Engage Artist

Barbara Beyer

Artform:
Sculpture, Drawing, Printmaking
Year:
2021-22
Location:
London
Influences:
soooo many
Social link:
Project summary:

 

During my residency at Bucks I shifted my attention from our interaction with landscape. The interest in our constant interference with landscape turned into the question why we interfere and change the "material" world unceasingly. What is the urge to do, to make to change? Where does this need come from. Is it destructive or creative? Are we restless or just curious? Can making be a meditation or is it be definition quite the opposite? What about the objects that result from the making? How are the approaches of “ making “ changing around us and how do these approaches change us?

The residency at Bucks gives me almost unlimited access to the workshop areas, so I decided to give my urge to “make” free reign. With almost a sense of nostalgia I started on a project I call “workshop archaeologies”. I take clay into the different workshop areas and collect traces, of materials, of actions, of process. In doing so I am investigating two things: Where does my imagination take me if I let myself be led by material, process and workshop equipment and a sense of place. At times knowing what tool is used for which actions and at times having no knowledge at all and making up my own process. This leads to the second question: How necessary or important are workshop facilities, technical knowledge for our creative work? What is skill? Do we need it? Do we better know or not know how to do things when engaging with new materials? 

 

 

2019 -2020 Starting with lines on paper which formulated landscapes almost without intention, I was getting more and more drawn into the artistic possibilities of working with landscapes, imagined and real. I started working mainly in paper constructing and layering these landscapes of the mind through frottage and printmaking. I found references to human interventions, my need to establish perspective and signs of human activities in my drawn landscapes almost simultaneously to the observations that there are traces of human interference and habitation even in the remotest of places in the real landscapes around us.

I am interested in the more subtle traces of our interventions with landscape and on the other hand signs of nature and natural forces claiming back their space. I moved from drawing layering and printing to creating sculptures using natural and reclaimed building materials. I use a variety of techniques like slab construction, casting constructing and modelling. I am interested in the behaviour of the different materials, transformations in the process of making.

I aim to investigate how the behaviour of the different materials like shrinkage, cracking and changes in the structure and the surface can evoke a reflection on the tension, fragmentation and fragility of our relation to our environment.

 

During my residency at Bucks I shifted my attention from our interaction with landscape. The interest in our constant interference with landscape turned into the question why we interfere and change the "material" world unceasingly. What is the urge to do, to make to change? Where does this need come from. Is it destructive or creative? Are we restless or just curious? Can making be a meditation or is it be definition quite the opposite? What about the objects that result from the making? How are the approaches of “ making “ changing around us and how do these approaches change us?

The residency at Bucks gives me almost unlimited access to the workshop areas, so I decided to give my urge to “make” free reign. With almost a sense of nostalgia I started on a project I call “workshop archaeologies”. I take clay into the different workshop areas and collect traces, of materials, of actions, of process. In doing so I am investigating two things: Where does my imagination take me if I let myself be led by material, process and workshop equipment and a sense of place. At times knowing what tool is used for which actions and at times having no knowledge at all and making up my own process. This leads to the second question: How necessary or important are workshop facilities, technical knowledge for our creative work? What is skill? Do we need it? Do we better know or not know how to do things when engaging with new materials? 

 

 

2019 -2020 Starting with lines on paper which formulated landscapes almost without intention, I was getting more and more drawn into the artistic possibilities of working with landscapes, imagined and real. I started working mainly in paper constructing and layering these landscapes of the mind through frottage and printmaking. I found references to human interventions, my need to establish perspective and signs of human activities in my drawn landscapes almost simultaneously to the observations that there are traces of human interference and habitation even in the remotest of places in the real landscapes around us.

I am interested in the more subtle traces of our interventions with landscape and on the other hand signs of nature and natural forces claiming back their space. I moved from drawing layering and printing to creating sculptures using natural and reclaimed building materials. I use a variety of techniques like slab construction, casting constructing and modelling. I am interested in the behaviour of the different materials, transformations in the process of making.

I aim to investigate how the behaviour of the different materials like shrinkage, cracking and changes in the structure and the surface can evoke a reflection on the tension, fragmentation and fragility of our relation to our environment.

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