghorne p.127 Figure 19. Intercourse Table 2011, take-away containers, dim. Var. p.127 Figure 20. Intercourse Table (in operation) 2011, with Vegan curry, yogurt and pickle p.128 Figure 21. Mishka Borowoski’s Cake 2011, chocolate cake with ganache, 350 x 200 x 200 p.129 Figure 22. Sim City 2006, installation view, mixed media dim.var. Photograph Silversalt p.129 Figure 23. Grotesque Dinner 2006, In situ, dim. var. p.130 Figure 24. City of Plenty 2015, Installation view, dry goods, dim. Var. p.130 Figure 25. Self Portrait in City of Plenty 2015, installation view, dim. Var. p.131 Figure 26. Cave of Food in City of Plenty 2015, tins, dim. var. p.131 Figure 27. Refuse shop 2016, installation view, dim. Var. Photograph Gary Warner p.132 Figure 28. Giovanni Anselmo Senza titolo (Struttura che manggia)/ Untitled (Eating Structure) (1968/2002) Photograph Museum of Contemporary Art p.133 Figure 29. Hard Rubbish food 2015, detail, mixed media, dim.var. p.134 Figure 30. Hard Rubbish 2015, installation view, mixed media, 4M x 2M x 700 p.135 Figure 31. Jingdezhen wall 2014 p.136 Figure 32. Jingdezhen rubbish receptacles 2014 p.136 Figure 33. Jingdezhen hotel 2014 p.137 Figure 34. Plastic Arts 2010, PET and other plastics, enamel paint, permanent marker dim.var. p.137 vii Figure 35. Plastic Arts 1 2009, shelf view, 1.75M x 1.6M Photograph Mike Myers p.138 Figure 36. Plastic Arts 2 2009, shelf view, 1.75M x 1.6M Photograph Mike Myers p.138 Figure 37. Tank 2005, glass, water, plastics, hot glue, oil paint, sand, gloves, lead, contact adhesive, Styrofoam, Velcro, 1.75 x 750 x 400 Photograph Gary Warner p.139 Figure 38. Tank 2005, (detail) water, fungus, plastics, hot glue, lead, Styrofoam, Velcro p.140 Figure 39. Plastic Arts 2009, PET plastic, enamel paint, permanent marker, 150 x 150 Photograph Mike Myers p.141 Figure 40. White Series 2009, PET plastics, enamel paint, dim. Var. Photograph Mike Myers p.141 Figure 41. Re(f)use 2016, installation view, PET plastics, enamel paint, permanent marker, dim. Var. p.142 Figure 42. Black and Gold Series 2011, (detail), PET plastics, enamel paint, enamel pen, dim. Var. Photograph Jessica Maurer p.143 Figure 43. Felix Gonzalez-Torres "Untitled" (Portrait of Ross in L.A.) 1991 p.151 Figure 44. Hard Rubbish 2015, detail. Mixed media, dim. var. p.152 Figure 45. Hard Rubbish 2015, detail, mixed media, dim.var p.153 Figure 46. Barbara Kruger Untitled (I shop therefore I am) 1987 p.154 Figure 47. Other People’s Money 2001, banknotes, pins, 145 x 67 p.155 Figure 48. Bits of Other People’s Money 2007, banknotes, spray adhesive, glass, dim.