Scape Andy Goldsworthy Analysis
It seems that nowadays artists are no longer limiting themselves to representing their surroundings by simply sketching or photographing them, exactly as they are. Contemporary art is now promoting a new concept, that encourages the artist to interpret their surroundings and depict them in their own unique way a concept known as, Scape.
Scape' is rapidly becoming more popular than ever in contemporary art, which I believe is due to its diversity and the ability it gives artists to escape' into their own worlds; real or not and represent it, in their own unique way.
With scape, the artist has no limitations and is offered more freedom for self expression artworks can be based upon imagination, dream or reality and are often greatly influenced by the artists own beliefs and perceptions.
The different ways in which scape is represented therefore are infinite. The only real boundary on the way in which …show more content…
scape can represented is the artists imagination and own choice while some artists may choose to portray their surroundings in a more abstract way, others may simply choose to sketch, for example, a mountain.
Scape also enables the viewer the opportunity to better interpret what the artist feels about their surroundings i.e. if the artist perceives something in a negative way, we can almost surely conclude that the way in which they portray that something, will be in a negative manner (using dark colours, distorting etc.)
This form of art is very easily manipulated, so as to represent what the artist wants according to his/her perceptions, beliefs, ideologies etc. An example of this can be seen in Brett Whiteley's, Van Gough inspired, Night Café (1972).
Whiteley studied Van Gough for a number of years and he says that during this period of his life as an artist his perceptions of his surroundings changed significantly, which lead him to create the Van Gough inspired series. Brett Whiteley Night Café (1972) Oil on board Art Gallery of NSW
He took a scene, with a pool table and café like setting, altered the lines to create the illusion that they were all heading to a single vanishing point and gave all the light sources in the scene (street lamps etc) a circular glow. Giving an obvious Van Gough resemblance and an overall effect of a very "fast moving, vibrant and dynamic image" (the colour choice adds to this also).
As you can see from this example of a Contemporary scape artist, the surroundings that Whiteley chose to portray, were manipulate to represent his own perceptions and love of Van Gough's work, to create a scape' piece that is therefore very unique and personal. Proving just how diverse scape' is, and the numerous ways in which it can be represented; depending on the artists own choice.
This work was not influenced by personal beliefs or experiences as such, but still gives a good example of how scape' work can be represented in different ways, influenced by what the artist's like's and dislike's are i.e. Whiteley Liked' Van Gough's work, and therefore his surroundings were influenced by that.
Another example of scape', which has much more influence from personal ideologies, is Christo and Jean-Claude's Wrapped Trees (1997). There artwork is largely based on temporality; with piece usually only lasting around 15 days.
In Wrapped Trees, specialised fabric covers were measured and made for hundreds of trees and were then draped and fastened over them. Adding, what the husband-wife team said, "a sense of vulnerability, fragility and urgency" to their artwork, as it could only last for a limited time.
The couple have a love of what will not last' and the unknown; and are fascinated with the ways in which humans cherish and strive to protect things that are on a time limit (eg. Life, childhood), and they want their art to have that same effect on people whilst "Creating a gentle disturbance" (Christo) by creating there impermanent artworks in places no one would expect.
As you can see, again, an artists personal ideologies tend to shape and influence the ways in which they choose to represent their art and scape allows them to do this easily and effectively. Christo and Jean-Claude go for a more hands on approach to representing their views of scape, and is just one more of the numerous ways in which an artist may choose to do so.
"Christo and Jean-Claude's work makes me think about both art and the environment in a new and unexpected way."
- Thomas Garver
Series of Images from Christo and Jean-Claude's
Wrapped Trees (1977)
In contrast to the scape works mentioned above, we can observe the artworks of other artists, who chose to represent their scape' in a much more traditional and mainstream manner; and the difference is very apparent.
A contemporary artist by the name of John Young gives a good representation of such a scape artist. In his piece, Untitled #4, which is an oil on canvas piece, we see hilly scenery (the side of some mountains), all painted with a very monochromatic palette with the whole painting done with different shades of green.
John Young, Untitled #4, 1996, oil on canvas
While this is undoubtedly a great painting, with great technique, to the viewer it lacks personality and meaning. It comes across as if John Young has simply sat himself down in front of some hills and painted them directly on the canvas. This is still considered to be scape (or more so, landscape'), however compared to the other artists I have mentioned it does not have the same personal input or alteration.
The last contemporary scape artist I will be analysing is Andy Goldsworthy; who like Christo and Jean-Claude take a more hands-on approach when it comes to representing their scape works.
Andy Goldsworthy is an artist who says he creates very "Autobiographical sculptures" and that statement in itself strongly supports the definition of scape being representations of the artists relationship with his/her surroundings. He feels very strongly about his views and relationships with the environment and believes he Taps into the energy of the environment" with his artworks.
He is known to create pieces that reflect the seasons and in "Rowan Leaves With Hole", we see the leaves he uses to construct this piece reflecting what we immediately associate with being Autumn Colours (oranges, etc). When he uses these yellow and vibrant colours he aims to capture the "Quintessence of its energy and colour" and often uses colours in his works that greatly contrast its surrounding environment, almost to the point they look like they do not belong at
all.
Andy Goldsworthy, Rowan Leaves With Hole
Finally, in conclusion, I believe that the ways in which Scape can be represented cannot be limited or defined scape is a broad enough subject that it allows endless representation possibilities to the artist. And as with all art, the way in which something is represented should be up the to artist to decide and obviously is largely impacted by their relationship with the subject, their perceptions, beliefs and ideologies.
"Each work joins the next line that defines the passage of my life, marking and accounting for my time and creating a monument that gives me a strong sense of anticipation for the future."
- Andy Goldsworthy
Scape' is rapidly becoming more popular than ever in contemporary art, which I believe is due to its diversity and the ability it gives artists to escape' into their own worlds; real or not and represent it, in their own unique way.
With scape, the artist has no limitations and is offered more freedom for self expression artworks can be based upon imagination, dream or reality and are often greatly influenced by the artists own beliefs and perceptions.
The different ways in which scape is represented therefore are infinite. The only real boundary on the way in which …show more content…
scape can represented is the artists imagination and own choice while some artists may choose to portray their surroundings in a more abstract way, others may simply choose to sketch, for example, a mountain.
Scape also enables the viewer the opportunity to better interpret what the artist feels about their surroundings i.e. if the artist perceives something in a negative way, we can almost surely conclude that the way in which they portray that something, will be in a negative manner (using dark colours, distorting etc.)
This form of art is very easily manipulated, so as to represent what the artist wants according to his/her perceptions, beliefs, ideologies etc. An example of this can be seen in Brett Whiteley's, Van Gough inspired, Night Café (1972).
Whiteley studied Van Gough for a number of years and he says that during this period of his life as an artist his perceptions of his surroundings changed significantly, which lead him to create the Van Gough inspired series. Brett Whiteley Night Café (1972) Oil on board Art Gallery of NSW
He took a scene, with a pool table and café like setting, altered the lines to create the illusion that they were all heading to a single vanishing point and gave all the light sources in the scene (street lamps etc) a circular glow. Giving an obvious Van Gough resemblance and an overall effect of a very "fast moving, vibrant and dynamic image" (the colour choice adds to this also).
As you can see from this example of a Contemporary scape artist, the surroundings that Whiteley chose to portray, were manipulate to represent his own perceptions and love of Van Gough's work, to create a scape' piece that is therefore very unique and personal. Proving just how diverse scape' is, and the numerous ways in which it can be represented; depending on the artists own choice.
This work was not influenced by personal beliefs or experiences as such, but still gives a good example of how scape' work can be represented in different ways, influenced by what the artist's like's and dislike's are i.e. Whiteley Liked' Van Gough's work, and therefore his surroundings were influenced by that.
Another example of scape', which has much more influence from personal ideologies, is Christo and Jean-Claude's Wrapped Trees (1997). There artwork is largely based on temporality; with piece usually only lasting around 15 days.
In Wrapped Trees, specialised fabric covers were measured and made for hundreds of trees and were then draped and fastened over them. Adding, what the husband-wife team said, "a sense of vulnerability, fragility and urgency" to their artwork, as it could only last for a limited time.
The couple have a love of what will not last' and the unknown; and are fascinated with the ways in which humans cherish and strive to protect things that are on a time limit (eg. Life, childhood), and they want their art to have that same effect on people whilst "Creating a gentle disturbance" (Christo) by creating there impermanent artworks in places no one would expect.
As you can see, again, an artists personal ideologies tend to shape and influence the ways in which they choose to represent their art and scape allows them to do this easily and effectively. Christo and Jean-Claude go for a more hands on approach to representing their views of scape, and is just one more of the numerous ways in which an artist may choose to do so.
"Christo and Jean-Claude's work makes me think about both art and the environment in a new and unexpected way."
- Thomas Garver
Series of Images from Christo and Jean-Claude's
Wrapped Trees (1977)
In contrast to the scape works mentioned above, we can observe the artworks of other artists, who chose to represent their scape' in a much more traditional and mainstream manner; and the difference is very apparent.
A contemporary artist by the name of John Young gives a good representation of such a scape artist. In his piece, Untitled #4, which is an oil on canvas piece, we see hilly scenery (the side of some mountains), all painted with a very monochromatic palette with the whole painting done with different shades of green.
John Young, Untitled #4, 1996, oil on canvas
While this is undoubtedly a great painting, with great technique, to the viewer it lacks personality and meaning. It comes across as if John Young has simply sat himself down in front of some hills and painted them directly on the canvas. This is still considered to be scape (or more so, landscape'), however compared to the other artists I have mentioned it does not have the same personal input or alteration.
The last contemporary scape artist I will be analysing is Andy Goldsworthy; who like Christo and Jean-Claude take a more hands-on approach when it comes to representing their scape works.
Andy Goldsworthy is an artist who says he creates very "Autobiographical sculptures" and that statement in itself strongly supports the definition of scape being representations of the artists relationship with his/her surroundings. He feels very strongly about his views and relationships with the environment and believes he Taps into the energy of the environment" with his artworks.
He is known to create pieces that reflect the seasons and in "Rowan Leaves With Hole", we see the leaves he uses to construct this piece reflecting what we immediately associate with being Autumn Colours (oranges, etc). When he uses these yellow and vibrant colours he aims to capture the "Quintessence of its energy and colour" and often uses colours in his works that greatly contrast its surrounding environment, almost to the point they look like they do not belong at
all.
Andy Goldsworthy, Rowan Leaves With Hole
Finally, in conclusion, I believe that the ways in which Scape can be represented cannot be limited or defined scape is a broad enough subject that it allows endless representation possibilities to the artist. And as with all art, the way in which something is represented should be up the to artist to decide and obviously is largely impacted by their relationship with the subject, their perceptions, beliefs and ideologies.
"Each work joins the next line that defines the passage of my life, marking and accounting for my time and creating a monument that gives me a strong sense of anticipation for the future."
- Andy Goldsworthy