Critical Reflections

Material Conversations: Hauntology and the Object, Emotional Colour and Everyday Objects

Contemporary art practice frequently embodies a dynamic conversation involving the artist, the artwork, and the audience. My research, which involves a critical examination of the artist's approach to Making Conversation through the exploration of Hauntology, materiality, and the significance of inanimate objects, explores this multifaceted dialogue. By leveraging a diverse range of reference materials, I aim to investigate how my own artistic practice can actively engage with communities, contributing to the formation of meaningful dialogues on cultural, societal, and environmental influences.

Hauntology and the Object

My practice revolves around transforming everyday objects, making them the focal point to question societal norms and unspoken behavioural patterns. This approach resonates with Michael Gardiner's insights in Critiques of Everyday Life: An Introduction, where the significance of the mundane in understanding broader cultural dynamics is explored. By dissecting these ordinary objects, I remind the audience to confront their attitudes and fears, underscoring the profound impact of these objects on their lives.

I aim to communicate the emotional detachment associated with these objects, sparking introspection and dialogue. This echoes Rosalind Krauss' assertion in Passages in Modern Sculpture, highlighting how sculpture communicates beyond the tangible.

The works of theorists such as Graham Harman with Object-Oriented Ontology and Timothy Morton's The Ecological Thought deepen the discourse on the relationship between objects, humans, and the environment.

Image: These books have significantly shaped and influenced my research documentation for my artistic practice.

In contemporary art, one term that has been gaining traction and reshaping the artistic landscape is ‘hauntology’. Coined by French philosopher Jacques Derrida, the concept of Hauntology has permeated various artistic disciplines, and when intertwined with the notion of the object, it produces an intriguing interplay of past, present, and future within the artistic realm.

Hauntology, as a concept, refers to the study of what remains when something is lost or disappears, a concept that has become particularly relevant in the digital age, where the boundaries between the past, present, and future are increasingly blurred. Contemporary art, known for its ability to respond to the shifting paradigms of our society, has embraced Hauntology as a powerful means of navigating our complex relationship with time and history.

The object, in this context, serves as a vessel through which Hauntological themes are channelled and explored. These objects are imbued with a ghostly presence, a residue of history that lingers and influences the present. Artists are turning to these objects, often mundane or overlooked, to evoke a sense of nostalgia and to re-examine the cultural and emotional connections we have with them.

One prominent example of Hauntology and the object in contemporary art is the work of Christian Boltanski, a French artist known for his exploration of memory and the passage of time. Boltanski's installation pieces (image) often incorporate found objects, such as old photographs and clothing, transforming them into art. These objects carry the weight of their previous owners, their histories, and their stories, making the viewer acutely aware of the lingering presence of the past.

Image: Christian Boltanski,  Personnes, 2010. Clothing, rig, pick, lights, and steel beams, dimensions variable. View of installation at the Grand Palais.

Image: Susan Hiller: Emergency Case: Homage to Joseph Beuys, 2012. 13 wooden felt-lined first aid cabinets, containing bottles of holy water and vintage first aid supplies 98 x 117.5cm

In a similar way, British artist Susan Hiller's From the Freud Museum (image) takes the everyday object to new heights. Hiller collected hundreds of postcards of Sigmund Freud's desk from the Freud Museum in London, creating a haunting archive that speaks to the enduring fascination with the great psychoanalyst. The object in this instance becomes a vehicle for meditating on the enduring influence of Freud's ideas and the traces he left behind.

The concept of Hauntology in contemporary art is not confined to physical objects; it extends to the digital realm as well. The internet and social media platforms have created a repository of digital objects that bear witness to our lives, capturing moments, thoughts, and emotions. Digital artists like Rafael Lozano-Hemmer explore this digital Hauntology by creating interactive installations that draw on data, social media content, and the ephemeral nature of our digital traces.

For Lozano-Hemmer, digital objects become the ghosts of our online existence, reflecting our interconnectedness and our persistent, yet ever-evolving, online identities. His installations allow viewers to engage with these digital traces, blurring the lines between the living and the virtual, the present and the past.

Image: Rafael Lozano-Hemmer, 1984 x 1984, 2014, C-print on Fuji Maxima paper, 213 x 120 cm, Photo by Antimodular © Rafael Lozano-Hemmer, courtesy of the artist and bitforms gallery

Image: Song Dong, Waste Not, 2005–12, installation view at the Curve, Barbican, London, 2012. Courtesy: the artist and Barbican Art Gallery, London; photograph: © Jane Hobson

The art of Hauntology and the object also brings forth important questions about the disposable nature of contemporary society. In a world characterised by planned obsolescence and fast fashion, artists like Song Dong draw attention to the impermanence of objects and their inherent transience. Song Dong's work Waste Not (image) features the accumulation of everyday objects, saved by his mother over several decades. The installation is a testament to frugality and the impulse to preserve the past, but it also raises questions about our relationship with material possessions and the impermanence of consumer culture.

In conclusion, I consider that Hauntology and the object in contemporary art serve as a captivating reflection of our complex relationship with time, memory, and history. Artists are using objects, whether physical or digital, to evoke a sense of nostalgia, to explore the spectral presence of the past, and to challenge our disposable culture. Through these artistic explorations, we are reminded that the objects that surround us are not mere inanimate things but vessels of history, memory, and meaning, continuing to haunt us in the most intriguing and thought-provoking ways.

Image: Blank Canvas, 2023, Mixed media (detail)

Image: All That Is Contained, 2023, Mixed media (detail)

Within my artistic practice, I integrate objects from my formative years, employing them repeatedly to illuminate various facets of our society. These objects serve as a poignant lens through which I explore, in addition to themes of Hauntology and materiality, themes such as consumer culture, waste management, social dynamics, political landscapes, and environmental concerns. Their deliberate inclusion as material imbues them with symbolic power, beckoning viewers to contemplate the far-reaching implications and ramifications of our consumer-driven world.

A significant number of these objects are globally recognised brands, possessing a profound cultural presence that lends itself to examination through the lens of Hauntology in art. These objects carry with them the lingering echoes of the past, haunting the present with sensations of nostalgia, longing, and eerie familiarity. My artistic exploration delves deep into the analysis of cultural artefacts and symbols that persist as spectral vestiges of bygone eras.

By tapping into the collective memory, I create artworks that prompt reflection on the power structures of capitalism, the ephemeral nature of consumer culture, and the enigmatic allure of nostalgia. These creations straddle the line between the familiar and the uncanny, inviting viewers to contemplate the haunting presence of cultural artefacts like the iconic Coca-Cola bottle within our collective consciousness.

In addition to this, I am committed to engaging in eco-art, employing a diverse array of materials, techniques, and installations to confront pressing environmental challenges and advocate for change. By aligning my artistic practice with these broader artistic movements, I aim to make a meaningful contribution to the ongoing discourse surrounding art's capacity to foster critical thinking, raise awareness, and inspire positive transformations within society.

In conclusion, I consider that Hauntology and the object in contemporary art serve as a captivating reflection of our complex relationship with time, memory, and history. Artists are using objects, whether physical or digital, to evoke a sense of nostalgia, to explore the spectral presence of the past, and to challenge our disposable culture. Through these artistic explorations, we are reminded that the objects that surround us are not mere inanimate things but vessels of history, memory, and meaning, continuing to haunt us in the most intriguing and thought-provoking ways.

Emotional Colour

Colours have orchestrated throughout times a symphony of human expression and communication across the ages.

In contemporary art, colour transcends its visual essence, becoming a conduit for emotional expression and a language in itself. I aim to harness the emotive power of colour to evoke, communicate, and provoke visceral responses in my audiences. Within this area, emotional colour represents a rich tapestry where hues are employed not merely for their aesthetic appeal but to obtain profound emotional responses.

The emotional resonance of colour in contemporary art lies in its ability to transcend cultural and linguistic barriers, speaking directly to the human psyche. It serves as a universal language, transcending words to communicate and provoke feelings that might be difficult to articulate. Whether it's the sombre depth of a dark, brooding hue or the exuberant vibrancy of a bright, saturated colour, each shade carries its own emotional weight, capable of evoking a range of feelings.

David Batchelor's book, The Luminous and the Grey, is a significant exploration of colour within the context of contemporary art. Batchelor explores the intricate relationship between colour, light, and the urban environment, examining how these elements intersect with our modern-day existence.

I am interested in how he discusses how colour that is not merely a visual element but a dynamic force that interacts with our surroundings, shaping our experiences and perceptions. He focuses on the dichotomy between the vibrant, vivid colours that catch our attention and the more muted, neutral tones that often dominate urban settings.

Batchelor also discusses the cultural, social, and political implications of colour, exploring its role in art and society. He emphasises the significance of colour in defining spaces, shaping moods, and affecting our emotions that I find engaging . Additionally, he touches upon the use of colour as a tool for resistance and subversion, particularly in the context of the grey and often monotonous urban environments.

Batchelor underscores the impact of colour in contemporary art, not just as a visual element but as a symbolic and emotive force that communicates and interacts with the world around us.

I find that The Luminous and the Grey offered me a thought-provoking analysis of colour in contemporary art, shedding light on its multifaceted roles, its relationship with the urban environment, and its significance in shaping our perceptions and experiences within modern society.

During my exploration of colour's emotional impact, I found it important to consider the flip side of the spectrum. This book concludes with a contemplation on the distinct shade that exists as both a colour and a non-colour, embodying a mood, a sensation, an existential state, and even an insult: grey.

Image: My research documentation for my practice has been profoundly influenced by these two books on colour.

Colour and Culture: Practice and Meaning from Antiquity to Abstraction by John Gage is a revealing journey into the kaleidoscope of emotions painted by colours throughout human history. I am interested in this book because it vividly unveils the intricate relationship between colour and society, tracing its evolution from ancient civilisations to the abstract art movements of the 20th century.

Gage examines how colours were not merely a visual aspect but a reflection of cultures, rituals, and emotions. He paints a vibrant canvas of historical perspectives, showcasing how colours were utilised and interpreted across different eras and civilisations that I find that helps my research in how colours are woven into the fabric of expression and societal meaning.

In contemporary art, colour transcends its visual essence, becoming a conduit for emotional expression and a language in itself. I aim to harness the emotive power of colour to evoke, communicate, and provoke visceral responses in my audiences. Within this area, emotional colour represents a rich tapestry where hues are employed not merely for their aesthetic appeal but to obtain profound emotional responses.

Images from left to right: Mark Rothko, Untiled (Red) 1969; Olafur Eliasson, The Weather Project, 2003; Yayoi Kusama, Pumpkin (Red), 2000

The interplay of colour and emotion in art can be seen in the works of many contemporary artists. For instance, Mark Rothko's (image), a pioneer of abstract expressionism, is renowned for his large canvases filled with expansive fields of colour that envelop the viewer. Rothko's use of rich, deep tones and the juxtaposition of vibrant hues creates an emotional resonance, inviting contemplation and introspection. His colour compositions are designed to create an atmosphere, compelling viewers to feel rather than just see the art.

Similarly, Yayoi Kusama (image), known for her vibrant and immersive installations, employs colours in a way that invokes emotions such as awe and transcendence. Her use of vivid, repetitive patterns and bold colours creates an otherworldly experience, enveloping visitors in a kaleidoscope of emotions, from ecstasy to introspection.

Another notable artist, Olafur Eliasson, merges art and science in his installations, using colour and light to evoke emotional responses. His large-scale works, such as The Weather Project (image), bathe spaces in warm, artificial sunlight, triggering feelings of serenity, wonder, and introspection. The emotional impact of his art lies in its ability to alter the viewer's perception of space and environment through the manipulation of colour and light.

The emotional resonance of colour in contemporary art lies in its ability to transcend cultural and linguistic barriers, speaking directly to the human psyche. It serves as a universal language, transcending words to communicate and provoke feelings that might be difficult to articulate. Whether it's the sombre depth of a dark, brooding hue or the exuberant vibrancy of a bright, saturated colour, each shade carries its own emotional weight, capable of evoking a range of feelings.

Image: Tania Bruguera, Screen printed posters, 2017; Kara Walker, Grub for Sharks: A Concession to the Negro Populace, 2004

Furthermore, contemporary artists are using colour to address societal and political issues, harnessing the emotional power of specific hues to provoke dialogue and activism. For instance, the use of pink in the works of artists like Tania Bruguera (image) to represent activism and resistance, or the incorporation of black and white in the powerful compositions of Kara Walker (image) to highlight historical and racial narratives.

Image: All That Is Contained, 2023, Mixed media (detail)

Emotional colour in my opinion is a multifaceted tool used by artists to convey, provoke, and trigger emotional responses. It transcends the boundaries of language and culture, speaking directly to the human soul. From the meditative tranquillity of a particular shade to the visceral impact of an intense hue, the emotional language of colour in contemporary art continues to redefine the ways in which art connects with its audiences, evoking a myriad of emotions and contemplations.

The Everyday Object

In contemporary art, the commonplace and mundane have been reimagined and transformed into objects of intrigue, inviting audiences to reconsider the significance of the everyday. Artists have turned their attention to the ordinary, elevating familiar objects—ranging from household items to urban artefacts—into the realm of artistic expression. This exploration of the everyday object in contemporary art serves as a lens through which to examine societal values, consumer culture, and the very nature of art itself. Through innovative approaches, diverse mediums, and conceptual depth, artists have challenged perceptions, inviting viewers to engage with these objects in new and thought-provoking ways, redefining the boundaries of art and the everyday. This shift from the traditional to the extraordinary within the ordinary has sparked conversations about the essence of art, the boundaries of creativity, and the inherent beauty found in the seemingly mundane.



Image: The most influential resources during the exploration of everyday objects were the above four books.

Upon reflecting on the origins of utilising found and fleeting materials, their core connection remains entwined with the art of assemblage - a practice focused on objects that emerged in the mid-1950s, culminating in the influential exhibition, The Art of Assemblage in New York in 1961. Upon encountering Gillian Whitely's book Junk, I stumbled upon a revolutionary analysis. Whitely reimagines the historical and contemporary amalgamation of discarded items in art, set against the canvas of our eco-conscious and globally connected culture. This is achieved through an illustrated exploration into specific materials, crucial moments, various locations, and a diverse array of stories encapsulating discarded objects. In her book Whitely uncovers the etymology of waste and the cultures of disposability within these economies of wealth.

Another text I found inspiring was Critiques of Everyday Life: An Introduction, where Michael Gardiner examines the concept of ‘everyday life’ as a subject of critical analysis. Gardiner's work research into the various ways scholars and thinkers have examined the mundane aspects of daily existence and how these examinations have contributed to broader discussions about society and culture.

The everyday is discussed as a site of cultural, social, and political significance, emphasising how seemingly ordinary activities, routines, and objects are imbued with layers of meaning and significance. Gardiner engages with key theorists such as Henri Lefebvre and his notion of ‘everyday life’ as a terrain for understanding power dynamics and the reproduction of social structures.

I am intrigued by exploring the role of everyday objects and their influence on our daily existence, examining the construction of social norms, the emergence of resistance, alternative lifestyles, and how the significance of seemingly ordinary items contributes to understanding larger cultural and societal dynamics.

Building upon this foundation, in the book titled Material Participation: Technology, the Environment, and Everyday Publics, which explores the involvement of objects in political participation, Noortje Marres presents an innovative viewpoint on the significance of everyday objects, technology, and environments in engagement. Marres suggests that they facilitate a unique style of participation termed ‘material participation.’ I was particularly interested in the book contribution on the wider debates about democracy and materiality, but also on the empirical analyses of specific objects and devices of material engagement, as examples: smart energy meters, environmental show homes and sustainable living gadgets.

Image: Blank Canvas, 2023, Mixed media (detail); All That Is Contained, 2023, Mixed media (detail); All That Is Contained, 2023, Mixed media (detail) - The majority of the objects in the images above were created directly in response to the text I studied and contemplated.

The last text I researched was Sherry Turkle's Evocative Objects that explores the emotional and personal connections individuals have with particular objects in their lives. The book explores how ordinary items can carry deep emotional significance, often becoming repositories of memories, emotions, and personal narratives. There is a compelling link between Turkle's exploration of evocative objects and the concept of everyday objects in contemporary art.

The transformation of ordinary objects into art prompts a nuanced exploration of the fabric of daily life, underscoring the interconnectedness between personal, emotional connections and broader societal and cultural implications.

This artistic shift from the conventional to the extraordinary within the ordinary acts as a catalyst for conversations about the nature of art and the boundaries of creativity. By challenging established perceptions, artists invite viewers to engage with these objects in fresh, thought-provoking ways, reshaping the delineations of art within the everyday.

The journey through texts such as Gillian Whitely's examination of discarded items, Michael Gardiner's scrutiny of 'everyday life,' Noortje Marres' exploration of material participation, and Sherry Turkle's exploration of evocative objects provides a multifaceted perspective on the significance of the mundane. These texts collectively emphasise how seemingly ordinary objects and activities are laden with layers of cultural, emotional, and social importance.

In essence, the convergence between Turkle's insight into evocative objects and the artistic reimagining of everyday items underscores the profound emotional, psychological, and cultural value present within these unassuming articles. This intersection invites contemplation, fostering a deeper understanding of human experiences and the intricate relationships individuals maintain with their material world. Ultimately, this exploration amplifies the significance of the ordinary, transforming the mundane into a profound expression of human existence and societal structures.

Research Festival, Making Conversations, 16 - 19 November 2023, ATP Gallery

The Research Festival, set to take place at A.P.T. Gallery in Deptford from November 16 to November 19, will present a exciting programme of events. The festival will feature student-authored zines, artist books, essays, and podcasts, accompanied by a daily public program comprising talks, workshops, screenings, and performances.

Under the theme Making Conversation, the festival will consider inquiries surrounding contemporary art practice and creative research, including:

• How does art engage in dialogue with audiences and communities, both within and beyond the gallery space?
• In what ways might we consider conversation as an integral material of artistic practice, to be crafted and curated?
• What valuable contributions can artists offer to critical discussions concerning the forces that influence society and culture, spanning local and global realms? This includes topics such as significant historical events, emerging technologies, the climate crisis, labour conditions, and mental health.

Image of the poster of Making Conversations, 2023, Research Festival at APT Gallery, 16 - 19 November

In preparation for the Research Festival, I participated in a workshop led by Rosemary Cronin focused on expanding and connecting creative practices with audiences. During the session, various examples of best practices from artists and arts organisations were discussed, along with tools for planning the future of one's creative work.

Rosemary Cronin, that served as a Young Curator at Tate Modern through the Raw Canvas program in 2006, holds a strong interest in socially engaged practices and is dedicated to making art accessible to diverse audiences, particularly focusing on working with young individuals and vulnerable groups. With a background in fine art from Chelsea College of Art & Design, Rosemary has contributed as an artist to projects at Tate, Victoria & Albert Museum, The Photographers’ Gallery, South London Gallery, and Watts’ Gallery.

Notes during the workshop - thinking of audiences

Notes during the workshop - Hart's ladder of participation

Image: Workshop proposal - first draft

The initial workshop proposal underwent revisions aimed at augmenting audience engagement following multiple discussions with my tutor, Sara Woodfine, and artist Rosemary Cronin.

Image: Form for the Final Details of the Workshop at the Research Festival

Image: An excerpt from the Research Festival Programme featuring details about my workshop.



Image: Time allocation in the Research Festival schedule is set for Thursday, November 16 from 16:00 - 17:30



Prospective image and the information of the workshop



Contexts

Bibliography



Batchelor, D., 2014. The luminous and the grey. Reaktion Books.

Batchelor, D., 2008. Colour (Documents of Contemporary Art). Co-published by Whitechapel.

Beers, K. and Cork, R., 2019. 100 Sculptors of Tomorrow. Thames & Hudson.

Buskirk, M., 2005. The contingent object of contemporary art. Mit Press.

Gage, J., 1999. Colour and culture: Practice and meaning from antiquity to abstraction. Univ of California Press.

Gage, J. and Grovier, K., 2023. Colour in art. Thames & Hudson.

Gardiner, M., 2002. Critiques of everyday life: an introduction. Routledge.

Grubinger, E., Heiser, J., Domanović, A., Fischer, M., Heinich, N., Leckey, M., Parikka, J., Sauer, C. and Vermeulen, T., 2015. Sculpture Unlimited 2: Materiality in Times of Immateriality. Sternberg Press.

Harman, G., 2018. Object-oriented ontology: A new theory of everything. Penguin UK.

Harrod, T., 2018. Craft: Documents of Contemporary Art.

Haller, K., 2019. The little book of colour: how to use the psychology of colour to transform your life. Penguin UK.

Hirst, N., Calderwood. M. 2022. Bronze: Stephen Nelson and Kabir Hussain in conversation, Sculpture Magazine, (Issue One), pp.61-80.

Krauss, Rosalind. 1977. Passages in Modern Sculpture. London: Thames and Hudson.

Manzini, E., 2019. Politics of the Everyday. Bloomsbury Visual Arts.

Marres, N., 2016. Material participation: Technology, the environment and everyday publics. Springer.

Morton, T. (2010) The Ecological Thought. Harvard University Press.

Moszynska, A. and Moszynska, A., 2013. Sculpture now. London: Thames & Hudson.

Ozeki, R., 2021. The book of form and emptiness. Penguin.

Ross, K., 2023. The Politics and Poetics of Everyday Life. Verso Books.

Simpson, P., 2021. The Colour Code. London: Profile Books.

Taylor, B., 2017. Sculpture and psychoanalysis. Routledge.

Turkle, S. ed., 2011. Evocative objects: Things we think with. MIT press.

Whiteley, G., 2010. Junk: art and the politics of trash. Bloomsbury Publishing.