Anja Jelovšek is a conceptual artist born and based in Slovenia, she graduated the academy of Fine Arts and Design in Ljubljana in 2014. She creates work in sculpture drawing and installation .
In these two works pictured she explores the topic of time and work in its most basic understanding, whilst also discussing a human relationship to these concepts. In “eight hours of work “(2018) she creates a series of eight drawings each representing an hour of work; using pencil to draw systematically, resulting in a paper completely covered by continuous orderly lines. at first glance they don’t look too dissimilar however after close inspection you discover how varied the lines and paper coverage. No matter how meticulous the artist was with these disciplined and Time controlled drawings none of them were the same; i like how this reflects the human relationship with work by showing and incompatibility with a methodical standardised process. Similarly in “Jolly Neonorange” (2018) the ork shows using up time in a way that becomes tangible, with one coloured pencil the artist uses it to completion.
i like the way the artist presents the passing of time within slow manual work. The viewer can see the areas that the artist gives up or slows down. The contrast between the regulated materials and the variation in the work recalls the experience of an individual enduring increasingly intensifying work.
This has influenced me to explore repetitive work and how that effects a person. I can imagine works similar to this but perhaps exploring something never ending; a pointless task that is only there to consume time. It could maybe be used as a way of slowing down by doing physical work or maybe used used to represent a defiance of productivity.
WAWWA
Initial responses
My starting point focus for this project is the concept of “slowing down”. I have gathered this from a mind map i created to explore the given theme. This theme provided me a lot to work with so i will likely connect other areas of interest within it.
Starting this project my mind has been moving to fast with thoughts instead of visuals- I have realised I need to start practicing this slowing down that I have been focusing on and to start creating. Part of slowing down is noticing, creating recognition for the seemingly less obvious subjects and details. i have set a task for myself to help me start to visualise this slowing down, i started by creating small studies of the things i notice.
These drawings helped me to get going, i also decided to do some ‘automatic’ writing to work with as i feel it helps to connect the drawing to the theme. i used photoshop to develop this work and plan to continue this kind of development.
Although i like the drawings as a start, i decided to produce a variation of initial responses so i have more options to develop. I started to take more notice of the space i am in for inspiration and the thought of a ‘to do list’ came to mind.
To do list- we create this with the intention of getting things done often to fit a deadline or to provide some sort of incentive for productivity. Using this language/format I created an alternative version listing things that can influence me to slow down or depart from a financial focus. whilst looking for a surface to write this on I found long receipts and found them to be perfect- I also like the irony of writing over a documentation of money spending and how the receipt nods to the idea of weekly common errands.
i also found inspiration in Rebecca Thompsons work “Receipt Poetry”which looks at the intimacy/individuality of receipts and how they can be quite revealing. She sentimentalized unnoticed daily relics by creating them in velvet and hanging them from the roof.
Having been given too much spare time this year, i have made many ‘to do lists’ in an attempt to find extra work, exercise, keep organised and generally fill my time in a efficient way. i like how the list implies the idea of productivity whilst suggesting and alternative. In the second picture i extended it on the desk, i like how this suggests the idea of endless tasks piling up over a current task. i dont feel like this work has much substance for development but i might continue with some of the ideas e.g. the work space surrounding it and the suggested tasks.
Another initial response also explore our current setting in relation to confinement and slowing down. i found an old ice box and used it to hold a small clay figure. This work kind of represents what i feel, like ive been frozen in time and confined to a box- chillin out. Not really sure what could come next in development but i might be able to use some of this imagery in future.
Developments
Using the ‘to do list’ as inspiration, i looked into the tasks written on it and the space it was presented in. I thought about how people have been forced to create home office spaces so they can continue their work, my dad also built a shed in the garden with the intended purpose to continue work. (which feels kind of silly as he is a builder and most of his work is done on site- so i think that actually he was feeling the need to break free of the confinements/limitations of a family home like many others)
This gave me the idea for alternative purpose built spaces- a place to cry, touch, listen, visit etc. all things that would benefit from its own space. Spaces for this ‘to do list’ to be completed?
I started to draw out a quick plan of how they would look.
I then created a cardboard miniature mock up so that i could take pictures and imagine how it would look- altering the lighting. This first one was based on a room to cry in with floor drainage and tissue walls- i feel like there could be many more ways to execute this idea; considering size, domestic imagery, lighting, materials.
DEVELOPMENTAL DRAWING – WEEK 3
I feel like these four resolved drawings are a good impression of my explorations over the weeks and highlight my favourite techniques and happy accidents.
- In the first drawing i first focussed on what my surface could provide, allowing me to use the negative space for the right tone and blanking out around it with white. i like this technique for the texture of it and enjoyed working on wood. i continued on imagery and shapes from previous drawings and composed them in other ways. i like the pink pencil and ink drawings separately but i could have layered them differently because they are quite distracting and the focal point is confused. i think i could work into this more by using white paint to blank over areas which might highlight the pink.
- The second drawing where i explore 3d drawing might be my favourite, i loved pushing drawn organic lines into a structured 3d space and using pencil to highlight the shadows. However, the execution isn’t perfect, it was pointed out in a crit that although it look interesting in a photo it probably doesn’t in person. i agree but i think that there are so many ways around this, using other materials and spending more time. There could also be the argument whether it is a drawing, 3d or relief but i like that it showed me to question at what point something becomes a drawing.
- The third drawing focusses on different shading methods, i like how i can use repetitive lines as shade and blank as start highlights. i like the effect of the clear oil pastel on the paper, i wish i had taken this further to see what else i could do with this technique. i still cant decide whether this drawing is too simple and i should have carried on, something feels incomplete about it- it might be because i hold back on creating such dark lines, maybe i should have made the shading bolder for a more interesting outcome.
- The last drawing focussed on the composition, i like using negative space and zoomed in sections of a subject as the inspiration for this work. there are lots of elements from previous drawing in this, such as the croner shape of a room and the incomplete plant- this was quite well thought out in comparison to the others i considered every aspect before hand. i think this heavy consideration can limit a drawing, i would have like to see a more interesting background or texture in the blank spaces. you can see the paper in most of my drawings, going forward i want to create more interesting surfaces to work on.
This drawing week has really benefited my understanding of what a successful drawing can be. i feel more confident now to be able to use it in all of my practice as a base and as something to resort back to when stuck. Moving away from a focus on concept has reminded me of what can be done with materials and composition.
Developmental Drawing- Artist Research
Marianne Eigenheer
– Marianne Eigenheer (20 April 1945– 15 January 2018) was a swiss artist whose focus was in drawing, she worked also as a professor and lecturer at various art colleges and academies. As a child in the 50s she received piano lessons and grew her love for music, she wanted to be a pianist and composer. However this was not possible and she focussed this energy into drawing and painting.
– I feel her roots in music influence her work, the decisive lines remind me of the movements of a conductor’s baton. These movements varying in intensity and path.
-i love the simplicity of the drawings i feel her decision making of what to show on the paper feels emotive. You can make out recognisable shapes but at the same time i feel she has picked the lines that attract he the most to represent, leaving lots of negative space and room for appreciation for the abstract.
– i feel inspired by what cant be seen in the pictures, i want to created work that doesnt appear to be completed.
– she created a collection of postcard sized drawings in 1980 called “Bilder zur Lage”, all of the drawings where simple lines and abstract yet as a series came together like an orchestra.
– i like the idea of many drawings of the same subject coming together to look completely different. i also feel that this could help my work by taking the focus away from perfect time consuming drawings.
– the variety of the lines and the size of canvas creates a dynamic dance-like impression, i aim to channel this energy into my work to avoid it feeling so stagnant.
– speaking about her work she says “they literally represented my physical state”…”A reflection of one’s own condition”. This confirms the impression i get from these drawings- she doesnt feel much for representing the subject matter but uses objects as a way to convey her current state.
Toba Khedoori
Khedoori was born in 1964, Sydney and received her M.F.A at the university of california in 1994.
– On large (20-30ft) canvases and wax coated paper she explores domestic objects and settings. These impressive works bring charm to seemingly banal and mundane objects.
– There is a contrast between the heaviness of the paper and space it takes up to the delicate lines and details on the paper. A thorough attention to detail is obvious whilst also selective, and in some of the works she draws with painterly qualities.
-I find importance in the way she chooses to take up the paper; rarely filling the whole canvas, the decisive placement conveys a sense of vastness.
-The size of the work forces it to become another room space in itself, it feels far from the feeling you get of a typical drawing on a wall. Although the work is delicate, its presence is anything but.
-The separation of the subject from any form of background creates a structural focus point, it feels similar to the way a sculpture would in a room.
– I love the drawings ability to appear dainty yet limitless, it inspires me to play with scale of the drawing and be more selective of subject matter. The paper that the drawing is on also brings character to the work, there are many imperfections and the fold and tears add so much to it. I want to look at what effect the surface can have on the work and play around with materials to create texture with.
Karla black
Karla Black is a scottish artist, educated at the glasgow school of art 1995-1999.
– Her work is very investigative of the materials she uses. she tends to adopt what comes to hand (toothpaste, hairspray), using her intuition to see outside of typical sculpting mediums- she pushes them to discover all the effects they could possibly give.
-Her work takes influence from the explorative forms that come from sculpture in postmodernism (land art, performance, sound) – she wants to absorb the experimentalism of these mediums but pull it back into sculpture and the focus on aesthetic.
– The colours in her work tend to be very muted pastel colours- i like the way she uses just a touch of colour amongst the surface materials; its something i would like to practice to use colours in less obvious ways.
– she talks about the history of the sculptures she creates- continually building upon happy accidents to become something with many layers. ” the process of painting is the sculpture”. This helps me to be more ok and confident in my decisions; often it takes a long process of decisions before i create. However, i want to start being more instinctive and trust my self to create without second guessing and to be ok with mistakes.
– They way she creates sculpture feels similar to drawing- lots of gesture mark making and direct handling of colours. working into it like you would when drawing. she says she brings the drawing “process into sculpting”. This makes me think about how i can do the opposite- bring techniques of sculpting into drawing- thinking about the lines that can be drawn from sculpture.
roger ackling
Roger Ackling (1947-2014) was an artist who adopted a very specific technique for all of his art career. —He would use a magnifying glass to draw lines using the light of the sun, he would take his time letting the sun and his surroundings have their impact on the drawings and sculptures. Often you can see in his work where the cloud cover was too thick to be able to create lines or where the shade from branches created a creak in his lines.
– his primary materials were found surfaces usually driftwood or card in a variety of sizes or shapes, sometimes using clothes pegs and picture frames in his sculptures, however he create the drawings exclusively with the sun.
– Ackling said “I usually work from left to right and against the grain. Each line is made up of many black dots. Each dot is an image of the sun.” i like the idea that the drawing catches a moment beyond what you can see, the time that goes into it and the environment that they were created in can be seen by the textures and marks on the work.
– His work helped me to think about ways i can use my environment as material and how there is much more than what i can see in a still life in front of me. I find it difficult to create a drawing from a pile of objects, i feel the need to just replicate it and im never sure how to find more interesting ways of portraying it.
-Incorporating my drawings into the environment is my next step. the way he uses only light to make the mark made me think about using shadows and highlights as the drawings themselves. i also want to use natural materials- i can find drawings that the trees have made with their branches and roots, i want to channel this into my drawings to create a connection with my subject.
DEVELOPMENTAL DRAWING- WEEK 2
This weeks task was to complete 20 drawings utilising techniques learnt last week and creating a series of 2d and 3d developments.
I enjoyed that we could blend techniques from sculpture into drawing as 3d is where i feel most comfortable. it allowed me to more thoroughly consider the composition of my drawings and explore what perspectives look interesting. using materials like wire and paper to create a 3d drawing allowed to to question what is and isn’t classed as a drawing.
– i felt incorporating my drawings into the environment allowed me to look a the subject differently- finding lines/drawings created with the branches that were already there.
– the contrast between man made and natural objects is something i will continue to explore, i like the structured shapes of man made subjects and the organic, unpredictable lines of natural ones.
– in these works i specifically like the graphite sticks effect, the rough scratchy shading gives some interesting texture and mimics the feel of shadows well.
– i want to avoid being so literal with the drawings- focussing on what the medium can provide itself will help distract me from trying to replicate what i see.
CRIT ADVICE
-its important that i let myself make mistakes and be more explorative in the earlier stages of drawings.
– keep exploring whether something is finished or not, avoid over working and allow myself to stop before everything i see is in the drawing.
– play around with recomposing shapes and focus on negative space.
– continue folded paper work and look at how sculpture can create line with its shadows.
Developmental Drawing- week 1
I played around with a variety of installations and found these to have the most interesting compositions and shapes to draw. As a class we posted our set ups on mural to allow us to draw from each others: https://app.mural.co/t/learningexperiencetraining5909/m/learningexperiencetraining5909/1600077878254/1233bd88e092a96343047160d5ad63ac834da7c3
SEE YOU SEE ME
This task was to create 8 observational drawings from the installations using monochromatic media.
This task was the first time i had drawn in months so i found it challenging; i started by trying to get an accurate replica of what i saw but after looking at artists such as Marianne Eigenheer, i considered other way to communicate what i saw. I varied the time taken from 2 minutes to 1 hour which helped me relax. I also decided to use scrap paper and alternative surfaces to draw on; i found it forced me to think differently about placing a composition and also how the textures could add to the drawing.
we discussed our work in a group tutorial and created a mural to comment on each others work:
https://app.mural.co/t/learningexperiencetraining5909/m/learningexperiencetraining5909/1600247463063/80e21ffa9e7b816780903f9eaf51974a518b2241
DRAWING FOR DRAWING SAKE
The next task was to make 5 drawings which explore mark making, composition, scale, shape, texture etc. Using only 2b pencil, 3h pencil, ink, fine liner, maker pen, charcoal, rubber, masking tape.
I found the limitations for these drawings difficult, however i enjoyed using masking tape to mark out shapes and create a different surface. Trying to avoid the typical ‘draw what you see’ method i played around with half finished drawings and attempted to include more mark making. i really liked the partially completed drawing as it forced me to stop just before i started to over work the page.
ENVIRONMENTAL DRAWING
Drawing our chosen studio space.
Using similar techniques as the previous successful drawings i continued to play around with surface options. I took time to consider what can be classed as drawing and where that can intersect with 3D; i also enjoyed finding areas in my environment that aren’t usually focussed on, finding lines and new shapes within the space they create. Im starting to understand the relationship between the materials and surface and how an interesting drawing doesnt need to look like exactly like the subject.
Major Project- Evaluation
Originally, I set out to explore the theme of power, specifically the type of power dynamics experienced between people to analyse both sides of the exchange. During the development I realised that a power imbalance was of particular interest and was considering the idea of a ‘power trip’. This idea discusses how power can be asserted over someone or groups of people and examines how this is done through methods such as manipulation, fear and aggression. My developed concept also holds the connotations of political power and power in relation to gender, sexuality and violence.
For my final artwork I wanted to replicate the experience of a power trip as I felt that it fit perfectly my interests discussed in my statement of intent. I wanted to delve into the portrayal of power and discover how to make an audience feel overwhelmed and perhaps question their own submission to perceived power.
I used video as a way to do this as I feel it is more immersive than other materials, it also allowed me to use audio to create a conversation or build a relationship between the work and the viewer; this was essential as I aim to replicate both sides of a power dynamic. I wanted to create a character to feature in the work as I feel a power trip involves a removal of self; an aspect of performance is something I feel is common when a person places them self in a powerful position to weaken another. Delving into a fictional character allowed me to present a curated persona that seemingly removed myself as the subject and inserted an archetype of dominance. The audio in the work is a key part of the experience. It presents an authoritative voice that reads through a one-sided dialog in a monotone and almost commanding demeanour. The quotes are drawn from personal experience and also interactions had by friends, they highlight times in which someone has used their power over them, touching on male power and times of violence. The unidentifiable spoken words along with the fast pace script running across the screen furthers the idea of someone in their own bubble refusing to compromise their perspective. As well as this, the clips used also mimic white noise and consistent overwhelming pressure on the viewer or recipient of the aggression, for example, the water filling up the screen.
Overall I am pleased with the outcome and feel I was engaged towards the end, however, there are a few points raised in my final crit that I need to consider further. First of all the video has many connotations of power that involves influence from outside of a person to person interaction such as political power. Although I feel that it is relevant and purposeful, It wasn’t intentional and I feel it could benefit from more research into larger bodies of power and produce a more informed response. Another point is about the inclusion of a whip and the strong tie to sadomasochism that is hard to ignore. The whip was intended as fuel towards the idea of power play and a subtle hint towards the idea of reclaimed power yet also negative connotations of sexual violence. This topic is also discussed through the audio script from personal and second-hand experiences as I feel it is a relevant aspect to be examined when exploring ways in which power is asserted. During the crit it was the main thing that was picked up on and perceived more obviously which left me with lots of questions. Is it too overtly synonymous with sadomasochism? Is it wrong to hint towards it that aggressively when it is also intended to discuss violence? Is trying to include all elements of power unnecessary and does it perhaps dilute and blur each individual topic? Whilst I feel using personal experience is important and useful I also feel that subjects like these need to be approached sensitively when considering who will view it. I haven’t come to a conclusion yet but it will be a topic of continual deliberation.
I plan for it to be presented as a portrait projection to tower over the viewer as I feel taking up space Is a big part of power play, however, after researching Pipilotti Rists work I was inspired by how she uses irregular shapes in her video presentation that often ingulf the audience. In future I would like to experiment more with how it could be presented because I think there could be more interesting ways of interacting with the audience. After the crit I have also considered how I could include the viewer as a more important role in the work, perhaps using props or clothing from the video could assist the viewer in connecting to a different role.
Researching artists such as Gillian wearing and Bill viola have been useful to guide me through ideas and how to execute them, I am fairly new to video work so It has helped to look to these artists to inform we what works and what doesn’t. I would have however benefitted from widening my searches for artist because I feel that occasionally I was just aiming for my work to look like the chosen artists without forming my own interpretations of the theme.
Time management is not my strong point and get distracted very easily so I often left things till last minute. However, I found that producing digital work helped with this because It allows a more instant result and can progress with more development without being too precious. I also need to approach a theme with confidence as I find myself being held back by the idea that something looks rubbish instead of making a mistake and fixing it. I plan in future to adopt a more relaxed attitude to hopefully broaden my development for a stronger final piece. This theme and development will likely continue onwards, as I feel there its lots to be polished of and more discoveries to make.
Major Project
I plan to explore ‘Power dynamics’, I want to play on the idea of dominance and submission and what forces a person to adopt either role. I began a mind map to explore what power involves and consider what materials and artists could be of influence.
After reading about Richard Serras work I began to create a series of drawings that help to imagine an installation dealing with the way a space can manipulate a persons importance.
Taking up space 
Using these response drawings, I moved on to planning out a hypothetical space.
I feel each space asserts control over the participant, It decides where they go and how they interact with each other. However, this doesn’t play on both sides of the power dynamic, It presents more of an overbearing feeling rather than the experience of both power and submission in the exchange. This idea also requires quite specific materials and space that are fairly inaccessible, but I will keep it in mind and use it to inform my further work.
I feel like the solution to this is to use photography as a way to reproduce the same feeling but using materials that I can easily get my hands on. My next step is to find imagery that is relevant and figure out how to create a set to take photos in.
Body language
Looking into body language I found out the extent that this nonverbal communication can change someones perception of you. By adjusting your posture, eye contact and performing certain gestures you can create the illusion of power. I wanted to explore this in a video to practice how I will hold myself if I were to use my body as the subject of my photos.
This photo series Is comprised of screenshots I took from the video, each photo either presents a powerful posture or a position that shows weaknesses .
The body dominating the space and coming out of the edge of the photo creates a large presence as if there’s more to encounter. 
Relaxed, layed back as if the body feels unthreatened. 
Flicking back the hair is known to be a sign of readying oneself for a fight, this combined with the relaxed body creates the illusion of confidence. 
Closed fist and the body leaning forward feels overbearing/challenging 
crossed begs and arms seems closed off as if the subject is concealing something; plays with the power and threat of a hidden identity
These poses are either relaxed and settled or challenging and confrontational; all traits that present some kind of power.
This posture seems nervous as the subject is making their body smaller in a protective manner. They are on the edge of the seat clearly uncomfortable. 
Removal of clothes is an action that suggests vulnerability. 
Crossed legs and closed of, holding the neck suggests the subject is uncomfortable. 
Turned away posture indicates avoidance along with the crossed legs and arms hiding themselves. 
curved over and turned away, this posture holds a timid attitude.
These poses all hint towards a nervous, gentle character, lacking in confidence.
Due to the camera angle my head was cut out of all of the pictures, this made me consider the removal of identity as a trait of power. The lack of facial recognition facilitates the dehumanisation of a person and alters the perception of them into an objective outlook. The absence of information about someones identity can create an illusion of power and mystery; fear of unknown.
The perspective of the photo also feels as if its a secret observation of someone during a meeting as if they were in conversation with someone else . This gives the suggestion that it is someone in their natural environment, however, it doesn’t portray an aggressive output of power which is something I will play with next.
Balaclavas are a form of headwear attached to many connotations, they portray the idea of war, concealment and protection; all of which play with the idea of power. They rid oneself of prejudice expectations and breaches freedom from intimidation and judgement.I’ve decided to use this as the main focus of my photography , the first step was to recreate the body adjustment video but with a costume to convey a powerful threatening figure.
I then used these stills to play with further in the form of collage and photoshop, exploring the idea of hidden identity and removal from setting.
I felt the photos don’t have much of an impact, they feel quite stagnant. This doesn’t portray the idea that i want it to as i need it to feel overwhelming and movement is a big part of that experience. The next step was to involve the previously filmed clip into a video.
After viewing Pipilotti Rists work i was inspired to make my work more immersive, i found her work to overpower the viewer and take them on some kind of journey. From this i came up with the idea to reproduce a ‘power trip’, a period in which a person is asserting their power over another as a way to boast their own ego or feelings of self worth. These next videos show my exploration of techniques that i feel portray this experience.
This first video was knocked together quickly with imagery i felt continued the idea of ‘overpowering’. The controlled movement and consistent noise of the factory reminded me of the nonstop pressure involved in a power trip. i like the imagery of the dragonflys, the contrast between the fight and the idea that they are both the same fragile creature ties into the idea of the irrationality of performative power. The clip of money counting also brings forward the idea of someones financial control or the idea of boasting and keeping count of what they own as a way of seeming more powerful.
I played more about with the way the clips appear to see if it had more impact, the more selective appearances mimics the kind of control someone has during a power trip.
Using a microscope tool in this video, i played with perception, discovering how i could highlight certain elements to enhance them. I liked the idea of it but it didn’t feel right to incorporate it into the final piece.
I feel that this edit has been successful with the involvement of sound and text, however, it feels too soft to portray a power trip. The text is comprised of a list of things i or my friends have heard whilst someone is seemingly on a power trip, each statement is intended to make the receiver seem small or humiliated. They are read out as a list in a monotone voice, this makes it sound authoritive as if it is a set of overriding instructions. I want to add more layers to this one in hopes of it coming across more aggressive.
Resolved work
Bill viola
Tristans ascension (the sound of a mountain under a waterfall) 2005 
Bill Viola Water Martyr, 2014
Bill Violas work emits power and force, natural elements are at the core of much of his work as a way of reconnecting to the foundation of the world around us.
Having visited his exhibition at the RA in 2019, i found particular interest in the way he displayed his work, the projections often surround the viewer providing a 360 experience free from distractions. Some of his work was displayed with varying projections on multiple layer creating a 3 dimensional effect. Moving forward i want to explore how video work can evolve into sculpture and perhaps become more interactive.
Each room the work was displayed in was dark, i felt this brought some intimacy and allowed for a more intense connection with his work. This also meant you couldn’t see or interact with other viewers and removed the feeling of being in a white walled gallery. I aim to play with the idea of a one to one connection between audience and work as this continues the idea of interpersonal power.
Abigail yeats CAP 