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During this personal investigation I propose to explore and present an 'exploded view' of Cornelia Parker's life and works of space, suspension, friction and destruction.

Extracts from this document...

Introduction

Cornelia Parker: Personal Investigation Contents Page Introduction 2 Personal History 3 Recognised Work: 3 Awards: 3 Exhibitions (from 1980 to 2003) 3 Parker's Work and Career 5 Cornelia Parker's Creations 7 Mass (Colder Darker Matter) 7 Review of 'Mass (Colder Darker Matter)' 9 Influences in Cornelia's Work 10 Conclusions 12 Bibliography 14 Cornelia Parker: Personal Investigation Introduction During this personal investigation I propose to explore and present an 'exploded view' of Cornelia Parker's life and works of space, suspension, friction and destruction. I intend to explore the suppressed ideas and images behind her installations, the significance it represents in today's society, and unravel the subconscious thoughts of her works such as: 'Colder Darker Matter' and 'The Maybe'. (Which are connected, support and are influential my Alevel art projects, but also have caused most media attention within the art world). Within my conclusion I hope to evaluate the influence of her works, and the understanding and developments of the themes and ideas behind them. Personal History Artists Name: Cornelia Parker Date of Birth: 1956 Recognised Work: Subconscious of a Monument (2003) Blue Shift (2001) At the Bottom of this Lake Lies a Piece of the Moon (2000) Edge of England (1999) Mass (Colder Darker Matter) (1997) Wedding Ring Drawing (1997) The Maybe (1995) Cold Dark Matter: An Exploded View (1991) Matter and What it Means (1989) Thirty Pieces of Silver (1988) Awards: Best Show by an Emerging Artist, International Association of Art Critics Prize, for Mass: Colder Darker Matter at Deitch Projects (1998) Short-listed for the Turner Prize for 'Mass: Colder Darker Matter' (1997) Southern Arts Award (1983) First Prize 'Midland View', Stoke City Art Gallery (1980) ...read more.

Middle

When exhibited in New York in 1998, the installation received "Best in Show by an Emerging Artist" by the International Association of Art Critics. Experimentation In experimenting within Parker's visions of destruction and transformation, I have concluded to display this personal investigation within an obliterated charcoal book, connected within symbolic references to 'Colder Darker Matter', by setting the front and back covers alight with a gas lamp (instead of setting it alight by lightening!). This expressed the idea of me 'Playing as God', causing the book to part from its relevant meaning within society and its everyday use of familiarity and potential security of containing exclusive information. By manipulating every atom within seconds of burning, I formed a new relevance to the book of coldness, death and isolation, a place of terror within its pages. These are the themes situated throughout Parker's dominating and powerful imagery within 'Colder Darker Matter'; the physical attributes of my piece in comparison to Parker's is the charcoal effect obtained by burning the book, and its 'natural colour'. Review of 'Mass (Colder Darker Matter)' In reviewing this installation, I believe 'Colder Darker Matter' demonstrates the juxtaposition of contrasting images between the sentiment of religion and the commotion of lighting, which is distilled into a motionless and silent piece only by suspending the blackened fragments which flesh out a three-dimensional form. Parker uses the word 'Mass' in the work's title not only to allude the mystery of religion and faith, but of destruction and resurrection. 'Cold Dark Matter' however refers to a contrasting scientific term, used to describe the substance that exists in the universe, yet remains mysterious and "unquantifiable". By arranging the larger pieces inside the centre of the composition and the smaller elements to emerge, Parker generates the semblance of a cube suspended within time and space, evoking the chilling sensations of silence within its quiescent state. ...read more.

Conclusion

As an artist, she conducts her own singular experiments into the particles, fragments, and scraps that make up our world. Within her work, she conducts her own singular experiments into the physical properties of substances, within issues and materials, playing on their public and private symbolic meaning, revealing the points of friction, confliction between opposites, destruction and resurrection to its unrefined minimum. Sometimes the act of transformation is spectacularly destructive, as when she flattened a pile of silver plate with a steamroller. At other times, in her photograms of feathers for instance, it is gentle and fugitive. Parker rearranges the physical world on her own singular terms, finding poetry in the most prosaic of objects. Parker's works achieve the meaning of 'changing the definition of sculpture' where she obliterates an object's original three-dimensional form to a point where each single atom it consists of, almost looses its primitive reference. Thereby playing with the idea of a three-dimensional form existing in the space within our minds as opposed to objects that are before us; I think this is a very radical reposition of the medium. It is evident, that within Parker's hands, nothing is secure. Solid objects collapse, collide, combust and are crushed, only to remerge in unusual and surprising forms. In her world, matter is entirely malleable to her command; physical properties are there to be tested. Her approach is at the same time scientific and poetic, yet she is linguistically and symbolically playful. Her later works is palpable of Parker's ability to find a deep sense of meaning and mystery in the most unsuspecting corners of our physical surroundings. Demonstrated in more than sixty sculptures, photographs, drawings, and objects ranging from teapots and wedding bands to feathers have become transformed into metaphorically rich artefacts invoking royal history, literature, religion, and the paranormal. ...read more.

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