Transformation: an introduction

Transformation is perhaps the most fundamental concept of sculpture. As a verb sculpture describes the relationship between the artist and the stuff they have to wrestle with. In other words to ‘sculpt’ is to take a material and to transform it in some way. Traditionally this may be through processes such as carving (cutting, chipping, grinding) or casting (liquid setting into solid, melting, making impressions – pushing or pouring), while contemporary artists after Duchamp have founds that objects maybe transformed via a contextual shift (moving or positioning, reframing or placing).

The starting point for this course is the pop/surrealist idea of the transformed object, where an everyday object is transformed in such a way that it appears as if in a dream; revealing something of our relationship to the object and its place in the world.

Consider these transformations and their effects: From light to heavy, from heavy to light. Soft to hard, hard to soft. Small to big, big to small. Transformation or negation of the objects function. How might transforming something – changing the thing itself or making a version of something – make a psychological impact on the visitor? Can we transform an object in a way that says something about its secret life or its relationship to the body or our fears/desires. Transformation maybe mathematical, for example in an operation of slanting or skewing, bending or twisting

Begin with an everyday object and modify it or remake in such a way that it is transformed somehow. You should be able to say what the operation you have performed. This will be your starting point for an investigation in to the relationship between sculpture and the concept of transformation.

A key example of sculpture as a transformed objectis Meret Oppenheim’s piece ‘My Nursemaid’ 1936 where a pair of high heeled shoes are trussed up and presented on a platter like a roast chicken, which perhaps transforms our relationship to either shoes or food. Another key example is Claes Oldenburg and Coosje van Bruggen’s ‘Trowel I’ 1971-76 where a common garden implement is transformed to take on monumental proportions.

From there we explore concepts of transformation relating not only to sculpture, but also from culture, and social sciences, physics, philosophy and our own experiences. Topics discussed include Deleuze and Guattari’s idea of becoming; memes, automatic reproduction and evolution; systems, singularities and chaos; social transformation; the myth of the artist; the secret life of objects; narrative space and other topics as we find them.

The class encourages a curious and experimental attitude; linking to practical studio work  to the world; looking at other disciplines as a way enhancing understanding and making connections between ideas. Students will produce a body of work exploring aspects of the concept of transformation. The course will be split between production and discussion of work and exploring concepts through lectures, discussions and other exercises such as walking tours and explorations of the environment.

Brief

1 Start by selecting an everyday object and remake it or modify it to enact a transformation of that object. You should be able to talk about how what you have done changes that object.

2 Expand on your starting point to develop a body of work, exploring different kinds of transformation, or different objects with the same kind of transformation. It is expected that you produce at least 6 outcomes during this course.

3 It is expected that you will keep a record of the work you have done through a workbook-like document. This should include documentation of your work and reflection on your processes.