The Observer
Task 5 - Organic and mechanical/geometric
Aged, weathered, and forever fixed. The Observer sits and watches. Commenting on society's constant surveillance, both public and hidden, this piece aims to provide audiences with a sense of unease and question the extent to which we are being observed. The collection of locations provides the idea that surveillance is ever-present around us and aims to provoke how the audience reacts when confronted with the idea of being watched, and the eeriness and reality of being completely unaware.
In this task, we were looking at organic and geometric shapes, using organic material to create geometric shapes, forms and patterns. Inspired by nature to make something mechanical. Quite unaware of this concept, I was particularly impressed by Andy Goldsworthy's monthly nature-inspired works, where he collects materials from the landscape to inspire his art and create these geometric patterns that live for a moment and inevitably then return to what they were among nature. I found his work really inspiring; this idea that he would venture out into the environment and let that inspire his work, working with the natural resources available to him. This, of course, does not harm the environment and creates this harmonious interaction between man and nature that is captured for a moment and then destroyed
Andy Goldsworthy - Stick, Stone, River - August 2026
His recent work Stick, Stone, River is really satisfying to me, a blend between free-flowing and geometrical patterns, of sticks that contrast with the natural mounds of rock and earth. These beige-white sticks stand out among the green and brown, hovering above the river; you can see their reflection underneath, adding another layer of geometrical pattern. This piece is so visually satisfying that it has inspired me to try to create geometrical art outside. Beyond this study, I would be intrested to walk into an area and making what I can with the materials I find, with no need for a studio or tools, just nature.
In this week, we were tasked to work with clay and imagine what our work would look like when placed into an environment, any environment. We were told to bring in a picture and create something to go in that place. This reminded me, however, of a concept I drew in week one for the first environment piece. I was going to do this idea until I found out we were using metal rods and not clay, but now we were. Though not inspired by nature and transforming it into something mechanical, I was interested in playing with the idea of taking something mechanical and making it organic.
Previously, outside of class, I used clay to bring my initial concept to life. This cartoon critter that would observe everything was meant to sit at the top of a urinal and make the viewer feel as if they were being watched. I asked if I could expand on this idea, continuing with the same theme, and use this week's themes to expand on the concept.
I wanted to enhance this feeling of being uncomfortable with the feeling of something always watching. In this current world where technology on our phones and surveillance systems are constantly watching your every move.
Taking inspiration from contemporary artist Ai Weiwei and his commentary on this world of surveillance, his 2015 work Surveillance Camera and Plinth* expands on his previous 2010 sculpture Surveillance Camera.
Ai Weiwei - Survailence Camera - 2010
Ai Weiwei - Survailance Camera and Plinth - 2015
Using marble, a traditional material used in historic sculptures, puts an ironic lens on the work, placing a modern device into the lens of art. Additionally, placing his previous work on top of the plinth, quite literally placing the camera on a pedestal, gives it a sense of historical significance and importance. This comments on his experience with surveillance, especially living in China. A lot of his work relates to this idea of surveillance, continuously reinforcing the idea that "we are being watched".
The Creative Process
From my previous sculpture, I wanted to play with surveillance and have it actually appear as if a man is watching with these binoculars. Now, with access to metal wire to create a skeleton. I thought it would be wise to make it much larger and more constructed so I could go into more detail. But it was a challenge; I had never used these metal frames for any of my previous clay work.
I quickly discovered how difficult this would be to mould with the frame, as I would layer on clay I would then mould it back into the shape I wanted, yet I would always find the wire getting in the way. Though it had structural integrity, it would force a shape; the head had this slight wonkiness to it, and as I would round, the wire would present itself. Trying to not fight the process, I went with this; I actually liked how these wires became visible and would give this exposed skelinton/techno wire look to it, like the body itself was part camera. Though I found out that this would not fire well and that I should cover them.
I wanted to keep this organic look to the fluidity of its limbs and body but have it have this sickly, uncanny feel. I also wanted to continue with this fluidity by adding wires and veins (to cover the metal frame) I like how mechanical and organic this feels at once. Making this mechanical surveillance camera become its own organic product. Personifying the camera.
Originally, the serving this character does was meant to be through binoculars, giving the character this comically perverted feel. However, I liked how these wires on his face continued with this sickly, organic feel. I wanted to make it more uncomfortable, so the idea of the eyes stretching out of the face did that, connecting with the arms as if it's part of one big tendril, forever fixed to observe.
I gave the creature a bulge and a butt to make this feel more intimate, unclothed, and uncomfortable. The idea would be that this character is sitting above the toilet watching you pee, which would really make the audience feel uncomfortable. Peeing is a time of privacy, often quite a relaxing experience where you get to let go. Placing 'the observer' in that space removes this sense of privacy and sanctuary; though it's simply an inanimate object, the audience can't help but feel watched.
I questioned whether the use of Photoshop was necessary if my object is designed to be the right size and be a collage of photos as part of a collection. With the idea of surveillance being everywhere. I was still taking my environment photos, but I saw no need to attach the observer in that space digitally when it could be there physically. My tutor gave me the green light, and off I went.
Bathroom Series
Such an invasion of privacy; it was so wonderful to see how perfectly it aligned behind the dual flusher, and how you would have to reach through it to flush. Additionally, the colours blended so well with the porcelain and tiled environment; it almost felt like an extension of the toilet.
I would have loved to run an experiment where I leave the observer in the toilet and see how many people would choose to pick that toilet or move to the other one; would the artwork make people so uncomfortable to change toilets, or be drawn in by the work itself and perhaps be amused by it. I think both are equally valid, and both engage with the meaning behind the work. Both still bring the idea of being watched: one is confronted and chooses to avoid the interaction, the other invites it.
Though outside of the toilet, I loved how disguised 'The Observer' felt. Its colour blended in with the tiles. It reminded me of how many security cameras try to act anonymous.
I loved how it refracted against the steel, doubling itself and continuing with this sense of flow. The curves and spirals become really noticeable and beautiful.
Recycling
I wanted to play with the idea that if there were someone watching you throw rubbish out, checking whether it's recyclable or not, would people make a conscious decision to recycle properly? Or even make sure they throw their rubbish away. With this photo compared to the others, I really like how The Observer stands out, contrasting with the vibrant yellow of the bin; this photo had the most colour in the collection, yet it blends in with the similar grey roofing on top of the bin.
POV - Hidden Observer
I really like this image: the over-the-shoulder shot, watching with 'The Observer' instead of being watched. These people, completely unaware of its presence, go about their regular day-to-day, just like we do, unaware of the multiple eyes that watch us.
The cracks in the clay from the drying process, I think, enhance the sculpture, providing this texture and aged-like quality, while emphasising the tendril 'wires' that lead up to the eyes. I think it really makes it feel organic and one with its environment, withered through a series of time; the piece stands observing as time passes. Additionally, the piece broke slightly to reveal a metal wire, though I think this really works in supporting the clay wires that lead to the face; this wire reveals the mechanics within the camera. Reminding us of this mechanical world.
If you would like to continue next week's post. Week 6 - Cappy Hour