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Sculpture As Artifice: Mimetic Form in the Environment

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Sculpture As Artifice: Mimetic Form in the Environment Sculpture as Artifice: Mimetic Form in the Environment Mark Booth A thesis in fulfilment of requirements for the degree of Master of Fine Arts (Research) The University of New South Wales Faculty of Arts, Design and Architecture May 2021 SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT ii Table of Contents Page Acknowledgements vi List of Figures vii Chapter One. Introduction 1.1 Sculpture and Site 1 1.2 Conundrum 2 1.3 List of components 2 1.4 Camouflage 3 1.5 Theory 4 1.6 Artists 5 1.7 Site/Non-site 5 Chapter Two. Camouflage: A brief history 2.1 Natural camouflage 8 2.2 Charles Darwin 8 2.3 Abbott Thayer 9 2.4 Biomimetics 11 2.5 Artificial camouflage 12 2.6 Camouflage in the military 12 2.7 Dazzle 13 2.8 Jellybean 15 2.9 United States Army field manuals 15 2.10 Ames Room 17 2.11 Ganzfeld effect 18 SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT iii 2.12 Voronoi diagrams 19 2.13 Military biotechnology 20 Chapter Three. Unorthodox art practices 3.1 Monochromatic colour 22 3.2 Optics 24 3.3 Algorithms 25 3.4 Displacement 26 3.5 Photosynthesis 30 Chapter Four. Retrospective art practice 4.1 Pixelation 33 4.2 UCP 34 4.3 Tessellation 36 4.4 Background blending 36 4.5 Illusion and Scale 38 4.6 Assimilation 40 4.7 Conundrum 41 4.8 Parasitism 42 Chapter Five. Site/Non-site 5.1 Site 43 5.2 Site centricity 43 5.3 Situationism 45 5.4 Nature’s materials 47 5.5 Gwion Gwion 48 5.6 Non-site 49 SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT iv 5.7 Wasteland 51 Chapter Six. Methodologies 6.1 Material and Scale 55 6.2 Casting 57 6.3 Mould-making 59 6.4 Biomatter 59 6.5 Terrapods 60 6.6 Dam 61 6.7 Slurries 62 Chapter Seven. Results 7.1 Disposition 64 7.2 Biotopes 65 7.3 Symbiosis 65 7.4 Ready-mades 66 7.5 Tetrapods 67 7.6 Repetition 68 7.7 Visibility 68 7.8 Dam as site 69 7.9 Scale 69 7.10 Light/colour/tone 69 7.11 Orientation 71 7.12 Material 72 Chapter Eight. Conclusion 8.1 Duration 74 SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT v 8.2 Documentation 75 8.3 Drones 76 8.4 Bio-art 77 8.5 Entropy 78 8.6 Phenology 80 8.7 Drought/Flood 81 8.8 Bushfires 81 8.9 Future directions 82 8.10 Tumuli 83 References 85 Bibliography 91 Appendix 108 Image links 108 Drone links 108 Social media links 108 SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT vi Acknowledgements I would like to begin by acknowledging the Wonnarua people, Traditional Custodians of the land on which this venture was undertaken and pay my respects to their Elders past and present. I sincerely thank the University of New South Wales for giving me the opportunity to embark on this research project, and my supervisors Allan Giddy and Peter Sharp for their knowledge, support and guidance during this endeavour. I also greatly appreciate the many galleries, curators, installers and artists that I have worked with over the years—their inspiration has been instrumental in the development of my art practice and ensured its continuation. Finally, I reserve the most love and gratitude to my parents, who never questioned my decision to embark on the unpredictable path of an artist. This work is dedicated to my father, who sadly was unable to see it taken to completion. SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT vii List of Figures Page Figure 1: Mud Dispositions. (Booth, 2018-21). [Biomatter]. 7 Installation view. ©Mark Booth Figure 2: Gould, J. (1838). Illustration of finch beak-types 9 (discovered by Charles Darwin). Source: https://en.wikipedia . org/wiki/Darwin%27s_finches. ©Wikipedia Figure 3: (l) Thayer, A. (1908). A photograph demonstrating Thayer’s 10 countershading theory (left duck model is background blended, right duck model is countershaded). Source: https://www.semanticscholar .org/paper/Revisiting-Abbott-Thayer%3A-non-scientific-about-in- Behrens/36f111b3404cdf073d020 d046a6a0eac 6d3838d3. ©Abbott Thayer; (r) Thayer, G. (1907-08). Example of background blending. Male Ruffed Grouse in the Forest. [Watercolour on paper]. Collection of The Metropolitan Museum of Art. Source: https://www.metmuseum.org /art/collection/search/480641. ©MMA Figure 4: Example of skin colouration on a chameleon. 12 Source: https://www.inavateonthenet.net/news/article/nanolaser- copies- chameleon-ability-to-change-colour. ©InAVateonthenet.net Figure 5: Thayer, A. (ca. 1914-15). Diorama for Military Camouflage with 13 Text Panels. (Detail). [Mixed media on plywood]. Collection of Richard Meryman. Source: https://www.artfixdaily.com/artwire /release/593-newly-discovered-works-by abbott-handerson-thayer-in- williams-coll. ©Richard Meryman Figure 6: Example of World War 1 dazzle ship patterns. 14 SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT viii Source: https://www.bbc.co.uk/teach/how-did-an-artist-help-britain- fight-the-war-at-sea/zmkx8xs. ©IWM Figure 7: Example of an Austrian roadway speed radar. 15 Artist: Michael Schuster. Source: http://en.wikipedia.org/wiki/ Dazzle_camouflage. ©Leo Sauermann Figure 8: Illustration depicting the effects of shadow on the battlefield. 17 Source: United States Army FM 90-3. ©U.S. Government Printing Office Figure 9: Example of an Ames Room. Source: https://edinburghcamera 18 obscurawordpress.com/2015/02/20/the-mystery-of-the ames-room- at-camera-obscura/. ©Tony Marsh Figure 10: Example of a subject in a Ganzfeld experiment. Source: 19 https://en.wikipedia.org/wiki/Ganzfeld_experiment. ©Wikipedia Figure 11. Example of a Voronoi diagram. Source: https://commons. 20 wikimedia.org/w/index.php?curid=1970392. ©Wikipedia Figure 12: (l) Example of a MultiCam camouflage pattern. 21 Source: https://en.wikipedia.org/wiki/MultiCam. ©Wikipedia; (r) Example of a MAPA camouflage pattern. Source: https://pl.pinterest. com/pin/ 484066659940049746/. ©MAPA Camouflage Figure 13: (l) Eliasson, O. (1997). Room for one colour. [Monofrequency 23 lamps]. Installation view. Your emotional future, Pinchuk Art Centre, Kiev (21/05/11-02/10/11). Image: Dimitry Baranov. Source: https://olafureliasson.net/archive /artwork/ WEK101676/room-for-one- colour. ©Olafur Eliasson; (r) Turrell, J. (2018). Ganzfeld Aural. [Monochrome lighting]. Installation view. Ganzfeld Aural, Jewish SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT ix Museum Berlin (12/04/18-06/10/19). Gift of Dieter and Si Rozenkrantz. Image: Florian Holzherr. Source: http://www.chromart.org/james-turrell- ganzfeld-aural-at-berlin-jewish-museum/. ©Jewish Museum Berlin Figure 14: Booth, M. (2011). 11+UPVC9.323745.006474. [PVC pipe, 23 paint, fluorescent light]. Installation view. 11+UPVC9.323745.006474, MOP Projects, Sydney (2011). ©Mark Booth Figure 15: Riley, B. (1973). Paean (detail). [Acrylic on canvas]. 24 Collection of National Museum of Modern Art, Tokyo. Source: https://www.telegraph.co.uk/art/what-to-see/bridget-riley-review- royal-scottish- academy-edinburgh-eye-scrambling/. ©Bridget Riley Figure 16: (l) Bulloch, A. (2017). Heavy Metal Body. [Mixed media]. 26 Installation view. Heavy Metal Body, Esther Schipper, Berlin (28/04/17-17/06/17). Source: https://www.estherschipper.com/ exhibitions/142-heavy-metal-body-angela-bulloch/. ©Andrea Rossetti; (r) Booth, M. (2019). Holding Pattern. (Detail). [PVC pipe, vinyl wrap]. ©Mark Booth Figure 17: Booth, M. (2013). colour[kələr]<x6>. [PVC pipe, acrylic paint]. 27 Installation view. colour[kələr]<x6>. Alaska Projects, Sydney (2013). ©Mark Booth Figure 18: Denes, A. (1982). Wheatfield: a confrontation. [Mixed media]. 27 Installation view. Battery Park, Manhattan, NY (05-08/82). Source: https://www.nytimes.com/2018/06/14/t-magazine/agnes-denes-art.html. ©Agnes Denes Figure 19: Eliasson, O. (2014). Riverbed. [Mixed media]. Installation view. 28 Riverbed, Louisiana Museum of Modern Art (20/08/14-04/01/15). SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT x Source: https://www.archdaily.com/540338/olafur-eliasson-creates-an- indoor-riverbed-at-danish-museum. ©MMA Figure 20: Fischer, U. (2007). You. [Excavation, gallery space]. Installation 29 view. You, Gavin Brown’s Enterprise, New York (25/10/07-22/12/07). Source: https://publicdelivery.org/urs-fischer-you/. ©Ellen Page Wilson for Urs Fischer Figure 21: Fischer, U. (2007). Untitled: Hole. [Bronze]. Installation view. 30 Uh..., Sadie Coles HQ, London (11/10/07-17/11/07). Source: http://www.ursfischer.com/images/188637. ©Urs Fischer Figure 22: Ackroyd, H., & Harvey, D. (2007). Myles, Basia, Nath and Alesha. 31 [Grass]. Installation view. The Big Chill Festival, Eastnor Castle, UK (03-05/08/07). Source: https://www.huffpost.com/entry/heather- ackroyd-and-dan harvey_n_1586650?guccounter=1&slideshow=true #gallery/5bb229cce4b0171db69df9c4/1. ©Ackroyd & Harvey Figure 23: Petrič, S. (2017). Confronting Vegetal Otherness. Skotopoiesis. 32 [Cress]. Performance. Click Festival, Helsingor, Denmark (20-21/05/17). Source: https://we-make-money-not-art.com/trust-me-im- an-artist-ethics-surrounding art-science-collaborations-part-2/. ©Miha Turšič Figure 24: (l) Booth, M. (2017). Graffiti Studies: Berlin. (Detail). 34 [Inkjet print on paper]. ©Mark Booth; (r) Booth, M. (2017). Woodland 1-4. (Detail). [Plastic, enamel paint, aluminium]. Installation view. Mining Pyrite, The Armory, Sydney (17/06/17-20/08/17). ©Mark Booth Figure 25: (l) Booth, M. (2013). colour[kələr]<x6>. (Detail). [PVC pipe, 35 SCULPTURE AS ARTIFICE: MIMETIC FORM IN THE ENVIRONMENT xi acrylic paint]. ©Mark Booth; (r) Booth, M. (2016). 28.300-90°. [PVC pipe, vinyl wrap]. Installation view. War: A Playground Perspective, The Armory, Sydney (14/05/16-14/08/16). ©Mark Booth Figure 26: Booth, M. (2017). Munitions. (Detail). [Plastic, enamel paint]. 35 ©Mark Booth Figure 27: (l) Booth, M. (2019). Schema:Yellow. (Detail). [Enamel paint, 36 acrylic, aluminium].
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