Artists Talk: materials
NAME: Julie Bemment
oCCUPATION: Student, BA (Hons) Fine Art, Northumbria University
LOCATION:Newcastle upon Tyne
MEDIA: Painting and Sculpture
1. When initiating a piece or body of work how do you determine the materials you will use?
On the creation of new work I tend to begin with initial drawings and sketches of the ideas I have. These include rough sketches in pen on random pieces of paper that are lying around the studio. I find that my sketchbooks become more like organised scrapbooks, as subconsciously I see them too precious to simply express my thoughts within.
Following this I research into and consider possible materials for the process of making the work, whilst also studying artists that have used these materials. This leads onto either creation of the art, if it is obvious the materials will work effectively, or experimentation of ideas using sample materials until discovering what I feel produces the correct end product both intellectually and aesthetically.
Over the past couple years I have worked between painting and sculpture within my practice, extensively using found materials, wood, polystyrene, canvas, oil and acrylic paint.
Following this I research into and consider possible materials for the process of making the work, whilst also studying artists that have used these materials. This leads onto either creation of the art, if it is obvious the materials will work effectively, or experimentation of ideas using sample materials until discovering what I feel produces the correct end product both intellectually and aesthetically.
Over the past couple years I have worked between painting and sculpture within my practice, extensively using found materials, wood, polystyrene, canvas, oil and acrylic paint.
2. dO THE MATERIALS THAT YOU USE HAVE A VALUE IN THEMSELVES OR ARE THEY JUST A MEANS TO AN END?
As an artist at the beginning of my career I am continually trialling and experimenting with new materials daily.
The use of found wood became an inspiration to me whilst studying artists such as Brian Griffiths and Richard Tuttle. Griffiths works relate to history and legend, therefore Griffiths prefers materials with a background of their own. Tuttle sees objects as a way of drawing.
Using found materials with their own history has a transformative effect as I bring them into the studio. The everyday becomes art material, and allows these materials to be both recycled and gives them a second life.
The use of found wood became an inspiration to me whilst studying artists such as Brian Griffiths and Richard Tuttle. Griffiths works relate to history and legend, therefore Griffiths prefers materials with a background of their own. Tuttle sees objects as a way of drawing.
Using found materials with their own history has a transformative effect as I bring them into the studio. The everyday becomes art material, and allows these materials to be both recycled and gives them a second life.
3. please could you discuss any correlation between ideology and materials in your practice
My practice responds to time and space; hence my interests in the rebirth of found materials. In addition the idea of recycling wood scraps responds to how our society’s wasteful attitudes.
In regards to my use of oil and acrylic paints and their current colour palette is still to some extent in a state of flux (again reflective of the early stages of establishing my practice). My experiments with my materials are always attempts to underpin their appeal to me.
In regards to my use of oil and acrylic paints and their current colour palette is still to some extent in a state of flux (again reflective of the early stages of establishing my practice). My experiments with my materials are always attempts to underpin their appeal to me.
4. do you consider what you materials might look like in the future, or are you just thinking about how they look when you use them? for example, do you consider whether the materials might change?
As mentioned previously, my work references time and space; therefore work itself has relied on materials that change and age over many years, using materials intentionally for their previous histories, their transformation into ‘artwork’ simply marks a new phase which may not be their final state.
5. are your materials significant in how you identify yourself as an artist?
Definitely. My use of materials is very personal and reflective of my interests in fashion (through colour), my ecological concerns and the breadth of my materials is reflective of where I am in terms of coming to locate my practice.