Camilla Low, seeing beyond what is there.

Spring rain Camilla Low 2013

Embraced, open, reassembled 2008

Anne Truitt.

Anne Truitt's work including 'A wall for apricots' 1968 (centre) minimalism and colour field.

I found Camilla Low's work interesting for my project not because she fitted in with my liking of elegant aesthetics and a minimalist sensibility but rather because I felt in her work something beyond its place in sculptural lineage and immediate presentation. I also found the similarity between Anne Truitt's work interesting although Camila Low tends to have moved colour to within a context of thin minimalist frames. Camila Low has cited a separate influence for her block structures but there is no denying a similarity of form and colour with the works of Anne Truitt.

Camilla Low's pieces act together to form a conversation within a defined space and they drew my attention to how the sculptures themselves and their careful complementary arrangements seemed to speak to me of an otherness beyond the room of their containment. I think it is usual to address an artists work within a context of what has gone before and how a particular piece of work may or may not occupy a certain tradition or otherwise. Camilla Low's work can be approached in this formal way but for me the interest was not in the nods to forms or illusions she might create but rather it was in the veils she lifted liberating the sculptural works from their immediate location.

I felt that I learned much from looking at her work in terms of how sculpture generates an emotional response rather than as something to do with an aesthetic response to compositional from. There is no doubt that the metaphysical experience derives from her competence with the formal aspects of sculptural construction. I am not dismissing her ability to balance materials, medium, form and shape to create a very harmonious structure but for me what I personally picked up from her work was the ability to go beyond the forms that immediately are encountered in the space.

I had started to look at materials in a way that to me felt like I was expanding my ability to see beyond them. It wasn't I was trying to simply reform them by a process but it was more to do with seeing them in other possible contexts and going beyond immediate visual perception, which fitted with some of the areas of my project brief.

I felt that in particular Camilla Low's group of sculptures entitled 'Spring rain' fitted with my own ideas of sculpture being able to take one beyond the place of immediate materiality. It takes a firm grounding and long art education to structure one's work in such a way as to go beyond the object itself. I felt looking at 'Spring Rain' was like reading a poem from Wallace Stevens 'Harmonium'. I feel poetry is the literary art that takes one spiritually beyond what is there or immediately apparent and I was deeply interested in the idea of sculpture as being something other than its objective essence.

I started to look at wood for example as a material and other smaller objects to see and feel other things in their possible amalgamation and assemblage. I felt that it was possible to see a landscape in a piece of wood that might otherwise might not be there if one couldn't engage it beyond its peceptual immediacy. I was starting to think of sculpture as much more relating to an emotional idea of something and not just seeing it as an object that had to adhere to a set of historical criteria for its appropriate display.

I think Camilla Low fostered a breakthrough for me enabling me to be more conscious of things other than method. I certainly started to see more creative possibilities after looking at her work but I also recognised that one had to learn the necessary disciplines of composition, balance and harmony before attempting to elicit responses beyond the work. Low enabled me to see how I might create a sculptural work that could refer to ideas beyond the immediacy of its form without becoming utterly lost in pure abstraction. One could quietly present the difference without presenting a chaotic argument that failed formally and emotionally.

I think Low's influence will be part of my final piece but as yet I am unsure how this might manifest itself.



Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s