CP Week 6 - Research Task 2, Anne Jones' blog

1. Missing, presumed art: Ceal Floyer’s Do Not Remove

As I seeing lots of colorful work, now, I reset my attention to those artwork that are much simple and clear, empty but rich. Ceal Floyer, a British visual artist, displays a readymade sign on a white wall with rawlplugs on it. Few things I found interesting. Firstly, it's fascinating to seek the balance between the importance of artwork's presence and the space we leave for the work. It's like experimenting with the words between gentle and aggressive. Plus, the artist added the grid of rawlplugs on the blank space around the Do Not Remove sign. it's stressful to not knowing what's the purpose of doing that and what might be hold on to the wall.

Wall plugs, readymade 'Do Not Remove' sign, wall mentaltimetraveller | How to remove, Wall plug, New dads

2. I wanted to love you more

First thing first, it's hard quite hard to see artists collaborate. However, I sure there must be some interesting side to do a collaboration, it allows the artist to combine their technique, ideas, and styles then find the most comfortable balance between two concepts. Further, I looked up the two artists who had collaborated on the work, Tracey Emin and Louise Bourgeois, then I found the following fun facts. First of all, Emin work in my perspective is more calm and peaceful. She uses a lot of colour of red and the way she draws is crazier and more like a quick sketch. Also, the overall picture has a very nice balance for the left of the blank space. For the artist Louise Bourgeois, I'd seen his spider sculpture in Japan which is very impressive. He uses more serious and dark color like black. After seeing both of their work, I feel like "I wanted to love you more" has more Tracey Emin's style involved than Bourgeois.

Tracey Emin review – brutal portraits of female pain | Tracey Emin | The Guardian Art Projects Ibiza presents a solo show by Tracey Emin

Louise Bourgeois Dies at 98 | At the Smithsonian | Smithsonian Magazine Louise Bourgeois. Spider (Cell). 1997 | MoMA

After I see all the work in the collaboration, I'm really interested in the bloody, bodily nature of the colours Bourgeois used which reflect no immediate visual incongruity but as the nature of the images became apparent there was a conflict between the polite surroundings and the nudity. Plus, the intensity of colour and the way it washes out in places speaks of the body and of pain in a quiet way is very fascinating.

bourgeoisemin-a-sparrows-heart-2009-2010.jpg?w=584&h=701 bourgeoisemin-i-wanted-to-love-you-more-2009-2010.jpg?w=584&h=470 bourgeoisemin-deep-inside-my-heart-2009-2010.jpg?w=584&h=704

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