DECORATION, PRINTMAKING, AND INVITING SPACES

CYNTHIA DINAN-MITCHELL

DECORATION PRINTMAKING AND INVITING SPACES

Meacutemoire preacutesenteacute agrave la Faculteacute des eacutetudes supeacuterieures de lUniversiteacute Laval dans le cadre du programme de maicirctrise en arts visuels

pour lobtention du grade de Maicirctre es Arts ( MA)

ECOLE DES ARTS VISUELS FACULTEacute DAMEacuteNAGEMENT ARCHITECTURE ET ARTS VISUELS

UNIVERSITEacute LAVAL QUEacuteBEC

2007

copy Cynthia Dinan-Mitchell 2007

Reacutesumeacute (English)

Defenders of traditional printmaking techniques (lithography copper etching silkscreening) argue that the medium should be protected in respects to new infographie technologies because it is one of the last artistic domains that preserve technical craft (know-how) and tradition (master printers) Its critics meanwhile see it as a rather inferior branch of the visual arts They contend that printmaking is not capable of offering prompt and original responses to evolution in the worlds of art and culture I believe that as artists we have to develop intellectual and creative challenges in the meacutetier of printmaking rather than relying on technical demonstrations validated by handiwork For example my work utilizes printmaking for its infinitely flexible technical potential to serve my artistic preoccupations It allows me to appropriate existing visual material in view of imitating ornate wallpaper that is then placed in an artistic context Through a multidisciplinary approach to the meacutetier I transform the gallery into a mise-en-scegravene of a comfortable and intimate domestic setting Ultimately my practice in print seeks to parody and question the fine line between art installations interior decoration and storefront window displays The following essay illustrates certain strategies I employ in my artistic production It is based on inquiries and discoveries that have feed my research in creation during my masters in visual arts

n

Reacutesumeacute (franccedilais)

Certains deacutefenseurs de lestampe traditionnelle (lithographie eaux fortes seacuterigraphie gravure) affirment que ce meacutedium agrave linstar des nouvelles techniques informatiseacutees devrait ecirctre proteacutegeacute et revaloriseacute parce quil est lun des derniers domaines artistiques qui preacuteserve le meacutetier (maicirctre imprimeur) et la tradition (savoir-faire ancestral) Ces critiques par contre considegraverent lestampe comme un art infeacuterieur Ils deacuteclarent que ce meacutedium nest pas capable doffrir des reacuteponses promptes et originales agrave leacutevolution du monde de lart et de la culture Pour ma part je crois que les artistes travaillant dans le domaine de lestampe doivent deacutevelopper des deacutefis intellectuels et artistiques qui reacutepondent agrave une recherche personnelle et non agrave une deacutemonstration artistique uniquement valideacutee par la prouesse technique et le savoir-faire de lartiste Par exemple dans cette recherche-creacuteation jutilise la seacuterigraphie pour son potentiel creacuteatif infiniment flexible et graphique et ce afin de reacutepondre aux besoins de ma deacutemarche artistique Par exemple agrave laide de lestampe je mapproprie du mateacuteriel visuel existant afin dimiter du papier peint ornemental que je preacutesente ensuite dans un contexte artistique dinstallation Par cette approche multidisciplinaire de lestampe je transforme dans une mise en scegravene lespace de la galerie en un inteacuterieur domestique confortable Ma pratique cherche agrave parodier et questionner la mince ligne seacuteparant linstallation dart et les installations dordre deacutecoratives et domestiques (vitrine de magasin deacutecoration inteacuterieure kiosque de preacutesentation etc) Dans le texte qui suit jillustre certaines strateacutegies que jai utiliseacutees ainsi que les recherches et les deacutecouvertes qui ont alimenteacute et transformeacute ma production artistique lors de ma maicirctrise en arts visuels

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Table of Contents

Introduction 1

Chapter I Decorative Installation 3 1 -1 Printmaking and Sampling 4 1 -2 Image Selection 5 1-3 Pop Art 8

Chapter II Little Room Installation 11 2-1 Ambiance 12 2-2Color 13 2-2 Lighting 14 2-3 Pattern 15 2-4 Framing (delimitations) 16 2-5 Reneacutee Greens Installation 16

Chapter III Yellow Decorative Installation 20 3-1 The Home 22 3-2 Deacutecors 24 3-3 Making ones self at home 24

Chapter IV Red Installation 28 4-1 The Art of the Home 30 4-2 High Art Versus Low Art 31

Chapter V Vitamin C Installation 34 5-1 Inside Versus Outside 37

Conclusion 44

Bibliography 46

IV

Table of Images

Decorative Installation 3

French Dog 6

Little Room Installation (2) 11

Mise-en Scegravene Commemorative Toile Reneacutee Greene 17

Mise-en Scegravene Commemorative Toile Reneacutee Greene (detail) 18

Yellow Decorative Installation 20

Art Press 26

Red Installation (2) 28

Loss Bridget Riley 29

Red Installation (as a still life painting) 33

Vitamin C 34

Orange Pekoe Tea (2) Internet and my own 36

Vitamin C (detail) 37

Vitamin C (view from outside) 38

Vitamin C (detail with a viewer in front of the wall of prints) 41

Vitamin C (detail of prints mirror and a viewer) 42

Introduction

I have developed a comprehensive diligent and playful studio practice that

embraces printmaking sewing installation interior decoration and stage design

as an objective to display private settings within public venues I initiate

exchanges where unexpected objects and discordant images come together for a

union and an attempt for a systemization of a quizzical domestic setting My

installations are intimate and connected to daily life in criticism to the traditional

public gallery viewing My handicraft and artistic reflections allow me to realize

a vision of comfort welcoming and even homey environments for art I thus

transgress the conventions of the white cube so as to relax and interact with the

art

The following is an accompanying text in support of a thesis exhibition for a

masters in visual arts The structure of my memoir is divided in five chapters to

formally and analytically research works that I constructed in the course of the

past two school years The presentation and description of my art pieces are

proposed chronologically to demonstrate the evolution of my production starting

with the first chapter that deals with a work titled Decorative Installation By

means of the depiction of this work I bring up my background in printmaking that

is founded on image appropriation and pop art This installation was my initial

attempt to move beyond the borders of the traditional dimensions of printmaking

paper In the second chapter I introduce Little room Installation and though its

analysis I breakdown my strategic operating methods For the third chapter I

tackle concepts that I see surface from my new studio practice that relate to the

home and interior decoration which are especially perceptible in Yellow

Decorative Installation Within the fourth chapter by the account of Red

Installation I reflect on my work in relation to the cultural hierarchy of the arts

In other words I elaborate on the notion of high art and how it is placed in

opposition to low art (which includes the home) The last and final chapter deals

with theory related to strategies of pastiche and the private versus the public

duality by the study of my final exhibition titled Vitamin C presented at th Engramme Gallery Queacutebec City (January 12 to February 18 )

Chapter I

Decorative Installation Silk-screening on rag paper (each sheet 30^ x 45) on a lampshade on canvas to make cushions and to upholster a sofa Dimensions 25 feet wide by 14 feet high and 7 feet deep 2005

Decorative Installation was the first artistic work that I produced during the

masters program The installation was constructed from thirty-two large light

pink silkscreen prints a small couch a lamp and cushions Each serigraph had a

recurrent ornamental motif that framed an assortment of images The themes

revolved around old encyclopedic illustrations For example they extended from

a skull a heart a tire a lady passing a vacuum a busted hot air balloon a German

barmaid birds a squirrel the scientific representation of a human head and

identified parts of the skeleton dragon flies a tin of shoe polish to a souflet The

primary goal of this installation was to unify a wide variety of appropriated

images within one piece of art By using printmaking to imitate an antique

tapestry and ultimately a type of intimate representation of a room (or a storefront

window display) I was able to create a context in which the disparate sampled

images could mingle within a same space The prints covered the entire back and

a portion of the right wall of the exhibition site in an attempt to draw up

boundaries for the installation that resembled a domestic setting At the junction

of these two walls 1 placed a sofa that I upholstered with hand printed fabric

(with the same pattern as the prints) I also used a discarded print to make a

lampshade that lit the installation autonomously from the gallery And lastly I

reproduced and embroidered a skull and squirrel image on canvas to make

decorative cushions that I placed next to the sofa

Technically this first installation was an attempt to conciliate my background in

printmaking with my background in crafts Accordingly Decorative

Installation is a combination of uprooted images from diverse sources and times

integrated within a fabricated environment that is reminiscent of craft show

stands

1-1 Printmaking and Sampling

My practice in printmaking is axed on a method akin to the work of techno

sampling By means of technological procedures in the medium of printmaking

I like the techno musician dig up existing material to create something new

More importantly a sampler is someone who decides to instigate citations and

appropriations in hisher production rather than generating new images Like a

sampler I combine heterogeneous and incongruous elements to express a singular

and personal opinion of the world

Appropriating ready-made images and objects raises several artistic questions on

what in fact is an artist by definition The artists clicheacuted hand is no longer the

creator It is a far cry from Platos theory insisting the loyal representation of

apparent objects (mimetic) through draftsmanship or of the genius at the

I completed a bachelors at Concordia University in Studio Arts with a concentration in Printmaking (intaglio lithography and silk-screening) After university I have actively participated in the printmaking community I joined a printmaking collective named Graff in Montreal and Engramme in Quebec City ^ Parallel to my work in printmaking I started my own company in crafts as a means to create my own employment I create handmade designer bags by combining silk-screening on fabric and sowing to make one of a kind utilitarian objects

pursuit of newness Instead the artist is a collector and organizer of available

images I am an artist retriever and recycler My selection is my expression and

my composition becomes a skill (even a craft) In my opinion sampling should

not be seen as an inferior branch of the visual arts and the assemblage should be

considered as a whole image and not its technical process The facility to take

existing samples is not determinedness of the final product The sampler has to

validate his or her competence in the seamless crossover between information

Artist samplers remake or remodel history by digging up the neglected and

conceptualize the genre itself

1-2 Image selection

I spend an enormous amount of time hunting for visual material in old bookstores

on the Internet in newspapers etc From theses sources I intuitively select

images Combined to the tradition or technique of silkscreening I specifically

embrace the use of technological procedures to transfer my image information

from paper to digital To be capable to take existing images I go through

calculating steps First of all I habitually scan the favored image in view of

computer manipulation (redraw certain parts elongate deteriorate divide colors

etc) I then reduce the resolution to 72 dots per inch to match the silkscreen mesh

on which I photo-chemically expose the images By experience I have felt that

manipulating images digitally can cause them to become weightless and distant

from its original source It is as if a lag is fashioned between the original design

and what I make from it More accurately the images are transformed into

something dimly dissimilar from their original allure These run offs become to

some extent my own creations Hence the amalgamation of techniques in the

creative process spawns a sort of push and pull from the actual image

French Dog Silkscreen on rag paper Dimensions 22 x 30 inches 2006

My chosen imagery revolves around old prints dated objects and machines

animals geometric forms and occasionally to the human figure For the most

part my selected images share characteristics of times past Seeing that some of

my imagery is taken from old textbooks and encyclopaedias they inevitably

reference a visual method of distributing information I am also delighted by the

fact that generally images fifty years and older are left to the public domain

therefore normally no longer subject to copyright laws

When working with samples I am conscious that my art is centered on my ability

to select and organize numerous elements together Like the techno musician

who uses different tracks to make a tune I too aim to create a cohesive whole by

creating andor suggesting links between images It is in the assemblage of

^ For example this print is an accumulation of images found in different sources The dog and the old circular illustrations in the back ground were found in an encyclopaedia the four orbs were part of an old advertisement the green flower design is taken from a wall paper motif I redrew from a home decoration magazine and the blue spiral motif was a doodle of mine that I enlarged

disparate elements of the installation that the images take on new meaning To

explore this technique my image selection tactics gyrate around two main

components

- First I work on the aesthetic considerations how I want to visually occupy a

form I observe the contrast in the graphic qualities of the different subject matter

And so my work is predominantly formal I relegate great attention to the visual

merits of old illustrations (often old copper etching) and photographs For

example older scientific illustrations have beautiful line features that are

completely unlike drawing or half tone reproductions I believe that the graphic

qualities typical to different reproductive techniques are emphasises when they

are placed side by side I could even argue that I use these images like

ornamentation or decorative illusions When poking around different

information I do not sort the data based on cultural value If I borrow an image

from a childs book I consider it equally precious as an image taken from a

medical encyclopedia or a glossy art catalogue I reckon that I often view the

images more for their composition than their content

-Second once the first selection process is completed it is at that moment that I

take the time to refer to the societal connotations of the appropriated images

Images are signs that can be exchanged and recycled for meaning By reworking

these images individually or in relation to others I aim to create new visual

associations and ultimately redefine their meanings independently of their original

source By disconnecting images from their starting places the images become a

slice or amputations of a collective visual history Moreover by juxtaposing a

particular image next to something completely absurd I bring about ambiguous

mental associations that are playful quirky and open to the viewers analysis On

this account I seek to create visual and interpretative tensions to set off re-

significations

Jean Baudrillard The Evil Demon of Images and the Precession of Simulacra (Sydney The Power Institute of Fine Arts 1987) 196

1-3 Pop Art On a number of points I can state that I borrow ideas from the pop art

movement A British art critic named Lawrence Alloway to describe the

emergence of a whole culture that was blatantly at odds with the [] old-

fashioned English establishment vernacular and conservative taste coined the

term pop art in the 1950s In some ways American art was directly antagonistic

towards Britains Victorian and Imperialist past Pop art refers to a populist art

(and to some extent anti-art) movement apparently naive colourful and largely

humorous that delved in the notions of commerciality and the kitsch but also

questioned the role of the artist inventor Similarly I use colour and humour as

strategies (for example) to seduce viewers to consider my prints I want to attract

people into my three dimensional image montages Moreover the sheer

technique of printmaking shares ideas with pop art on the grounds of

appropriation commerciality and repetition On the one hand printmaking is an

authentic and original work of art and on the other it is a manifold of objects of

mass distribution and consumption

When I speak about printmaking in my montages I want to clarify that I do not

use the discipline as a purist of this medium Contrary to the dogmatic

conventions established by the Code dEacutethique de lEstampe Originale I do not

follow the strict rules of printmaking This resource book was written by Nicole

Malenfant and Richard Ste-Marie who clearly states the dos and do nots of

editioning work which includes signing numbering titling technique etc to

preserve the integrity of the traditional print and more importantly its

commerciality I on the other hand use print for its creative potential because

silkscreening is exceptionally versatile I can repeatedly print images on all types

of surfaces Unlike the recommended identification protocol I prefer to present

my prints as part of an ensemble rather than each as individuals because they exist

not as sole pieces but through their rapport to the assembly of elements in an

Jonathan Harris Art History The Key Concepts (New Yorlc Routledge Key Guides 2006) 238

installation Hence my prints are not tided signed and numbered I feel that the

latter set of laws often restrain the process and in turn the creative and artistic

potential of the medium More emphasis is placed on the technique and the

fidelity of the reproduction rather than the artistic expression and liberty

Based on the same logic of sampling images in printmaking I also sample

objects The sofa and lamp in Decorative Installation are examples of items

taken out of a context (taken from the art studios du Roulement agrave billes)

reworked and then integrated in a new environment The bits and pieces are

selected for their formal and intellectual associations to fit in my installations

They participate in imitating the setting of a room and are presented as artifacts

retired from the everyday The objects and images I use are not rare we are

familiar with them They function through their relation to other items

Accordingly we come to the realization that these substances are peripheral to

that something else- in my case the home As much as trivialities clutter our

homes they can also singularize and identify Nonetheless the removal of matter

from the context of the everyday and positioned within the setting of the gallery

enhances the effect of their use their connotations and their design

I have come to believe that my reason for recycling images and objects is

anchored in the convenience and not as a personal mission to give new life to old

material As an artist and artisan the economy of production is often a

preoccupation Thus as a means to lighten the expenses of invention I will ask

my family members or friends about objects that I can borrow in the purpose of

making art This close network of people makes it possible for a relational

dimension However I cannot qualify my practice as relational aesthetics^ simply

based on the exchange aspect of my work since the art itself does not necessarily

demonstrate the relation Instead this resourcefulness avoids the trouble of the

accumulation of too much artistic material Amusingly this leads me to embark

on personal stories of the objects since they are integral to other peoples lives I

Nicolas Bourriaud Relational Aesthetics (Dijon Presses du reacuteel 2002)

take objects from a private setting to a public venue that is in turn transformed

into a representation of an intimate space None of my installations are made

exclusively from scratch Most of my images and objects are borrowed

My work as an artist is based on my ability to initiate exchanges of images and

objects to create design and organize domestic setting My image work

references illustration natural history art popular culture and the history of

printmaking For instance I can in the case of Decorative Installation

appropriate existing black and white encyclopaedic illustrations to slyly recast and

transform them in tones of light pink Or I can silkscreen different images to

artisticallycraftily transform everyday objects in view of integrating them within

a montage Hence fourth my artistic process borrows strategies from the rhetoric

of the handmade and the rhetoric of the machine-made to ultimately blur the

borderline between the two in view of creating intimate spaces

10

Chapter II

Little Room Installation Silk-screening on rag paper (each sheet 22 x 30 inches) on the wall the cement floor and fabric to make decorative cushions Ready-made objects dresser drawer lamp natural flowers and pot Dimensions 10 feet wide by 14 feet high and 10 feet deep 2005

Little Room installation was the second and a very important work during the

course of the past two years Contrary to my first installation that was done more

intuitively in this work I spent a lot of time simply assessing the enlarged scale

of printmaking through the construction of the deacutecor The potential of this

infinitely flexible medium is illustrated and revealed in this installation Even if

the work was not completely resolved it permitted me to find the key concepts of

my artistic production In other words this installation functioned as a

passageway to come to the realisation of four very important tactics that facilitates

the creation of an intimate space within a public venue Hence Little Room

Installation was a sketch in which I could discern what strategies can help create

the representation of a home setting 1 enumerated the use of a dominant color

the repetition of a motif an autonomous lighting system and lastly the framing

of the installation as formal and physical devices that help to unify a montage

11

Amusingly the plans that create ambiance in a staged domestic setting is of

course directly linked to the work of interior decorators

Essentially this installation like my other works combines recycled images and

objects Somewhat nostalgic somewhat ironic and somewhat humorous I

fabricated an ambient interior decor within the gallery setting by borrowing many

concepts from the home Through the artistic process of detaching trivial objects

from the domestic sphere that are familiar to everyone (for example a chair a

table a lamp wallpaper patterns etc) and reorganizing them in a gallery context

I arrange links between meanings and perspectives based on our culture in view

of triggering associations and emotions By constructing an immersive

environment I managed to create a feeling of a dwelling I believe that by using

every day objects related to living quarters our relationship to the gallery is

transformed and to some extent questioned One can feel a dilemma when in

front of my art pieces for we are perplexed on whether does it qualify as art Is it

a store montage Is it a comforting home representation Is it a show room Is it a

stage Etc

2-1 Ambiance

I have stated that my constructions resemble ambient home decors but what

exactly is ambiance To explain and support this concept I will reference Jean

Baudrillards view of the home and its objects Primarily his opinion is that the

ambiance of a room is an overall presence generated from the given environment

It is founded on our relation to the symbolic presence of an organization of tactic

elements^ A room may go beyond the simple architectural structure of its walls

to project through the mingling of its different objects a type of refuge a

protective and nurturing environment such as cocoons or nests The form is a

cultural demarcation between what is exterior versus what is interior Our home

^ Jean Baudrillard Le Systegraveme des Objets (Paris Denoeumll-Gonthier 1968)29

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acts as containers for things most precious to us our families our memories and g

our mementos

An ambiance of a room or deacutecor is based on how different home objects can

associate and communicate More precisely how singular objects can create a

coherent ensemble By an unlimited combination of different elements the owner

can succeed in resolving a problem the solution being the mobilization of a

given space to create an attractive atmosphere that reflects hisher tastes

(historically associated to the womans domain) The ambiance of a space

becomes personalized and custom made to fit the possessors image In the

modernist spirit decorating was perceived as a form of self-expression an

exercise in cultivation and expression of ones particular artistic individuality^

Worded differently decoration helps to create a presence within the specific

space Based on an essay on the philosophy of interior decoration decorators

strive to attain Stimmung which is a word used to describes the impression of

intimacy that is evoked in a room and the furniture^

2-2 Color

Traditionally color has always had great importance in the signification of the

interior and a way to delimit spaces Color is metaphorically charged based on

cultural indexes^ For example usually the color red symbolically stands for

passion in our western culture Thus when decorating the selection of colors

symbolically suggests a lot about the homeowners In the past the bourgeois

would usually avoid the use of bright colors and opt for tints or shades to

exemplify moral refinement From a puritan point of view one does not indulge

in vulgar color extravagances for it is politically incorrect to reveal all of ones

Emma Morgan Warm and Fuzzy Craft Culture wwwcraftcultureorp viewed 060520 Reed Christopher Not At Home The Suppression of Domesticity in Modern Art and Architecture

(London Thames and Hudson 1996) 28 Rybczynski Le Confort Cinq Siegravecles dHabitation (Montreacuteal Du Roseau 1989) ii

Baudrillard Le Systegraveme des Objets 43 ^ Ibid 43 Ibid 43

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personality Inversely lively color in home decoration is viewed as a sign of

emancipation

Bright colors are simulacra of nature for the reason that it is reminiscent of the

beautiful colors of flowers It brings the idea of nature into the home and can

produce ambiances It can also give rhythm to a room based on formal color

plays of the different objects A common practice in home decoration is to repeat

a color the chairs are painted the same color as a wall and the cabinet doors or

the curtains match the color of the lampshade etc A dominant color can facilitate

the creation of ambiance because it creates unity It is a way to give the

discursive furnishing system coherence It is a way to coalesce all the objects and

to some extent a means to forget their individual function

It is at this point in my artistic production that I affirmed and recognized the

choice of a dominant color in my decorative montages In Little Room

Installation I had in mind the use of light pink as a dominant color to create a

unity between the different elements the prints the cushions the lamp the

flowers etc However since the walls of the exhibition site were still very

noticeable in the montage it was hard to create the illusion of a different

ambiance and space The white walls in the installation were too much of a

reminder of the gallery venue Hence it looked more like an assembly of items

within a space rather than the illusion of a different environment Furthermore

the color looked pale and thus the ambiance in the space looked a little washed

out

2-3 Lighting

Much like color lighting is also used to uniform a room because it participates in

creating coherence between the different objects and images placed under the

same intensity of light The illumination can help in the comprehension of the

representation can define the limits of the environment and can be a means to

ibid 45

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stage the deacutecor^ The intensity of the lighting can also program the dramatization

of the scene

Symbolic of the origin of life light is also a sign of privileged intimacy It places

a singular value on things The use of lighting in my installation was at first

instinctively used for the purpose of creating intimacy In this piece I

intentionally wanted the illumination of the art piece to be self-sufficient and

independent of the presentation conventions of the exhibition site In other words

I did not want the installation to be lit by the traditional lighting systems of

galleries but to have the warmth and life come from within the art By proposing

an independent setting within the exhibition I want to explore the notion of the

private space (real or artificial) transported into a public venue

2-4 Pattern

In Little Room Installation I repeatedly printed the same pattern on the cement

floor the bottom of a wall and as backgrounds on each of the nine paper prints to

unconsciously create a rhythm and a connection between the discursive elements

(parallel to the strategies of color) A pattern seeks the commonalities between

its elements whereas order distinguishes the differences and compartmentalizes

these^ The motif was also distinctively chosen as a reference to William

Morris The reason why I wanted to reference this personality is because he was a

founding voice and entrepreneur of the decorative arts movement in the late

eighteen hundreds in view of the fact that the decorative arts made [] the look 1 7

of daily life their central concern Morris fought to intentionally blur the

frontiers between what is art crafts decoration and utilitarian objects and

rejecting machine-made ornaments For Morris a noble artist a

handicraftsman was someone who could create good design by working with

hisher heart hands and intellect Indicative of my own background in both the Jeacuterocircme Bourque No Mans Land (Queacutebec Meacutemoire de Maicirctrise Universiteacute Laval 2006) 14

Julie Boivin The Aesthetics of Frivolity Reinvesting in Balloons Cake Icing Bovys and Trinkets (Montreal Thesis in Art History of Concordia University 2005) 49 Christopher Reed Not At Home The Suppression of Domesticity in Modern Art and Architecture (London Thames and Hudson 1996) 12

15

arts and crafts I too want to suggest conciliation between the disciplines Even

today this remains an on going debate in the arts Hence the printed motif

manifested the dimensions of the installation but it also implied a link to patterns

done during the decorative arts movement

2-5 Framing (delimitations)

Closely linked to the notion of context the factor of delimiting an installation

(creating boundaries) also helps to create an intimate and contrained setting

Clearly the deacutecor is created through its delimitations In this case the printing on

the floor acted as the boundaries of the work (There are numerous ways to

fashion delimitations that are explored in my next installations)

I have noticed that my installations can parody when framed correctly the artistic

practice of still life paintings These three-dimensional montages when looked at

from a certain and often-imposed point of view are reminiscent to traditional

types of display arrangements for paintings (drapery the rich presence of light

natural flowers food furniture etc) The delimitation strategies can also stress

the absurdity of a decorative installation within a gallery setting and for this

reason the notion of being out of context

2-6 Reneacutee Greens Installation

Soon after these first two montages I took the time to research other artists who

shared an interest for creating ambient decors within the gallery It was at this

moment that I came across the work of Reneacutee Green I was taken aback by the

similarities in her work and mine especially in the case of my first piece

Decorative Installation Reneacutee Green is an Afro-American artist born in 1959

who now lives and works in New York and Vienna Her [] installations are

complex examinations of overlapping themes that are usually related to the

exhibition site Using an anthropological approach toward her subjects she

researches historical and cultural topics and then offers viewers the results of her

16

studies in videos installations texts and sound elements

struck me was

Reneacutee Green Installation in Gallery in Taxispalais Mise-en Scegravene Commemorative Toile Silkscreening on fabric and paper vintage furniture 1996-2004

The work that most

In this installation Reneacutee Green constructed a mise-en-scegravene of a false seigniorial

interior enclosed within the gallery With the help of an appropriated toile pattern

the artist created an ambiance by repeatedly silkscreening on wallpaper curtains

and on fabric with which she upholstered vintage furniture- sofas and chairs The

whole installation is organized with the same motif in shades of red and cream

color with a few highlights of dark mahogany wood Through the

overwhelmingly resolved deacutecor she manages to seduce the spectator into her art

piece The organizations of her movable elements emit a luxurious feeling of

httpwwwthe-ailistsorgArtistView viewed 110506

17

comfort and affluence I could imagine this room belonging to a bleached blond

countess It borders cultured sophistication but with a hint of kitsch and sarcasm

However once invited into this countesses dwelling we realize that to acquire

such wealth history has often proven to be unpleasant Consequently contained

by the opulent decorative motif of the toile Reneacutee Green integrated racist-social

role images The repeated pattern on the ensemble of her installation does not

[] depict a bucolic idyllic scene as one would expect from a seigniorial interior

of 1800 To be seen are rather bizarre as well as brutal historical scenes from the

Haitian slave revolt of 1804^

19 wwwgalerieimtaxispalaisatausstellungenmobilienmobilien rundgang02htm viewed 052506

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The highly political content of Reneacutee Greens work is camouflaged in a domestic

deacutecor that is not noticeable at first It is only once you invest a little time viewing

the work that the images reveal themselves Essentially she still refers to many of

the montage strategies that I have mentioned earlier that relate to notions of

interior decoration Her curtains delimit the space of the installations and the

dominant colors and patterns unify the montage However it is entirely under the

influence of post-colonial bitterness I was left destabilized by the atrocious

images (images of hangings murders and societal as well as religious domination

over slaves) and a little guilty because of a sense of shared responsibility for the

past but also helpless in the present moment

Little room installation proved to be a turning point in my art practice This

work helped to engender an assurance in my intuitive choices In due course it

fashioned working methods that has directed my printmaking and craft practice to

construct new environments within the gallery The traditional twenty-two by

thirty inch rag paper is no longer the delimitations of my silkscreening practice

rather with their accumulated help I adventured in a new dimension

19

Chapter III Yellow Decorative Installation Silk-screening on fabric to make curtains cushions tapestry and paintings ready-made objects sofas light tables fake flowers and fake art magazine Dimensions 16 feet wide by 14 feet high and 9 feet deep 2006

Yellow Decorative Installation was exhibited at Becot Gallery^deg in a two-person

show (with a class colleague named Catherine Sheedy) It was set up in an alcove

within the gallery that measured approximately 210 meters in height 270 meters

in depth and 420 feet in width where I produced the impression of a living room

show room stage Inspired at first by the availability and unique look of my own

vintage furniture I combined an assemblage of everyday yellow and cyan objects

that I borrowed from friends and family to create a welcoming space To do so I

screenprinted over thirty meters of fabric to upholster a pouf tapestry the walls

deg Beacutecot Gallery 344 Sainte-Heacutelegravene Queacutebec Qc Title of the exhibition Working Space Dates 3-21 of May 2006

20

sewed into decorative cushions and 420 meter high curtains The printed motif

was a doodle of mine simply taken from my drawings practice that I enlarged and

repeated to design a pattern In this case different from my last two installations

rather than relying on the appropriation of exterior visual sources I wanted to

sample my own creative work Thus it is entirely fabricated from personal

references The installation was lit from within or at least gave the impression that

it did (with minimal help from the gallery lights in the recess) Considering the

strange protuberance of the niche extending out of the right side of the gallery the

piece looked altogether extraneous and even self-sufficient to the exhibition site

itself hence the space was almost custom fit to accommodate my artistic

preoccupations The dominant colors unified the singular elements and the mood

lighting generated an impression of intimacy Lastly a faux carpet lay on the

cement floor literally cut in half and positioned equidistant to the curtains to

further emphasize the delimitations of the alcove This was purposefully placed to

persuade the frontier (boundary not to cross) of the installation Despite the

allusion and the illusion of a home no one was home There were no objects

related to a person in particular The narration was open for anyone to concoct

The fourteen feet tall hand printed curtains opened up like an Italian stage My

reconstitution of a room was a mise-en-scegravene released to the spectator

The quirky pattern and the out-dated saturated yellow furniture produced a strong

contrast to the white rectilinear gallery For the most part the installation was

very humorous It was bright homey inviting warm and in my opinion very

happy I wanted people to smile as they acknowledged what they were seeing

Even though the installation was seriously constructed and thought over I did not

want to make it look stern Rather my aim was to make people feel at home

Compared to the usual cold sterile and sanitized gallery ambience I wanted my

art to be the complete opposite I wanted the installation to look alluring and

comfortable comparable to a stereotypical view of a living room

21

3-1 The Home

Yellow Decorative Installation used objects and its organization related to

todays conception of the home In an article describing Reneacutee Greens

installation entitled Commemorative Toile Mise-en-Scegravene (seen in chapter II

page 16) the author stated that the piece was built through the use of movables

According to the commentary movables are [] portable and transportable

objects usually associated with interior furnishings which are laden with a history

that extends beyond their everyday form^ In my case I used my own bright

yellow couches from home particularly for their strong formal qualities for the

reference to the every day and accordingly their narrative potential To some

extent I found that the installation resembled a whimsical second living room^

These rooms are not used day to day rather they are kept impeccable as a space to

entertain and impress invited guests Compared to a room used to watch

television this room is often preserved much like a deacutecor forged out of an

accumulation of staged furniture and trinkets Interesting coffee table books are

strategically placed only for show where even the spines of the book never show

signs of use Or some even cover the fine couches or lampshades with plastic to

safeguard the upholstery Inversely real living rooms compared to the second one

is often more rudimentary and actually occupied

After the completion of this installation I took the time to examine what the work

reminded me of Home and comfort were two key words that surfaced from this

montage Exceptionally I had the occasion to compare this work with theory

centered in the discipline of ethnology It was at this time that I read a remarkable

book written by Witold Rybczynski based on the construction of comfort in the

home Interestingly comfort in the home is a relatively new term It is the fruit

of human construction like any type of machine that helps to facilitate life

wwwlikeyoucom viewed 210506 I use the term second living room to reference my personal experiences from childhood As

children we were forbidden to play in the fancy set up of the second living room because it was preserved for guests We were encouraged rather to play in the television room that consisted of an inferior deacutecor standard but could be freely inhabited ^^Rybczvnski Le Confort Cinq Siegravecles dHabitation 61

22

Since time spent at home today is synonymous to time off and relaxation after a

long day of work the home and its objects reflect this conception

Witold Rybczynski referred to the designer Ralph Lauren to illustrate the

interlaced notions of the home comfort and home installations Much like the

work of William Morris who was interested in the construction of objects related

to daily life Ralph Lauren highlights the concept of the home by creating

perfectly orchestrated deacutecors that promote social experiences (especially family

gatherings) around furniture Each of his conceptualized show rooms has a strict

purpose that corresponds to diverse family functions sending an overall

impression of comfort For example on the companys web site

(rlhomepolocom) we are offered three short films illustrating ensembles

representative of what living in Pacific Heights a Villa America or a Venice

beach loft might entail Every film is cunningly composed with music and visual

effects to suggest that fashion is a function of our life style The objects

advanced are made important through the rapport they have with a lifestyle based

on shared interests between culture and customs All in all his montages are a

very nostalgic take on upper class etiquette of luxurious homes Inversely the

homes presented in Ralph Laurens world are integral reconstitutions of a deacutecor

and are not habited (somewhat like a piece of art) They look deserted

Everything is placed in a morally ordered fashion His videos and deacutecors are but

backdrops destined to promote his linens glasses cutlery vases etc (similarly to

my stands in craft show) He sells us a vision of what a home should resemble

His themes are selected to evoke familiar and comfortable ensembles symbols of

a certain class of stability and of tradition^^ Of course there is definite care in

omitting any distracting objects of modern troubles

^Rlhomepolocom viewed070606 Rybczynski Le Confort Cinq Siegravecles dHabitation 18 - Ibid 24

23

3-2 Deacutecors

Like Ralph Laurens deacutecors Yellow Decorative installation is also only for

show It is very similar to store montages especially those in fabric stores that

craft artificial contexts for products Deacutecors promote interests shared between

culture and material objects for day-to-day life but remain off limits to be enjoyed

at the present moment In my case through the artistic process of detaching the

objects from their original contexts and previous functions to integrated them in a

piece of art they become ambassadors for a certain imaginative mise-en-scegravene

In architectural treatise manuals on decoration descriptions of theatrical settings and novels readers-viewers were encouraged to project themselves imaginatively into whatever space was described or represented The idea was that one didnt merely see space one could experience it through a visceral response to the imagined effects of light and shade proportions perspective and scale^

In other words my yellow montage is open to the spectators imagination Much

like my two-dimensional printmaking work in sampling can suggest visual

associations and interpretations installations are an assembly of different objects

also open to reading People can thus enter decors through their imagination and

if they are inclined can also physically enter the created space They in that case

experiment their presence within the environment

3-3 Making Ones self at Home

What if someone visiting a gallery or a storefront window makes himselfherself

at ease within the deacutecor I have come to believe that in my Yellow Decorative

Installation I was not prepared to actually witness people stretching their legs on

the hand made ottoman and adjusting the hand printed cushion to accommodate

their backs I felt a little stunned by the fact that a few persons took the deacutecor

literally The montage was inviting so it was only natural for them to accept the

invitation Should I have distanced the deacutecor with a ribbon or fence Worded

differently what type of conventions could offer clues as to what is the good

distance one should take vis-agrave-vis a piece of art Are these created montages

Christopher Reed Not At Home The Suppression of Domesticity in Modern Art and Architecture 69

24

made from real objects not intended for use During the opening night in

particular this installation performed like a world-theater box People that had

entered the yellow mise-en-scegravene gave the impression of acting out on a stage

The montage was now about the representation of the body within the domestic

space This work was then [] contending not with one interior but with two

the body itself and the container that surrounds it Victim to the comfortable

illusion the space emanated a few persons used the installation like a veritable

room Hence this installation led me to question what is the ideal distance one

should have towards art Does the impression of comfort override the notion of

art What type of formula should be established between the artwork and the

spectator Basically I realize that our relationship to the gallery is unsettled by

the fact that every day recognizable objects are used yet to be honest 1 was a

little put back by this intriguing response on the part of the public

Within the installation I also incorporated a modified Art press magazine (Art

Press being an important contemporary French art source) (see following page)

that mimicked the books placed in second living rooms to impress the guests This

periodical was strategically placed in the installation on a sofa with the

photograph of the actual magazine on the sofa for the cover illustration (mise-en-

abicircme) To be on the first page is an astounding accomplishment for any artist

Thus this infographie montage was an auto-referential cycle that specifically

endorsed the deacutecor as art Other than the sheer eccentricity of the set up

(outlandish color and motif) if people still had doubts about weather this montage

was a genuine art installation the magazine was a conceptual allusion towards the

art world conventions and accreditations Even if the magazine itself was a fraud

28 Ibid 67

25

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I believe that I bring furniture into the gallery space not so much based on the

same preoccupations as Marcel Duchamp Id argue that it operates differently to

those celebrated in the early nineteen hundreds where objects such as the urinal

once placed in a gallery by an artist transformed the item into arf The gallery

being somewhat an affirmation to what qualifies objects as important art Yet I

am not preoccupied by the debate on what qualifies as art or not Rather it

appears to me that I enjoy watching the confusion and the ambiguity that happens

to objects when placed in the gallery context precisely because they occupy the

luminal hybrid or not quite zone between intentional art objects and real things

in the world Intriguingly their relationship to the body to the family to the

domestic and the commercial ensures an on-going series of tensions recognitions

and complex responses These objects are used for their power of suggestion

They attract our attention because of the familiarity and comforting allure but they

also destabilize our role as spectators within the gallery context

Tanya Harrod The Future is Handmade the crafts in the New Millennium httpwwwcraftcultureorg Viewed 120506 Jean Baudrillard Le Svstegraveme des Objets 12

26

What I find stimulating in this piece is the duality between what is real and what

is art In my experience of Yellow Decorative Installation I could see that

people felt perplexed when viewing the room while standing in the gallery They

were not exactly sure what could be qualified as artistic work Other than the

printing on fabric some visitors did not consider the montage as a work of art

Hitherto there was an elusive tension between whether or not it is acceptable to

cross the boundary of the curtains and to step on the carpet Deacutecors in stores and

window displays provoke the same feeling We know that the objects are real but

we do not want to disrupt the order of the placed items We are only invited in to

look but not to touch I was left with a perplexing conclusion The creation of

ambiance and comfort in the art sends out an ambiguous message What do I

consider the limit of the real versus the art

27

Chapter IV

Red installation Framed prints silk-screening on wallpaper handmade tablecloth and fabric used to upholster chairs (Lunch all hand made by the artist) Ready-made objects table settings lamp red duct tape little decorations etc Dimensions 6 feet wide 14 feet high and 5 feet deep 2006

bullbull-bullbullbullbulldiams 5 laquo ^

Only a month after my last work (yellow) I produced this Red Installation

Since I was left with many questions about the distance the spectator should

consider towards a comfortable art montage I purposefully attempted to promote

another impression of invitation This installation was specifically fabricated in

view of it being entered (but with invitation only) On the first hand I

constructed the art piece to invite two persons (professors) and myself for

afternoon tea On the second hand I invited fellow artists and friends to view the

work Even though everything was hand printed color combined and set up as

an art piece it was meant to be manipulated for its utility

28

The installation again was constructed through the recycling of a variety of red

objects Firstly I chose this color because I had a large quantity of fire engine red

velvet in my inventory of fabrics (for craft making) And of course it is easier to

cook appetising food in this color Therefrom I printed the velvet with a motif

that I sampled and reworked from a Bridget Rilley painting titled Loss 1964

This line work is calculated to create optical illusions It made me think of retro

design work from the nineteen sixties coinciding with the look of the appropriated

chrome furniture

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To be consistent with the dominant color I repainted and upholstered three chairs

that my proprietor was about to discard Also I borrowed red table settings a

lamp a stuffed cardinal and fake flowers from my mother in law Lastly I

obtained a tin lamp from a friends studio tables from school golden frames and

an old blown glass vase from my grandmother Along with these second-hand

objects I bought a roll of old wallpaper from a second hand store to silkscreen on

and fresh cut flowers from a flower shop

The wallpaper and the table were relatively the same width and they both had the

corresponding printed motif The similarity of their rectilinear dimensions served

to box the installation Furthermore I placed red duct tape on the floor to

purposefully enforce the delimitations of the art piece There was also an X on

the gallery floor directly in front of the installation to impose a concrete distance

and an angle by which to view the framed piece At this given viewpoint one can

httpnadavharelorgilBridget Riley viewed 121206

29

observe the installation as a clean red rectangle This in fact was worked out by

calculating the technical inversion of the visual effect caused by the perspective

In other words the tape is anamorphous And of course red tape has a

psychological of do not go beyond this point

4-1 The Art of the Home

The installation smelled and looked sweet My goal was to welcome my guests

and have a pleasant teatime while submerged in an artistic context For the

occasion I made chocolate covered strawberries cup cakes fancy cookies a plate

of cut fruit and vanilla tea All this preparation evoked a resemblance to the

work of Martha Stewart^^ whom has had great influence on our societys vdue

towards gracious living housekeeping and entertaining Her creative recipes

arts and crafts are very cultured She and her corporate team could make any

great chef interior decorator wedding planner gardener businessman etc blush

in comparison She has promoted homemaking as a very interesting and

challenging career where in comparison historically domestic figures were seen

as the opposite of heroic For instance valiancy [] has been the standard of

modern art a heroic odyssey on the high seas of consciousness with no time to

spare for the mundane details of home life and housekeeping Or Charles

Baudelaires famous defence of Impressionism in his essay The Painter of

Modern Life This essay cast the modern painter as a flacircneur a man of the

crowd who curses the hours he must spend indoors when he could be recording

the landscapes of the great city Consequently women for the most part were

excluded form the masculine realms of creativity and adventurousness Rather

they were associated with the domestic sphere assigned to the role of the

consumer often as decorators of their own homes and for the wealthy as patrons

of the arts

^ httpwwwmarthastewartcom viewed 121106 Christopher Reed Not At Home The Suppression of Domesticity in Modern Art and Architecture 15

^Îbid 12

30

4-2 High Art versus Low art

My artistic goal when referencing the domestic is not to denunciate the gender

injustices rather I want to illustrate to some extent how [] the home has been

positioned as the antipode to high art hi other words how there is a separation

between the everyday experience and high culture Some authorities such as art

critics and historians used the term high art to classify what they consider the

most significant and precious creations produced by artists Low art implies an

opposite or at least a sharply contrasting alternative category this space has been

filled by a number of derogatory terms including the diametrically opposed low

art mass culture and popular culture The result of these theories is culturally

and socially specific modern conventions of western art For example

Museums have gained the power to define high art and art in the home was

consigned to other classifications- decorative crafts entertainment kitsch etc-

and accorded much lower status^ Big paintings for example have been

exaggerated in size not to fit in the domestic setting since [] homes could not T O

rival the grandeur of museums However it is apparent that these judgments

function principally at the level of the rhetoric and ideology For my part I amuse

myself with these established judgments I believe that by creating the simulation

of a domestic space within the gallery I criticize the doctrines Furthermore

crafts decoration etc have stupendous creative possibilities in art making On

that account I consider my installations just as valuable as a painting drawing

sculpture etc Yet I am conscious that I still refer to the specific and highly

limited meaning of the gallery since I first and foremost situate my art within the

context Coincidentally I rely on its appraisal that this is art

To further indicated to the notions of high art and low art within the installation I

allude to printed wallpaper versus framed prints Both were done with the same

35 Christopher Reed Not At Home The Suppression of Domesticity in Modern Art and Architecture 7

Jonathan Harris Art History The Key Concepts 140


Ibib 46

31

printmaking technique but one was given a higher standing by placing it behind

glass and in a golden frame for protection The framed prints were moreover and

contrary to my previous acknowledgment of printmaking in my previous

installations were signed and numbered in respects to the traditional ethics of the

Code dEacutethique de lEstampe Originale I positioned the framed prints on top of

printed wallpaper to create a critique about the judgements we have towards art

categorisation In other words what is the art the installation the prints the

food the performance etc Thus while immersed in the artistic setting we could

visibly notice a cue to a voluntary hierarchy of artistic classifications Ironically

the motif of the printed wallpaper and fabric (considered of lesser value) as I

have mentioned earlier is an innuendo to Bridget Rilley who is today^^ acclaimed

in the world of high art

During the teatime the lights from the exhibition venue were turned off and the

lights within the installation entirely created the atmosphere for the piece Hence

the performance installation or relational art was self-sufficient from the

exhibition venue The two lights also created the boundaries of the installation

Once seated in the piece the rest of the gallery was no longer visible We were

isolated by the chiaroscuro (high contrast between complete darkness and warm

lighting) My installation looked like and reminded me of a three dimensional

representation of the still life genre that is

[] concerned with the pictorial representation of ordinary objects within daily life Scenes included the depiction of both natural things-plants and flowers for instance [] and a wide range of humanly made artefacts such as jewellery cups plates cutlery and furniture (eg Ambrosius Boschaert the Eloders Bouquet in a Niche (c 1600)^

I stress the today because Bridget Rileys work had been de-evaluated for several years after the fact that her optical work was shown and used by fashion and decoration magazines 40

This is the second time that I appropriate patterns in my work The first time was in Little Room Installation as a reference to William Morris and his link to the arts and crafts movement (page 15) On this event today it is used to allude to high arts 41


32

Initially Red installation was a work done to regain control over the

delimitations of my montages The suggested presentation conventions were

more obvious than in my last work The red tape psychologically made people

stand back from the mise-en-scegravene This restricted area was a boundary that

people felt uncomfortable in crossing for it indicated that the objects inside it

were not rheant to be disturbed Only a selected few who were invited could relax

and interact with the deacutecor Thus this installation was experienced in two

fashions from a distance looking in versus up close and personal for a private

moment

33

Chapter V Vitamin C 36 silkscreen prints on rag paper curtains painted sofa and stool lamp and handmade lampshade hand printed candy wrappers handmade carpet Dimensions dimensions of Engramme gallery 2006

The idea behind the theme of Vitamin C installation was basically to

counterbalance the harsh winter days I learned that my exhibition dates were

planned during the dead of winter from mid January to mid February Hence

with this in mind and considering the architectural properties of Engramme

gallery^ (the large windows that face a busy street) I wanted to play on the

notion of a warm inviting and colorful space in contrast to the cold grey winter

days Furthermore I wanted my installation to be experienced in two fashions

First I wanted to make people live the interior of the installation through an

Engramme Gallery is situated at 510 cocircte dAbraham in the artistic cooperative Meacuteduse in Quebec city

34

intimate relation with numerous serigraphs (thirty six to be exact) in a warm and

cozy representation of a domestic setting Second I wanted the installation to be

also experienced from the exterior as a distant attraction much like how we view a

storefront window display where the inside light filled atmosphere can be seen

from the street Moreover we can as well experience the montage through its

relation to the time of day The short days of January and February can promote a

supple impression of the piece - by day and by night The daytime view of the

installation is very bright and energetic All the spotlights that were available in

the gallery directly light up the prints plus the two lamps from the mise-en-scegravene

participate to make the entire piece vibrant The nighttime montage is altogether

different for the gallery spotlights are dimmed at eighty per cent making it softer

for the eyes Lastly the domestic orange lamps create a mellow ambiance

suggesting a comfortable and intimate setting Still the montage radiates through

the windows of the gallery both during the day and at night

Contrary to my previous four installations I did not delimit the dimensions of the

installation within the venue instead I wanted to transform the entire set up of the

gallery into an immersive piece of art The architecture such as the windows and

walls of the gallery becomes integral to the boundaries of the installation This

was especially done because the parameter of the gallery is rather small In spite

of the narrow interior its visibility from the exterior is exceptional People can

see my Vitamin C installation from cocircte dAbraham from the top of the cliff

from the corner of St-Vallier Street and De la Couronne Street

To contrast the dull outside I specifically chose the color orange as the dominant

color for the art piece and in turn as the unifying theme for the printed material

That is I used images that reference our cultural associations to the color orange

Technically they are images that I found through typing the word orange in the

Internet search engine Google image From the results I selected based on

graphic qualities some images over others to rework and transform them into

35

something personal For example I found the image on the left as a logo for

orange pekoe tea that I transformed into the image on the right

- Image found on the Internet 2- Image reworked to fit in the installation

The images are thus visual and intellectual associations of the colour orange

based on our education Vitamin C for example is constantly associated to the

color orange other than that I found images of William of Orange the flag of

the Order of Orange Agent Orange Clock work Orange etc Amusingly the

title of the exhibition Vitamin C as well becomes a quirky allusion to the

contemporary art book collection Phaidon that published Vitamin P (for

painting) and Vitamin D (for drawing) In this instance Vitamin C stands for the

color reference but it can also be Vitamin C (for Cynthia)

Much like in Decorative Installation (chapter I) to frame and unify the array of

appropriated images I repeated an ornamental motif This pattern was also

sampled and reworked from another source (Dover illustration book on floral

design) Each image is placed in the center of the ornate design The unequal

quality of the printing reminds me of cheap place mats found in diners (that might

^ Web site CEYLAN-Broken-Orange-Pekoe-lKg-de-The-en-Vrac-Boite Viewed 121006 ^ Image created from the original logo I iiave added colors and altered others the shadow of the original logo was omitted the exterior box was deleted and replaced by an ornamental motif and the text was repositioned These Prints were done during a residency in New Brunswick at the printmaking collective Imago For two consecutive weeks I was given an artist fee and access to the studio including all the equipment This was the perfect opportunity to dive into an extensive printing project such as this one Dates October 5 to the 22 2006 In turn I gave conferences on my work to the local art community and to the printmaking students from Moncton University

36

say Bon Appeacutetit or Welcome) Or they also resemble advertisement labels one

might find on a soapbox In turn these silkscreens are successively pinned to the

wall to mimic wallpaper To furthermore emphasise the imitation of wallpaper

the last vertical row of prints at the end of the gallery is torn in half As a

consequence this effect reinforces the lower standing that wallpaper has versus

original prints

To this image montage I further added recycled and refurbished furniture to

create a humorous energizing warm and comfortable oasis The use of a sofa

two little tables two florescent orange lamps candies with silkscreened wrappers

and ottoman was to reference a living room or reading room It was also a strategy

to give off a feeling of a cozy lieu or a place where one can contentedly sit down

to view the numerous ornate prints One can also question whether the seat serves

the same purpose as the neutral benches in museums that is used to rest and gaze

at art work Essentially the composition of this piece has many affinities to my

37

first installation that was light pink and white (paragraph I) Similarly there is

only one place to sit The ambiance is rather solitary even if in this case there is

an extravagant and excessive use of color However in this montage the access

is refused because of a tiny ribbon that limits the access to the sofa The ribbon

also marks a distance between what is now art and what was a sofa

5-1 Inside versus outside duality

The strategies to use the specificities of the site embark on a discourse about an

inside versus outside duality There is an emphasis on the theme of the private

versus the public from the individual to the collective and from the everyday to

the public The gallery walls and windows become what is a geometric expression

and applied through the reinforcements of barriers that become limits^ These

limits are lived through our imagination The tangible intimate inside becomes

the contradiction to the immeasurable and impersonal outside

46 Gaston Bachelard La Poeacutetique de lEspace (Paris Presses Universitaires de France 1967) 194

38

From the outside there is a promise of the interior or an essence that seems to

entice the aesthetic observer- the everyday motorist and or pedestrian on hisher

path The glowing light can also correspond to the allusion that someone is home

that there is life within the installation Who however remains unknown

Interestingly the people who experience the private inside of the installation

become participants for the public looking in from the outside They are evoked

in the fearful and exhilarating intensity of the stage Hence the people inside are

on display and the people outside become the audience or the voyeurs The

enormous orange curtain at the front of the gallery is strategically placed to

cocoon the space but it also enforces the idea of entering a theatre When we go

beyond this point the spectator is implicated in the dramatic deacutecor This obstacle

is a line that one has to cross to actively participate in the art

Seen from the exterior the objects loose all sense of utility and simply become

formal blocks of orange matter Inside the utility is also questionable for the

gallery conventions create an impeding distance between the objects

convenience The material becomes a condition of the conceptualization of

abstract high art the installation Basically it is the gallery setting of the artist run

center Engramme that assists to qualify the montage as art Yet there is a blurring

of the boundaries around fine art and strategies of pastiche That is I deliberately

copy and ultimately parody objects from the everyday My work imitates a

different period combined with a mixture of styles to un-anchor the objects from

their sense to fit in a new context but they still remain very familiar to us

Accordingly the objects oscillate between pure color and independent form

versus recognizable function This is somewhat similar to the relation that we

have with storefront window displays

A simulated home and theatrical mise-en-scegravene constructed within the neutral

venue offers a feeling of comfort in the installation Vitamin C The ambiance of

a domestic setting is suggested and the delimitations offer a type of shelter A

tantalizing illusion of a fulsome oasis is noticed from the exterior and can be

39

experienced once inside The general public is welcomed to enter the installation

but contrary to Yellow Decorative Installation the distance that one should have

towards the display I believe is clearer The surreal and obsessive nature of the

decor rebukes anyone from sitting on the bright orange sofa and prevents anyone

to rest his or her feet on the pouf The unusual glamour of the sofa creates a

psychological distance from use even if it is a hundred percent real and resistant

Not to take any chances I also added a tiny orange ribbon on the chair to

delicately dissuades anyone from making himselfherself too comfortable thus

rendering the utility of the deacutecor off limits In this case the art overrides the real

The surreal and humorous impression is enough to deter a spectator from making

himselfherself at home In other words the impression of comfort is visually

perceived in Vitamin C like in my other installations but it cannot be consumed

because of a fear of destroying the art and perchance the disagreeable feeling of

the plastic upholstery The accord between the art and the spectators is

understood that is there are visible conventions that distance the invasion into

my artwork even if the work provokes the feeling that it should be consumed

Essentially my intuitive choice of title for my first work Decorative Installation

is tantamount to the strategies that I employ to play with the ambiance of the

gallery In other words I dress up the gallery space through the use of decoration

Decoration is a little like wrapping paper- it hides something else contained

behind it It is a luscious implement that can seduce a gap between what is known

and what is unknown

Decorative objects can be of an entertaining value as they enhance and detract our attention they can also enliven and thus entertain This combination of decoration and entertainment calls our attention to the difficulty of establishing the function and potential usefulness of these objects without considering them within an adequate context^

In Vitamin C for example I use printmaking to imitate decorative wallpaper that

camouflages the gallery into a domestic setting I even view the installation much

Julie Boivin The Aesthetics of Frivolity Reinvesting in Balloons Cake Icing Bows and Trinkets 42

40

like an inside-out present The wallpaper reminds me of wrapping paper It wraps

the architectural delimitations of the white cube exactly like we wrap a present in

a box The unifying pattern serves both to enhance and detract our attention from

the gallery context rendering the inside of the gallery present like Paradoxically I

also elevate these non-idealistic attractive objects by placing them in a higher

aesthetic context much like the pop art movement Essentially the organisation

of elements is an attempt for a three dimensional space while the total outcome is

a solitary set up where one can have a frontal experience with the print work

This spatial take over of the gallery is based on a desire to integrate the public

within the work

41

The inside of the gallery is aesthetic and successful The amalgamations of

decorative objects engage in a binary discourse between a secure and homey

environment versus an aggressive color and a few rather violent images (Agent

Orange Clockwork Orange the Orange order etc) The visual reference to the

extremely violent cult film Clockwork Orange or Agent Orange the poisonous

chemical sprayed over Vietnam during the war in Vietnam that still generate side

affects today were selected based on how I researched the graphic material with

Google However I now realize that reading the ensemble can be destabilising

One can notice that half way between delicate prints and the color-coded set are

ambiguous illustrations The recycling and representation of figurative elements

remain essentially formal without much question to the relation to a home deacutecor

but rather to a larger reference to the pigment The wall of prints acts like an open

puzzle where the visitors are invited to take part in The interpretations are free

to be made

My final show is populist It is colourful kitsch somewhat naive and could even

be interpreted as a promotion for mass distribution I took popular imagery from

publicity and old documents to result in a pastiche environment that borrows

concepts from low art stage design and window dressing Nevertheless I can get

Erik Fortin Vitamine C interpreacutetaion libre (Lencart 10)

42

away with it because of its location The artist-run center certifies the artistic

intention behind my work The gallery becomes a showroom and window display

for my art practice

43

Conclusion

My artistic work is essentially based on my ability to create and design intimate

spaces that resemble domestic settings through the retrieving and recycling of

images and objects To do so I use printmaking techniques to fabricate mise-en-

scegravenes that allude to domestic spaces My printmaking practice has gone astray to

the traditional interpretation of the medium in effort to conciliate print to my back

ground in craft making The infinitely flexible potential of these disciplines are

taken advantage of to transform the gallery just like wrapping paper can enhance

a plain box The sterile and neutral ambiance of the exhibition venue is altered

through the decoration and resemblance to the home

My artistic goal is centered on the creation of links between daily life and public

viewing The systemization of comfortable and intimate settings invites the

spectators to penetrate the gallery and the installation and criticises the traditional

public viewing There remains however a tension between how one should

experience and interact with the art The confusion lay in the vague distinction

between intentional art objects such as the handmade and framed prints versus

recognizable objects of the everyday

I see an infinite number of possibilities in this playful studio practice just as I find

endless inspirations from both a diligent research in the visual arts and through

the appropriation of concepts related to the every day

My thesis show Vitamin C is particular in the sense that the fluctuating

reference towards objects of an interior setting versus objects in a stage design or

from a the storefront window display are interlaced The spectators entering the

installation become active participant on stage for the spectators that view the

piece from the outside Moreover in this exhibition the art installation is seen

from so far and it is so omnipresent in the street that one could argue that I bring

44

art to the people in their daily routine rather than them come to my art Hence

Vitamin C installation is insistent perverse and somewhat banal for one it is a

store window display two it is a comforting home representation three it is a

stage four it is art

45

Bibliography

Bachelard Gaston La Poeacutetique de lEspace Paris Presses Universitaires de France 1967

Baudrillard Jean Le Systegraveme des Objets Paris Denoeumll-Gonthier 1968

Baudrillard Jean The Evil Demon of Images and the Precession of Simulacra Sydney The Power Institute of Fine Arts 1987

Boivin Julie The Aesthetics of Frivolitv Reinvesting in Balloons Cake Icing Bows and Trinkets Montreal Thesis in Art History of Concordia University 2005

Boulton Stroud Marion New Materials as New Media The fabric Workshop and Museum Cambridge The Mit Press 2002

Bourriaud Nicolas Relational Aesthetics Dijon Presses du reacuteel 2002

Bourque Jeacuterocircme No Mans land Queacutebec Meacutemoire de Maicirctrise de lUniversiteacute Laval 2006

Dover Old-fashioned Floral Designs CD-Rom and Book Dover Publications New York 1999

Filiod Jean Paul Le Deacutesordre Domestique France LHarmattan 2003

Haris Jonathan Art History The Kev Concepts New York Routledge Key Guides 2006

La Chambre Blanche Largus Pratique De LArt et Pratique Du Don Art and Giving Queacutebec Cameacuteleacuteon Designer Inc 2006

Malenfant Nicole amp Ste-Marie Richard Code dEacutetique de lEstampe Originale Montreal Conseil queacutebeacutecois de Lestampe 1949

Reed Christopher ed Not At Home The Suppression of Domesticity in Modern Art and Architecture London Thames and Hudson 1996

46

Rogers David William Morris at Home London Ebury Press 1996

Rybczynski Witold Le Confort Cinq Siegravecles dHabitation Montreal Du Roseau 1989

Wilde Oscar Essays and lectures by Oscar Wild Art and the Handicraftsman London Methuen and Co 1908

Periodical

Laumonier Alexandre Courtesy of Art Press out of series number 19 France 1998

Fortin Erik Vitamine C interpreacutetation libre Lencart 10 vol 3 No 4 Queacutebec 2007

Internet Sites

wwwCEYLAN-Broken-Orange-Pekoe-1 Kg-de-The-en-Vrac-Boite viewed 121006 wwwcraftcultureorg viewed 120506

Tanya Harrod The Future is Handmade the crafts in the New Millennium Emma Morgan Warm and Fuzzy An exploration of felt and feeling

wwwmarthastewartcom viewed 121106 wwwnadavharelorgilBridget_Riley viewed 121206 wwwlikeyoucom viewed 210506 wwwRlhomepolocom viewed070606 wwwthe-artistsorgArtist viewed 110506

Image

Mise-en Scegravene Commemorative Toile 1996 wwwgalerieimtaxispalaisatausstellungenmobilienmobilien rundgang02htiTi viewed 052506

47

Reacutesumeacute (English)

Defenders of traditional printmaking techniques (lithography copper etching silkscreening) argue that the medium should be protected in respects to new infographie technologies because it is one of the last artistic domains that preserve technical craft (know-how) and tradition (master printers) Its critics meanwhile see it as a rather inferior branch of the visual arts They contend that printmaking is not capable of offering prompt and original responses to evolution in the worlds of art and culture I believe that as artists we have to develop intellectual and creative challenges in the meacutetier of printmaking rather than relying on technical demonstrations validated by handiwork For example my work utilizes printmaking for its infinitely flexible technical potential to serve my artistic preoccupations It allows me to appropriate existing visual material in view of imitating ornate wallpaper that is then placed in an artistic context Through a multidisciplinary approach to the meacutetier I transform the gallery into a mise-en-scegravene of a comfortable and intimate domestic setting Ultimately my practice in print seeks to parody and question the fine line between art installations interior decoration and storefront window displays The following essay illustrates certain strategies I employ in my artistic production It is based on inquiries and discoveries that have feed my research in creation during my masters in visual arts

n



III

Table of Contents

Introduction 1






Conclusion 44

Bibliography 46

IV

Table of Images


French Dog 6





Art Press 26




Vitamin C 34






Introduction










art




















Chapter I


























stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


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Chapter IV












28








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29


























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31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47



III

Table of Contents

Introduction 1






Conclusion 44

Bibliography 46

IV

Table of Images


French Dog 6





Art Press 26




Vitamin C 34






Introduction










art




















Chapter I


























stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


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26













27

Chapter IV












28








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29


























of the arts


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30






























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31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

Table of Contents

Introduction 1






Conclusion 44

Bibliography 46

IV

Table of Images


French Dog 6





Art Press 26




Vitamin C 34






Introduction










art




















Chapter I


























stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


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27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

Table of Images


French Dog 6





Art Press 26




Vitamin C 34






Introduction










art




















Chapter I


























stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

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Chapter IV












28








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32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

Introduction










art




















Chapter I


























stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


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17











18

















19











20





























21

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22



























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36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


Chapter I


























stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

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22



























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24

























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32









moment

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original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

Chapter I


























stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


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17











18

















19











20





























21

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22



























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24

























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original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47












stands























1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


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17











18

















19











20





























21

3-1 The Home




























22



























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24

























28 Ibid 67

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Chapter IV












28








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30






























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31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47










1-2 Image selection































components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


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17











18

















19











20





























21

3-1 The Home




























22



























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3-2 Deacutecors


























24

























28 Ibid 67

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Chapter IV












28








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29


























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30






























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31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47
















components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


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27

Chapter IV












28








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29


























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30






























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31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47



components
























significations








































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


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26













27

Chapter IV












28








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29


























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30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47







































































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

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26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47











































10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

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mdash

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A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47














10

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

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^^^^^

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mdash

^

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iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


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30






























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31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

Chapter II















11
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47
















stage Etc

2-1 Ambiance











12


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


our mementos














2-2 Color












13


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


emancipation




















out

2-3 Lighting





ibid 45

14


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


of the scene










2-4 Pattern
















15




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47




























16


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


struck me was


The work that most










17











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47











18

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

















19











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47











20





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47





























21

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

3-1 The Home




























22



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47



























23

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

3-2 Deacutecors


























24

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

























28 Ibid 67

25


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


i^^sH

^ ^ ^ u i ^ M bull 3 I

^^^^^

i

mdash

^

mm

A ms -

iMto


















26













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47













27

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

Chapter IV












28








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47








chrome furniture



















29


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


























of the arts


^Îbid 12

30






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47






























Ibib 46

31

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

























32









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47









moment

33











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47











34





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47





























35


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47


















36






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47






original prints









37















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47















38






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47






























39






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47






















and what is unknown





40










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47










within the work

41














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47














to be made






42



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47



for my art practice

43

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47

Conclusion


























44





45

Bibliography














46




Periodical



Internet Sites




Image


47





45

Bibliography














46




Periodical



Internet Sites




Image


47

Bibliography














46




Periodical



Internet Sites




Image


47




Periodical



Internet Sites




Image


47

Documents

DECORATION, PRINTMAKING, AND INVITING SPACES