Although Karla Black (b.1972) and Kishio Suga (b.1944) work on opposite sides of the world and were unaware of each other\u2019s art until their new exhibition at Modern One was conceived, they are united by their use of everyday materials to create sculptural works of sublime beauty, complexity and originality, which they make in response to specific spaces.\u00a0Karla Black and Kishio Suga: A New Order<\/i>\u00a0is Suga\u2019s first major showing in the UK.<\/p>\n
Based in Glasgow, Black is one of the country\u2019s leading contemporary artists, and represented Scotland at the 2011 Venice Biennale. She is renowned for large-scale abstract sculptures, which are often composed of delicate and ephemeral materials, such as cellophane, soap, eye shadow, petroleum jelly, toothpaste, chalk powder and soil. Suga was born in Morioka in Northern Japan, and was a key member of Mono-ha (\u201cSchool of Things\u201d), a pioneering artistic movement which emerged in the late 1960s and early 1970s. His radical adoption of simple everyday materials, such as stone, wire , iron, zinc and paraffin in temporary, site-specific sculptural arrangements, which he calls \u2018situations\u2019, makes Suga one of the most thought-provoking and original artists working anywhere in the world today.<\/p>\n
Suga has re-created some of his most celebrated works, and has made an entirely new piece conceived especially for the show.<\/p><\/blockquote>\n
It was an interesting exhibition. Here are some notes & thoughts:<\/p>\n
Karla Black’s work<\/h3>\n\n- it is always interesting to see how other artists approach space. There is an expectation to fill the space and use it completely. I liked this single piece by Black positioned in one of the rooms. I feel there is a certain act of boldness and intention of statement here, to reduce the focus to one single object:
![\"31933951352_418b6bc30f_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/31933951352_418b6bc30f_o.jpg\")
<\/li>\n - Compare this to the work that was positioned in the other rooms and we see the complete opposite. There is a propensity to create something that is in the process of swallowing up the entire volume of the room:\u00a0
![\"31707187750_0b878398f1_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/31707187750_0b878398f1_o.jpg\")
<\/li>\n<\/ul>\n<\/p>\n
\n![\"31933857602_4a4c9a1613_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/31933857602_4a4c9a1613_o.jpg?w=3264\")
<\/li>\n- The choice and selection of materials is a preference for ‘the everyday’, delicate and ephemeral materials\u00a0such as cotton wool, plastic, powder paint, eye liner, , such as cellophane, soap, eye shadow, petroleum jelly, toothpaste, chalk powder and soil. There are a lot of so called ‘everyday’ materials out there, but it’s the reasons and process of selecting them that is the real challenge. The work shown below could be read as being anti-form.
![\"31934091502_1579c21fee_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/31934091502_1579c21fee_o.jpg?w=3264\")
<\/li>\n - The other pieces in the show by Black were hung in the corridor and constructed using cotton wool. The work has a very light and airy feel to it, almost as if the objects defy gravity.\u00a0
![\"32046104816_c8410564f6_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/32046104816_c8410564f6_o.jpg\")
<\/li>\n<\/ul>\n<\/p>\n
<\/p>\n
What have I learned from looking at this work?<\/h4>\n
There are 4 main things that I feel are important:<\/p>\n
\n- The first is the DIY approach to the work. There is no machine or factory fabrication here, simply what the artist has produced quickly on site. Perhaps this type of expression is something that is more aligned to painting. I had worried that handwriting words on my own signs piece for the FFF task would look tawdry. The DIY approach works if that is the ‘intention’ and not a ‘failure’ in the attempt to produce something of a much higher quality.<\/li>\n
- A sculptor must always \u00a0be thinking about space and how they might use it or conversely not use it. How would I translate my work into these spaces if it was myself who had the opportunity to put on a show here? These are the type of questions that must always be asked and viewing this work served as a reminder.<\/li>\n
- Gravity, mass and weight are important and something that should be considered when thinking about a space and how the work might inhabit the space.<\/li>\n
- I studied sculpture as an undergraduate with Karla at the GSA from 95-99. The main important lesson that I take from looking at Karla’s work is to always believe in the strength of your own ideas and in the work that you produce.<\/li>\n<\/ul>\n
![\"32083398625_410b48dc65_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/32083398625_410b48dc65_o.jpg\")
Karla Black<\/p>\n
<\/p>\n
Kishio Suga work<\/h3>\n\n- Suga’s approach is simple, but deeply philosophical. It is zen like and he works with stones, wire, zinc plates and other materials to create visually stunning installations. A lot of his pieces were recreated in this exhibition.\u00a0
![\"32043315176_4fc09ecdc6_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/32043315176_4fc09ecdc6_o.jpg?w=3264\")
![\"31964498181_d989aefd80_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/31964498181_d989aefd80_o.jpg?w=3264\")
<\/li>\n - I particularly liked his approach to the titling of work. He does not give it meaningful name, because that would give the work the meaning and he does not want the title to describe the work, but rather the work describes itself.<\/li>\n
- I found it very interesting that Suga is interested in borders and boundaries and a large scale installation in one of the rooms was about this subject :
![\"32082453455_fe0e9a0bf7_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/32082453455_fe0e9a0bf7_o.jpg?w=3264\")
<\/li>\n<\/ul>\nWhat have I learned from looking at this work?<\/h4>\n
Main things that I feel are important:<\/p>\n
\n- Consider how to re-create historical works<\/li>\n
- Do things need to be complex, probably not and best to keep it simple<\/li>\n<\/ul>\n
![\"31273123003_2dfff7991f_o.jpg\"](\"https:\/\/alanrma2016fineartjournal.files.wordpress.com\/2017\/01\/31273123003_2dfff7991f_o.jpg\")
Suga<\/p>\n","protected":false},"excerpt":{"rendered":"
I usually like to kick start the New Year with a visit to see art. For the last 3 years, it has been a trip down to Yorkshire to visit: Leeds and the Henry Moore Institute, Leeds Art Gallery, The … Continue reading
<\/li>\n<\/li>\n<\/ul>\n<\/p>\n
- \n
- <\/li>\n
- The choice and selection of materials is a preference for ‘the everyday’, delicate and ephemeral materials\u00a0such as cotton wool, plastic, powder paint, eye liner, , such as cellophane, soap, eye shadow, petroleum jelly, toothpaste, chalk powder and soil. There are a lot of so called ‘everyday’ materials out there, but it’s the reasons and process of selecting them that is the real challenge. The work shown below could be read as being anti-form. <\/li>\n
- The other pieces in the show by Black were hung in the corridor and constructed using cotton wool. The work has a very light and airy feel to it, almost as if the objects defy gravity.\u00a0<\/li>\n<\/ul>\n
<\/p>\n
<\/p>\n
What have I learned from looking at this work?<\/h4>\n
There are 4 main things that I feel are important:<\/p>\n
- \n
- The first is the DIY approach to the work. There is no machine or factory fabrication here, simply what the artist has produced quickly on site. Perhaps this type of expression is something that is more aligned to painting. I had worried that handwriting words on my own signs piece for the FFF task would look tawdry. The DIY approach works if that is the ‘intention’ and not a ‘failure’ in the attempt to produce something of a much higher quality.<\/li>\n
- A sculptor must always \u00a0be thinking about space and how they might use it or conversely not use it. How would I translate my work into these spaces if it was myself who had the opportunity to put on a show here? These are the type of questions that must always be asked and viewing this work served as a reminder.<\/li>\n
- Gravity, mass and weight are important and something that should be considered when thinking about a space and how the work might inhabit the space.<\/li>\n
- I studied sculpture as an undergraduate with Karla at the GSA from 95-99. The main important lesson that I take from looking at Karla’s work is to always believe in the strength of your own ideas and in the work that you produce.<\/li>\n<\/ul>\nKarla Black<\/p>\n
<\/p>\n
Kishio Suga work<\/h3>\n
- \n
- Suga’s approach is simple, but deeply philosophical. It is zen like and he works with stones, wire, zinc plates and other materials to create visually stunning installations. A lot of his pieces were recreated in this exhibition.\u00a0<\/li>\n
- I particularly liked his approach to the titling of work. He does not give it meaningful name, because that would give the work the meaning and he does not want the title to describe the work, but rather the work describes itself.<\/li>\n
- I found it very interesting that Suga is interested in borders and boundaries and a large scale installation in one of the rooms was about this subject :<\/li>\n<\/ul>\n
What have I learned from looking at this work?<\/h4>\n
Main things that I feel are important:<\/p>\n
- \n
- Consider how to re-create historical works<\/li>\n
- Do things need to be complex, probably not and best to keep it simple<\/li>\n<\/ul>\nSuga<\/p>\n","protected":false},"excerpt":{"rendered":"
I usually like to kick start the New Year with a visit to see art. For the last 3 years, it has been a trip down to Yorkshire to visit: Leeds and the Henry Moore Institute, Leeds Art Gallery, The … Continue reading
- Suga’s approach is simple, but deeply philosophical. It is zen like and he works with stones, wire, zinc plates and other materials to create visually stunning installations. A lot of his pieces were recreated in this exhibition.\u00a0