Art A2 Essay; How is physical space used as an installation?

Space is something that is everywhere. In-between your fingers, under your table, that separation between you and your next-door neighbours by form of a fence. Nevertheless there are many forms of space, despite the obvious; physical space, space within space, the illusion of space, positive & negative space, metaphorical space, literal space, and the emotion space creates, the list is endless. Yet, the question that occurs to so many people in everyday life, what is space? Or direct to this essay that I precede with, what is an installation? This too comes with an endless list of different forms, which I choose not to tire you with. To me an installation come’s in a number of arrangements, which I intend to explore throughout.

One of the ways in which physical space can be used as an instillation is through the illusion of space that can be created. An example of how the illusion of space can be created is through the use of mirrors. Mirrors are used as everyday objects in houses, cars and are usually used as a form of reflection on oneself. However, in this case I am talking about mirrors as an illusion. I have come across a number of artists who use mirrors creating the illusion of more space.

One of which, is the incredible Yayoi Kusama, who over the years has explored the use of mirrors and how they create the illusion of space. Kusama’s focus for seemingly endless space has been a large focus in her epic body of work over the previous decades.

Infinity mirror room is an exhibition which uses hundreds of LED lights, reflecting off mirrors creating an illusion of space that goes on for infinity. The room creates the illusion of an ambitious scale of space, bouncing off countless mirrors resulting in repeated images. Nevertheless it is a space that doesn’t leave you with that sense of emptiness and loneliness, which you would expect from such a large ‘space.’ The illusion only makes that space feel fuller, due to the hundreds of LED lights, cleverly filling up the room, and creating limitless space.

However, it is not only mirrors that Kusama uses to create more space, but water too. Her 2002 exhibition of Fireflies on the water,  combines lights, mirrors and water, (above) an example of another one of her magnificent instillations creating space in which viewers can enter and explore. The room which in fact looks endless can only be viewed by one person at a time, with a maximum time limit of one minute, with the door shut behind you. One unexpected emotion that the room creates can be claustrophobia, yet at the same time unlimited space by sight.  The room almost forces you to look at yourself, seeing only your reflection staring back at you, going on for infinity. In a sense, the room leaves you with a time of contemplation; an interesting choice of deliberate decision by the artist, suggesting that behind the installation is a deeper meaning.  The use of taking such a small initial space and transforming it into something which appears to go on for infinity is an example of true art.

 

However the illusion of space can be created in other ways, through resources such as water and oil.

One artist, who is a perfect example of using both of these substances, is Richard Wilson, whose permanent instillation at the renowned Saatchi gallery has caused quite an interest since the work opened. 20:50 is a Tardis-like permanent exhibition, focusing on the architectural space of how the internal aspects of the room have no boundaries when it comes to the physical space of the installation. He uses mirrors and unexpected architecture to create the illusion of a bigger and endless space. Wilson first became interested in the horizontal surface of pools, and then was intrigued in oil due to its reflective surface. The gallery is filled to waist height with recycled engine oil, hence the name of the installation. All aspects viewed of the gallery appears as a holographic field; the polished floor, endless clear pool, as well as the infinite space that is created by the use of mirrors, reflecting the magnificent architecture.

The illusion of space is something mesmerising like in Kusama’s Infinity mirror room, nevertheless incomprehensible in your mind-like Richard Wilsons 20:50. Yet it is this enigmatic confusion that intrigues people about this illusion, making them almost seem magical; something which is definitely true with Kusama’s mirrored instillations, especially through the eyes of a child, in a magical wonderland of lights and illusions.

Space within space is another aspect that interests me. The quite usually missed space that is created in-between objects. A fallen tree, the space around this tree is quite often the centre of attention, what did it affect what are the effects? Yet the space in-between is often missed, the hidden space.

One artist I discovered who captures this ‘hidden space’ through photography is Mathew Merrett. The physical space that he chooses capture is not only the significant space, but the emotions and impact they leave you with, all through his photographs alone. He focuses mainly on urban decay, subject to the elements and neglect, capturing what once was, bringing together the past and present of his chosen locations.

One of my favourite projects of his is his photographs from the Chernobyl disaster, where there was a nuclear explosion, still being a dangerous location to visit. Both Merrett and fellow photographer Olena Sullivan visited the now abandoned site, with sites of only devastation and what once was.

He shows these sites of destruction and abandoned class-rooms, fair grounds, and hospitals both their past and present, using their uninhibited spaces and objects. Merrett uses a combination of perspective, distance and light, which are portrayed through his photographs. In a lot of his photographs he uses a distinct and definite disappearing point, and strict symmetry, giving them a sense of direction and proportion, only directing the sense of space. He shows this ‘hidden space’ naturally, in fact, without even trying, just showing it as he expresses and brings together the past and present, with the central abandoned objects in a mammoth sense of space.

Yet hidden space is just as it sounds, hidden, and found everywhere when looked for; in-between, under and even over. However, it is not an obvious example of physical space, but nevertheless, a form of space. 

Other than types of space, there are different ways that physical space can be used; whether it is a large space with very little in it, or a small space filled to the brim. Similarly again to both Mathew Merrett and ‘hidden space,’ positive and negative space is a feature that links in with physical space and the installations they are placed in.

Rachel Whiteread explores this theme of positive and negative space, as well as linking it into ‘hidden space,’ and exploring the different ways physical space can be used. The British sculptor explores using traditional casting methods which are normally used in the preparation of sculptures rather than the finished object, such as plaster, rubber and resin. She makes sculptures of the spaces in, under and on everyday objects. Her art operates on many levels, capturing unexpected areas such as unfamiliar spaces; a sink, bath, mattress or chair, fossilising everyday objects in the absence of human usage. It is her choice of subject matter which creates the enigmatic use of space, resulting in positive and negative areas.

In particular her award winning 1993 sculpture, House, a life-sized replica of the interior of a condemned terraced house in London's East End. Created by spraying liquid concrete into the building's empty shell, before its external walls were removed, and finally destroyed in 1994 just a year later. This use of space is a completely reverse way to look at the positive and negative, singling out each other, in such an obvious way.

Going back to Richard Wilson, who not only creates architectural installations inside, but on and in buildings too. As one of Britain’s most renowned sculptors, Wilson created an ambitious five story high work at the London school of Economics and Political Science. Square the Block, has been installed on the northwest exterior of the LSE’s new academic building, becoming a spectacular outdoor sculpture that both mimics and subtly subverts the existing building. The work continues Wilson’s approach to sculpture, referencing the existing architectural context in a similar way to his acclaimed piece for the Liverpool Biennale, Turning the Place Over a temporary installation lasting only for a year. Wilson is known for his architectural works drawn heavily from inspiration of engineering and construction. An 8m diameter egg-shape cut from the front of the building, a new form of structure, bring sculptures and Art together.

Institutional spaces have always been something which intrigue me. The extreme space of a room, brought back down with perspective, symmetry and lighting; shown in both painting and photography, expressed by Mathew Merrett, but more directly to my next paragraph I direct this to, Olafur Eliasson. Exploring structure and ‘happenings,’ Eliasson looks at institutional aspects of a room, such as his piece; your strange certainty still kept. This installation consists of an empty, dark and silent room, where drops of falling water are lit by the rhythmic flashing of strobe lights, creating the effect that gravity has been suspended. He uses physical space in a more abstract way, which he explores through installations. Another one of his works being, Lava Floor, an exhibition which consisted of lava rock covering the floor of the lobby of the exhibition space. Visitors were invited to walk across the uneven surface to reach the galleries. Eliasson often attempts to bring nature into the exhibition space, in such a way that makes the visitor physically engage. A different way in which Eliasson explores space is through his ‘happenings’ or get-togethers, where scientists, artists, scholars, dancers, theorists, spatial practitioners, and movement experts come together to share, discuss, present, and experiment. These meetings are only loosely planned in advance and are largely left to intuition and spontaneous moments. The happenings are now almost annual, and named Life is Space.

The idea that space is infinite, lasting for eternity, durable, is one which intrigues me the most. The hypothesis which first arose that the world was round in Greek astronomy has ever since left our imaginations visualising a permanently rotating globe. The idea that the Globe, the planet we live on, is left spinning for eternity, is an ideology many cannot imagine or understand, travelling the world for perpetuity. The idea that space is endless, never reaching the end, is almost haunting. A space so big that none of us can even imagine. This almost creates a blue emotion, endless, like a story book never coming to an end; people don’t like to be left not knowing the outcome, a story that never ends.

It is here that Yayoi Kusama comes in once again, where her iconic polka dots, and her theory that they are infinite. With her life dedicated to spherical shapes, the ideology that her polka dots are infinite has been the theme leading to many or her unquestionable works. The 80-year old avant-garde genius has been battling with hallucinations ever since childhood, being diagnosed with “obsessive neurosis,” denotes a condition in which the patients mind is intruded upon (against their will) by images, ideas, or words. Despite this the Japanese artist has painted some of the most visually complex and conceptually provocative paintings, in the world today.

Kusamas Infinity Nets are a prime example of her obsessive use of spaces. Paintings “without beginning, end or centre, the entire canvas would be occupied by a monochromatic net. This endless repetition caused a kind of dizzy, empty, hypnotic feeling.” The result is a design that is neither random nor systematic; reminding one of a river in which the rise, fall, and direction of the glistening surface is shaped by the structure of the riverbed. Generally, these marks curve in the same direction while gradually shifting up, down, left, or right. This fine detail shown by the excessive use of tiny polka dots, further explores the different ways in which space can be used expressed. In this case by the fine movement in colour, and minute sized polka dots. Her attempt to make the invisible visible is explored not only through Infinity Nets, but through her Mirrored installations, which I thankfully choose not to bore you with, in my repetition of delight for her mirrors.

The emotion or sensation that you feel when you enter a room is created by the use of space around, and in it. The feeling that an installation can create within a physical space, is just one more aspect to space, that I wish to investigate. Whether it is a colossal, remote, extensive space of emptiness, or the sense of claustrophobia, most installations create an emotion within its physical space.

One artist, who undoubtedly creates an effect and emotion, is Anselm Kiefer. He explores vast and never ending spaces through texture and scale, and is someone whose work has had a huge impact on me, emotionally. It is when you see his works in life form, which I experienced at his exhibition at The White Cube Gallery; consisting of vast, bigger than life paintings and sculptures. Their settings and physical environments that they were located in were, if anything, the most important features to the works. Located in a series of humungous, blinding white rooms, the exhibition hung the oversized paintings on an even bigger backdrop of again, empty white walls, matched with the bare space of reflective polished marble. The setting of the exhibition only further created impact, as well as a distinct sense of remote and loneliness. Almost an empty, drained feeling and atmosphere within the whole gallery, as the setting was matched with the eerie noise of silence. It was the paintings themselves that created a similar impact, yet this time more of destruction and even sadness. The physical attributes of life size objects hanging off some of the paintings only drew me in further, wanting to touch and explore the painting. The use of perspective and texture gave a centre point, again drawing me closer to the painting, in addition to giving it a focus point.

Artists such as Paul Winstanley go for a more restrained and subtle approach, with relatively simple and obvious paintings. For example, TV Room V, a modern interior, which gives you the chance to imagine and decide on the outcome and meaning of the painting. His silent empty spaces explore locations that we can all relate to, but in very different circumstances and ways.  His bland rooms are empty of human presence, yet filled with an atmosphere of melancholy and hidden stories. This painting does not so much show an event as the anxious anticipation of one. Another painting of a waiting room explores the fascination in personal spaces, and collective memories.

Another artist who focuses on the space around, and the emotions that it creates, is Uta Barth. This German-born photographer uses photography for aesthetic art, using the depth of field and focus to purposefully create blurry or off-centre photographs, creating an interesting perspective. Giving the illusion that the cameras focus is else-where, with the task of making people try to identify familiar objects. Catching the feeling and emotions of the room is what Barth seems to be best at, allowing them to interpret the art as it seems to them. The lack of titles for her photographs gives the viewer even more freedom, to examine the abstract art in their own way, something that I think Barth was going for. Her series …and the time, which she created, back in 2000, which explores imitating pure observation, with the task of capturing the sequence of light through her windows. The unusual setting of the off-centre photographs head just peeking out from the bottom of the photograph, turning your focus to the reflective light with shines onto the back wall. With the sofa appearing as just a reference point, defining the background as a wall. The paired photographs have a slight change in the camera’s position, focusing on the idea of observation, and the different yet similar angles that areas can be viewed: As when we observe, we don’t always come back to the exact same point.   

Physical space can be used in a variety of ways through which I have explored; from the more obvious installations, to the more ‘hidden’ and unapparent. Physical space can be used in an installation anywhere and everywhere, the room you are sitting in now is an installation in its own right. We all have our own physical space, our own installations; the box that you bring your 8 week-old puppy home in, that is its own installation, the physical space it is inhabited in until released. Physical space can be used differently to create the illusion of more space, through mirrors, reflective surfaces, images bouncing off each other in a compact installation. Positive and negative spaces in installations are often dismissed and overlooked. Whether it is the emotion that a space creates within its physical environment, or the message that it sends, the way physical space is portrayed in its environment, its installation, is a matter which is purely discounted.  

Yayoi Kusama

I first discovered Yayoi Kusama not that long ago, whilst re-searching my chosen theme of space for my A2 art. I was interested in mirrors and the extended sense of space that they seemed to create. It was here that I first discovered Kusama's incredible mirror installations.

Her increasing obsession with polka dots has inspired the most significant works of this avant-garde artist, producing greatness since the age of 10. Now 83, the Japanese artist has intrigued me into her obsessive interest in polka dots-round dots that are infinite.

This photograph shows a creative work that I made in New York in 1960. I was 31 years old at the time and my inspiration was the inundation and proliferation of polka dots. The work represents the evolution of my original formative process. Of all the pieces I have made, I like this one the best. It was my intention to create an interminable image by using mirrors and multiplying red polka dots.

Yet Kusama does not only create mirror installations, in fact her work goes right back, to the early 90’s, where her work compared to her more current work, is what some would say is more subdued, with her work explored more through paintings; Lingering Dream andAccumulation being two of her earlier works. In 1957 Kusama ventured off to America to make her name in the US, it is here that she created her Infinity Nets. These extraordinary oversized paintings are covered in seemingly endless repeated, scalloped brushstrokes of a single colour on a constraining ground.

By the early 1960’s Kusama began a new body of work, extending her practice into sculpture for the first time, fabricating three-dimensional objects covered with repeated forms. Some of my favourite work of her from this new practice is the Accumulation sculptures, leading Kusama soon to be embedded in the heart of the avant-garde scene in New York, soon being part of an emerging group of young artists including Andy Warhol, Judd, Oldenburg and Robert Morris.

It wasn’t until 1965 that one of her exhibitions included Infinity Mirror Room-Phalli’s Field, a room-sized installation with mirrored walls and ceiling that appeared to reflect endlessly a sea of red on white polka-dotted phallic protrusions covering the floor. The following year Kusama presented Endless Love Show, which consisted of a mirrored hexagonal box into which viewers were invited to look.

1967-73 saw the rise of Happenings.By this time Kusama had achieved a level of critical and popular exposure in the art world, but was still struggeling to make a living from her work. Responding to the socio-political mood of the time, shifting her new-found interest in performance to more popular and inclusive happenings. With Civil rights and Vietnam protest movements changing the political landscape. Kusama based her work on the rise of hippie culture-changing social moves with an increasing open and experimental attitude to sexuality, drug use and mysticism.Self Obliteration: An audio-visual light performance. Kusama painted models in bikini’s with colourful fluorescent paints under black lights. People were enticed by the promise that ‘during the course of the happening kusama will obliterate her environment, live bikini models and herself in a polka-dot dance party’.

Other happenings such as body festivals in Europe, becoming and creating ‘Kusama’s self-obliteration,’featured with footage by filmmaker Yud Yalkut; an attempt to visualise Kusama’s world.

April 69 Kusama set up her clothing boutique to sell her fashion designs. Typically polka dots, the most daring featuring strategically placed holes revealing breasts, etc.

1973 saw Kusamas return to Japan.

Yet it is her work from the 21^st Century that I have enjoyed exploring the most. The lat 90’s and early 2000’s, Kusama returned to making room-sized installations. I’m Here, but Nothing is a darkened domestic interior, featuring simple furniture and accessories of the type one would expect to see in a middle-class home. Yet in the installation, this image of conventional status is turned into something surreal and uncanny. The room along with all its furnishings are covered with fluorescent sticker spots that grow in the dim light. 1996 was the first of a series of balloon installations entitled Dots Obsessions, exploring distortions of scale.