Option 1 - Found Object Narrative Assemblage

 

The Last Laugh, by Cami Rothmuller

There is a century-long history of integrating found objects into sculpture. Before the incorporation of found objects, sculptural works were typically formed, carved, and cast. The earliest concept of found object work is perhaps also its purist and simplest: Marcel Duchamp's Ready-Made. Please see the definitions at the bottom of this page for more on Ready-Made. Although this project requires the assembly of a variety of found materials into a complex narrative, it is valuable to understand the relevance of Ready-Mades in allowing artists to expand material resources and the very definition of what is art.

Describing an object as art that was not originally made as such is a form of appropriation, but not in the same way an artist may rework others' original artworks.  Instead, it is taking the object out of original context and assigning an alternate meaning to it. This is conceptual, and requires a venue by which to discern that it has been transformed. It by no means forces the viewer to ignore its original purpose or meaning; rather, it requires a suspension of disbelief and an intellectual understanding of the new intention.

Our project is not about creating a Ready-Made, although it has is roots deeply planted in the concept. Elements within the Narrative Assemblage Project can exhibit that quality, but you are to also use a range of found materials as a sculptural medium to create your own compositions. In the example, above and directly below, Cami Rothmuller used a variety of found objects to create animal forms.

   

The Last Breath, by Cami Rothmuller, made with windshield wiper blades, Cicada molting shells, among other things.

The Narrative Assemblage Project teaches you methods of working with found objects and to think about the story that goes along with the work. You will be expected to gather materials for yourself to use. The goal will be for you to produce work that integrates disparate materials in a formally strong and structurally sound manner. As with all assignments, these works must be presented in critique, and defended technically and aesthetically. Tools and machines will be introduced as necessary.

Consider the objects you choose. What draws you to them? Are they chosen for aesthetic reasons, such as a beautiful twisted branch; for symbolic reasons such as a hammer, flag, or eggshells; or some other factor? Ask yourself what function the object serves in its normal existence, and how the juxtaposition of that object with others either reinforces or subverts its purpose. A hammer and a nail tells a different story from a hammer and a fine porcelain teacup.

http://srjcstaff.santarosa.edu/~mmcginni/art33/Assemblage 

Content:

Balancing Act, by unknown student. Here is a video clip Links to an external site. of its movement.

Your assemblage should be intensely personal or meaningful to you.  It can hold secrets, be mysterious, and should keep people engaged.  A complex story needs depth.   Metaphor, obscured imagery, symbols, ritual, and historical reference convey layers of meaning and emotion.  A narrative doesn't necessarily need to be literal or linear though; it could be a formal narrative, where the elements convey a visual experience unrelated to other content. In the work, above, the student wished to express her desire to be an artist, and trying to balance that with the needs of her growing family. An interesting element of the work is that she made herself as a paper doll, which articulates. If the string she is balanced on is flexed, her body moves. She is the fulcrum of a scale that starts to lose its balance.

Visuals:

     

Chair assemblage by Meg Cheatwood, framed assemblage by unknown student.

All parts must integrate visually, and one approach is to find objects that are, for example, in the same color family. Color scheme is very important. It can be that the elements create stark relationships, or that they merge into one tone. Both of these concepts can produce compelling visuals, with the goal that you are in control of what you create. In this context, "formal" relates to the form of an object, or its physical shape.

Materials:

         

Untitled works by Ben Woodruff made from a variety of found materials, arranged into patterns.

The assemblage concept allows for an almost unlimited list of material choices.  However, practical considerations must be taken into account in order to accomplish this project in a given amount of time, space, tool availability, and skills.  Common found materials include processed wood scraps, natural wood scraps, painted and rusted metal objects, fabric, furniture elements, architectural elements, premade boxes, worn picture frames, photographs, printed materials, toys, mechanical parts, old tools, musical instruments, acrylic house paint, personal objects, trinkets, ephemera, memorabilia, etc.

Connection methods:

Typical methods of materials attachment include-

• Glues and adhesives- wood glue, white glue, hot glue, rubber cement, epoxy, construction adhesive, rice starch, wheat paste, caulks including acrylic and silicone based, soft wax
• Nails- found rusted or worn nails, finish nails, decorative tacks, construction nails
• Screws- found rusted or worn screws, machine screws with nuts, wood screws
• soldering and welding (welding will not be accessible here)
• Tying- with found and worn wire, rope, string, ribbon, jute, etc.
• Dowelling and pegging
• Hand cut joinery- mortise and tenon, finger joint, dado, dovetail

Dimensional Considerations:

Typically, assemblage pieces are small to medium-sized sculptures, although miniature and gigantic works are also possible.  For the purposes of this assignment, beginning students will stick to table-top size to human scale.  Intermediate and advanced students can create larger pieces.  The difficulty in dealing with larger scale work is many-fold.  How do you gather and deliver materials?  Where can they be stored?  How much outside of classtime is available to work on this project?  How can large and heavy materials be secured or safely attached?  How can the piece be moved?

Finish Quality:

The nature of assemblage allows for material surface irregularities.  It is desirable to have rich textural variety, worn or broken elements, and wonky juxtapositions.  It is NOT desirable to have loose parts, poor connections, unbalanced structure, bad glue joints, or wobbly construction.  The work must be solidly assembled so that it can be safely handled.

Storage and Completion:

During the project timeframe, please keep materials and projects either in your locker, or on a designated shelf/storage location.  No materials are to be left out when class is not in session.  After completion, all unused materials must be dealt-with, either by sorting and storing for future classes, taken away, or discarded.  No materials are to be left behind unless allowed by the instructor.  You and your classmates are responsible for your materials coming in and gong out.

Example artists as seen in lecture and at http://www.santarosa.edu/~mmcginni/art33/Assemblage