How do I define myself in terms of 'theoretical art practice'?

The following definition will of course relate to my compositions in a general sense, as it is impossible to separate my ideas, as I am who I am, and how I think, it is founded on all of our experiences, and learning from the past [1] as that is how art works. Nevertheless, for the purpose of this essay the definition will be in regards to the body of work I am creating at present.

Before I continue I would like to define the word "contemporary" (as stated on the front page): I see any artist working in the present as a contemporary artist, therefore automatically placing one in an art context, the present, and that of course includes me, thus I do not feel it necessary to call myself "a contemporary artist" [2]

I see myself as a 'conceptual, experimental, multi-media artist'.

Conceptual; where I am dealing with ideas and seeing everything in the work as important and essential for the final piece. This includes the materials, how the materials themselves could be read, what meanings do they provide seen though another language? The art of 'seeing a pun' in relation to the idea and running with it is part of my conceptual practice. For example, puns can provide humour, which is important, as humour can lighten up a piece, provide an 'in' for the audience, or just add another layer to the work.[3] The ideas are integral to the overall composition [4] in the work being produced. That can be very challenging, the layering and blending of those many concepts, that can often be seen as opposed to each other, so that the audience will, as I hope, 'get some sense of enjoyment out of it all'. Much of the enjoyment that I get in making my art comes from my conceptual practice, and fundamental to that is research that conceptual art requires to make a piece work well. Observation, a notebook and dictionaries are part of the tools I use in my research. Working in a Post Modern period where the practice of appropriation of ideas and imagery is an accepted norm, I draw from the world around me.

2 Further to the notion of "placing my art in a contemporary art context", I believe that by the fact that I am an artist at present, I am without question working in a contemporary art context. The timeline that any artist is working on is not changeable. You can look forwards and backwards and but you can only work in the present, thus how can you be anything but contemporary and in context. In saying my peace on that subject, I do believe that I can relate my work to other artists, as long as they too are working at the present.

3 What I call my "Sarah-Lee" approach. The saying that goes with the desserts, that the brand sells, is "layer upon layer up layer", refereeing to the actual desserts themselves, which are made of layering of different flavours and types of food to create an overall, rich dessert, or concept of something different to what you expect.

4 By this I mean the whole composition, the visual look, that the ideas are all there and are laid out in such a way as to work as a whole.

Experimental; as I work with techniques such as, collage, print, painting, fabrication, assemblage, installation, using materials such as found objects, paint and other multi-media to make sculptures, as well as two-dimensional pieces.

Putting that statement about where I sit in context, I will explain my work.

At present I am making panels of the size of a sheet of wallpaper, but instead of wallpaper, it is made of a light canvas type of fabric, which has a 'thermal drape' insulating, plastic-zed lining on the back, ie: curtaining. This "wallpaper / curtain on a canvas" becomes, conceptually speaking, a unit in itself, commenting on "what is art?", challenging the question of "what, and why do we put art on the wall inside? But why not appreciate then stuff outside on walls?" The plot thickens when I then will use this "new" canvas conceptually with the rest of my ideas, which are about challenging preconceived views on graffiti seen in society and the everyday battles that both sides find themselves having to fight and defend. The pieces are two dimensional, and could be seen as prints, as I use stencilling and actually printing (paint on a plate which is then applied to the canvas) or as a painting, as I use a brush and paint. The work could also be seen as assemblage or collage, as I am gluing netting on the canvas (conceptually seen in this work as a metaphor for someone ('a little old lady' or 'an angry street artist') looking in or out a window which has net curtains). Along with painting on the canvas I am gluing on paint that I have poured onto glass and lifted off, as a reference to the layers of paint that a block wall holds from graffiti being constantly being applied to a wall, and then the 'removal' of the paint, by the application of yet more paint on top. (Figure 1)

Reynolds is seen as a painter, but in reality that is far from the truth. I see him as a drawer who happens to paint, and in more recent times uses other materials such as tussock and cabbage trees. [5] Reynolds experiments, pushing the boundaries of techniques while challenging the ideas of how things 'should be done'. Using a silver pen on canvas in "Cloud" (2006), to draw / write / paint (however might one see it) is an example. "I draw with everything except a paint brush - with chunky graphite sticks, Japanese silver enamel paint markers, spray cans, any instrument that makes a mark" [6]

Reynolds also works in a sort of abstract conceptual [7] way and the follow quote sums up his way of thinking in general, beautifully:

"When the drawing process produces 'figuration,' Reynolds likes the effect of 'seeming to end up with it almost by accident.' One way he describes this effect is that his drawing of a light bulb 'is really a drawing of the idea of a light bulb'." [8]

6 From the article "Painting, Planting and Performance" by Roger Horrocks Page 57, Art New Zealand, number 122, Autumn 2007.

7 I find his work is definitely conceptual, but it can be hard to, as he works in many other ways too, often blended together, which is how I work too. My work could be considered in the Pop Art genre, or as Expressionist, and Reynolds could be seen as a Post-modern poet, draughtsman, or even just a plain landscaper. Trying to find an "art" term that fits him is difficult and other writers have found difficulty too in defining him and his work.

8 Pg 57 Art New Zealand, No: 122, Autumn 2007.

As described above, humour is part of my art practice and Reynolds uses it too, as "it can provide a way in for the non-specialist viewer". Horrocks states: [9] "Humour is part of contemporary art's knowingness". Reynolds "likes 'deadpan humour' as illustrated by "Cloud" [10], with its consistently cool delivery of odd colloquialisms [11]"

Otis Frizzell comes from a strong advertising background, which may be why his imagery is very graphic in style, and it is easy to read complex messages produced in a simple format. [12] Frizzell (O), used to work in a graffiti / street art style [13], and he is often commissioned to still produce work like that now. His father worked in a pop art style, and that influence has followed though to the younger Frizzell and it is from that base that he has learnt the need or desire to experiment with a range of materials. "His move away from a complete reliance on aerosol paints, the signature tool of the graffiti artist, has been made by many of the key artists to emerge from the street art scene". Frizzell (O) works with many other artists collaboratively, giving and taking ideas from each other to produce conceptually rich works. He worked recently with one of the top American street artists, Eric Orr, who "painted with brushes and water-based acrylics throughout the Auckland appearances."[14] [15]

The changes in different media of a traditional graffiti artist, (such as acrylic paint on canvas [16]) by Frizzell, could seen as beneficial by bringing one style (graffiti) into the galleries but also taking the gallery out into the streets by the notation of the public seeing "traditional paint media" on a fence, which is commonly seen as a negative art form.

10 The feedback from "Cloud" backed up that humour can be useful and important in art, both to the artist and viewers that may not always understand the work without the input of the humour.

11 An example of some of the phrases are :

"passion
-fruit" "

Saus
-age-
Sizzle"

The way the words were broken up into new "phrases" and placed on the small canvas, totally changed the way that they were said, thus changing the meaning and emphasis, which brought a smile to many. not always understand the work without the input of the humour.

12 This is no doubt due to his father's, Dick Frizzell, influence, as he worked in advertising before he became a painter.

13 Graffiti or street artists often prefer to have their work called "public art" or "fusion art".

14 The use of these materials as opposed to the spray can normally associated with graffiti is due to reducing health risks, but the up side is that a different style of street art can now be seen on the streets.

15 Page 100 of the article "The Write Stuff" by Bille Lythberg", Artnews New Zealand, Winter 2007.

16 What would be normal in a street art sense would be spray can marking on block walls, or fences.

Conceptual ideas and humour can be used very subtlety if required, and Frizzell often uses these concepts to enhance his compositions. He executes this wonderfully as seen in the following two examples, where he plays with the title of the paintings. One was a work to be made during a team building exercise with lawyers, involving paint and brushes, which was call "The Art of Law". Another piece he made was referencing corporates (who are often the purchasers of his work) themselves, called "Giant Pinstripe Tiki".

Overall, there is a link with each artist and myself as we try to portray our messages in a simple, exciting, but uncluttered fashion by work that is made to be easily accessible to the audience that we seek. An audience that will hopefully understand that the work is not a "pretty picture" but an aesthetically appealing work that they may have to put a bit of effort into to understand, and for that they will be all the richer for the experience.

To be "comfortable sitting along side John Reynolds and Otis Frizzell " should also indicate that literal possibility. If I meet them both, would I be able to communicate to them within "their world of art"? Would we "click"? I believe so. I would love to talk to them!

Art for me is a constantly changing view of how we communicate life to each other. The way I work, with ideas, materials and my desire to constantly challenge myself through and with experimentation, without being cast in a mould, gives me huge satisfaction. Art gives me a reason to learn about life and opportunities to share that with the world. It is nice to know that there are others like myself, working in the same way, maybe with a different message, but the similarities are there. Comfort in itself.

Figure 1

Bibliography

Clifford, A. Time is of the Essence, Canvas Magazine, 2006.

Horrocks, R. Painting, Planting and Performance, Art New Zealand, number 122, Autumn 2007.

Lythberg, B. The Write Stuff, Artnews New Zealand, Winter 2007.

Were, V. Silver Lining. Artnews New Zealand, volume 26, number 3, Spring 2006.

Were, V. Taking McCahon Neat. Art News. Volume 23. Autumn 2003.

Wong, G. Hidden Histories. Metro, May 2005.

Wong, G. Spectator. Metro, number 252, June 2002