Junk Art – College Essay Example

out to artists who approach junk art sculpture with slightly different perspectives and purposes. Additionally, I will explore the traditional materials used in older times and highlight the transition from ancient to modern mediums. The history of junk art sculpture suggests that it didn't gain prominence as an artistic trend until the 1960s, although some argue that the use of "Junk" in sculpture can be traced back to Inuit and African tribes. In the 1960s, sculptors found traditional materials like rock and bronze mundane, leading to the emergence of junk art as a progressive change that allowed for sculpting with any material. However, the development of modern junk art sculpture was not instantaneous. It has roots in surrealist paintings, as evidenced by the works of Dali and Picasso, who incorporated surreal forms using objects as a visual bridge between reality and the surreal world.

Modern sculptors have embraced the use of junk/found objects as a popular material, which effectively conveys surrealism to the public. Marcel Duchamp, renowned for his surreal art sculptures, referred to his creations as 'ready made' sculptures, thus pioneering the genre in junk art. The history of sculpture materials can be traced back to ancient times when mud, clay, and stone were utilized to create bas-relief pictures on cave walls depicting animals. Over time, carvings made from bone and ivory fragments have evolved into fully rounded 3D figures during later stone ages.

During the early period of 5000 B.C. in Egypt, copper was discovered as the first metal. This led to the production of utensils and carving tools. However, copper was too soft to carve rock effectively. As a result, an alloy of copper

and tin known as bronze was created, which proved to be more resistant. With the introduction of bronze instruments, people were able to carve softer stones like gypsum and gradually erode harder stones. This development occurred around 500 B.C.

The availability of iron greatly expanded the options for sculptors. Iron was stronger and more durable than bronze, allowing sculptors to carve hard rock and work with a wider range of materials. With the use of stronger tools, artists could also extract and incorporate precious stones like diamonds and gold into their artwork. This constant technological innovation enabled sculptors from all over the world to experiment with different materials, including metals, and develop their own processes and styles. In addition to tools and metals, the use of malleable materials like plastering and 'Papier Mache' also contributed to the evolution of sculpture and the variety of materials used. In western Greece, a casting process was perfected to create realistic models of the human body, showcasing the advancements in sculpture.

In ancient times, sculptures were likely originally made from clay due to its malleability. To replicate the shape, a negative mould would be created based on the clay model. Michelangelo, a renowned artist in the 1500s, had extensive knowledge of sculpture and even made his own tools. Greek sculptures are highly respected for their impact and innovation throughout history. In the following three centuries, Western sculpture mainly used materials like marble, bronze, and other types of stone. These traditional materials had been utilized since Egyptian times without any evidence of sculptors experimenting with mixed mediums. It wasn't until the late 1800s that sculptors started diversifying their materials and incorporating different

elements.

In 1878, Edgar Degas, a French artist, created a lifelike sculpture of a young dancer by sculpting her in bronze and covering the statue with a mixture of lard and beeswax to mimic human skin. The sculpture was adorned with an actual tutu, and another version was made with a different tutu. While initially criticized for deviating from traditional artistic materials, this change is now viewed positively. By the 1900s, sculptors began drawing inspiration from African art and Inuit tribes who utilized materials like bone and wood due to their accessibility. Artists such as Picasso incorporated these unconventional materials including shells and bone into their sculptures and paintings. From the 1940s to the 1960s, Alexander Calder, an American sculptor favored using scrap metal and found objects for his contemporary sculptures. Anything can be transformed into sculpture; "junk art" captivates viewers by conveying meaning solely through the use of seemingly random items like tin cans, string corks or clothes pegs.

In the 20th century, artists fought for their freedom of expression, causing a significant shift in the perception of sculpture. Junk sculptor David Kemp, based in Cornwall, is a prime example. Kemp utilizes discarded materials found in the countryside to create his art. He transforms abandoned machinery and old cans into mechanical animals and birds, imagining them as replacements for wildlife driven away by roads and cars.

[pic] One example of Kemp's work is titled "Yore mama," instantly capturing your attention with its amusing expression depicted through large eyes and mouth. The sculpture ingeniously incorporates materials that align with Kemp's intended meaning. A close-up reveals piano keys transformed into teeth, various discarded toy pieces forming the eyes,

and the remaining parts composed of bellows and curtain rings. Through this artwork, Kemp conveys the essence of African-American culture, particularly its influential role in the birth of jazz music. Notably, even the sculpted nose resembles a musical clef found at the beginning of a music sheet. By utilizing discarded objects in contemporary times, Kemp establishes connections to past cultures, provoking reflections on our present-day values and inviting contemplation on diverse cultures. Most of Kemp's sculptures possess a comedic element, often featuring exaggerated proportions and vibrant colors, suggesting an artist in touch with their inner child. In addition to his humorous creations, Kemp also crafts artworks that carry potent environmental messages. One such piece is "Industrial Plant," commissioned for the Eden Project, which effectively underscores the irony of using plant-derived fossil fuels to power industrial facilities.

The sign on the front of this piece illustrates the danger of industrial growth and the negative impact fossil fuels have on the environment and wildlife. It serves as David Kemp's futuristic depiction of what continued burning of fossil fuels will do to our landscapes. The apexes of the stems resemble pipe cleaners/chimney sweeps, emphasizing a plant's ability to filter CO2 and produce O2, while also representing the polluted air in an industrial area. There is a striking contrast in this artwork, as plants symbolize beauty and cleanliness while industrial factories represent ugliness and pollution. David Kemp's art carries simplistic meanings that can be understood even by children.

David Kemp and Alexander Calder both use recycled materials in their artwork, using them in exaggerated proportions to draw attention to specific areas and encourage viewers to interpret deeper meanings. Calder initially pursued

engineering but later followed his passion for art, attending classes in New York while working as an illustrator. In 1926, he created Cirque Calder, a wire performance art piece made from found materials, which gained recognition among Parisian artists. Additionally, Calder pioneered a unique style of wire sculpture where he used wire to "draw" portraits of friends and notable figures, earning him acclaim. His famous "Mobile" works are aesthetically pleasing kinetic sculptures that incorporate mechanical elements.

Calder refined his ideas in his mobile works by allowing metal sheets to move in the wind and air. Some of Calder's sculptures, like Little dog (1909) and Cockerel (1960), are made from found objects. In my opinion, these sculptures are visually pleasing and comical, but they don't have a strong connection to the materials used. Perhaps the point of these sculptures is that they bring these animals to life using an odd assortment of junk materials. Although many of Calder's works are not strictly considered Junk art, this is where people can get confused about the definition of Junk art. I still want to explore more artists before reaching a definite conclusion. Bill Woodrow emerged as a pivotal figure in a new generation of British sculptors in the early 1980s. Like many modernists, Woodrow focused on using found objects or simple manufacturing processes in his art. He was shortlisted for the Turner prize in 1986 for his sculpture "natural produce, an armed response." Unlike some Junk sculptors, Woodrow's work has an ambiguity or undefined explanation.

In my opinion, the artwork titled "Tricycle and tank" (1981) portrays the concept of change during adolescence and the fleeting nature of childhood. The piece

features a small red tank positioned on the seat of a broken tricycle. It symbolizes how quickly adult life takes over and highlights the burdensome worries that adults face compared to children. This artwork also conveys the devastating impact of war on children's lives in certain regions. These children are robbed of their innocence and cannot experience the playfulness associated with childhood as they are confined to their homes due to the prevalence of war. The absence of a child or human presence in the artwork further reinforces this message. [pic]

In reality, the true meaning of the objects lies in their formal qualities, specifically the fashioning and bending of metal in the production of the tank and tricycle. Woodrow's work is notable because it doesn't prioritize meaning but instead compels viewers to search for reason within it. Woodrow purposely leaves questions unanswered, leading individuals to finally reach a simple conclusion based on the object's material production and origin or sometimes no conclusion at all. Similarly, while searching for contemporary sculptors online, I came across Johan Jonsson's work which immediately grabbed my attention. His sculptures consist of human figures made from tar, wire, and other materials. Not only did Johan's work captivate me aesthetically, but the explanations and utilization of materials in his sculptures also intrigued me greatly. Johan Jonsson is a Swedish sculptor who utilizes cernit clay, metal, wire, and tar, which are not commonly used together.

[pic] "The Kiss" presents a peculiar arrangement of the two bodies, deviating from the expected portrayal of intimacy. Instead of embracing, their limbs are positioned behind their backs, and only the upper halves of their bodies bend

to create this kiss. The figure on the right, possibly a man, displays a raised leg, suggesting a semblance of imbalance or a desire to retreat. This image could potentially represent a couple more focused on presenting a certain image to the viewer rather than being driven by love.

“Pat on the head” This sculpture represents the reverence children have for their elders and their constant need for validation. The proportions of the sculpture immediately convey a sense of youth, as if constantly bending one's neck to look up to towering figures who are everything and seem to have all the answers.
In “Recycling,” the placement of the subjects and the title itself provide clues to its intended meaning. I personally felt a bit perplexed by this artwork, trying to discern meaning from the materials used. So, I approached Johan to inquire about his intended message for this piece.

Recycling is a symbolic representation of humanity's transition, incorporating concepts such as the cycle of life and death, renewal, and breaking barriers. It signifies a shift from one phase to another, whether it involves letting go of the past or progressing towards a fresh future. Recycling also serves as a metaphorical rebirth, embracing the idea of replacing outdated elements with innovative ones.

Something like that. I'm not entirely certain. "Johan's understanding of this artwork made me envision an elderly grandparent approaching the end of their life and a young infant exploring the world around them. In this context, the sculpture appears surrealistic because the figures are not fully humanized. In another context, where waste recycling is the focus, this artwork represents an individual or 'humanity'

(as Johan described it) discovering a novel technology or process.

The sculpture depicts a figure standing at a distance from an object, unsure of what to do with it. It can be interpreted comically as mankind's perplexity upon discovering this "thing" and looking up to the heavens for answers. The object symbolizes the process of recycling to save the world. [pic] I was puzzled by "The Stillness," so I asked Johan about his reasoning once more. Johan explained that "Stillness" represents a vibrant state of rest, like the moment before movement or falling. It captures the active but peaceful state of muscles at rest, personified in a way. Therefore, it is truly a representation of stillness and not just the absence of movement.

"I still find this piece confusing, but the sculpture resembles a diver with arms lifted above the head, conveying the anticipation of plunging into water. It evokes the potential energy one feels when standing on the edge of a cliff. Due to my limited perspective, I cannot determine if my interpretation is accurate. I asked Johan about his choice of materials for creating modern sculpture, particularly if these materials offer any advantages. He explained that he prefers iron, steel, and metal because they possess contrasting qualities such as being both hot and cold, hard and soft. Additionally, working with these materials requires effort and perseverance, which brings a sense of accomplishment. I find that aspect rewarding."

However, I can observe that I am increasingly utilizing various other materials. Regarding the impact, I am uncertain. My primary focus is on achieving a harmonious blend of different materials, colors, shapes, proportions, and the message

conveyed by the sculpture. I am delving into the artistic process with regards to materials, proportions, forms, and objects. When Johan placed his material choices within this context, it immediately reminded me of the brilliance behind Bill Woodrow's ideas and how he manages to instill ambiguity in the meanings of his sculptures. Johan certainly keeps the interpretations of his work to himself and leaves room for a vague understanding of the intended message for viewers. This allows him to witness their reactions and thoughts, finding the reception of his art as gratifying as the act of creation itself.

Chapter 3: Interview 2 Kevin Killen

Kevin Killen, a sculptor living in southeast Northern Ireland, was brought to my attention by Fionnuala Walsh, the Development Officer of Creative Youth Partnerships (C. Y. P). I had contacted her to inquire about artists in Northern Ireland who specialize in Junk art sculpture. Kevin's involvement with community projects in N. I, particularly those organized by the C., has greatly influenced his work.

Y. P. When I conducted research on Kevin prior to the interview, I was truly captivated by his unique and peculiar sculptures. His artwork varied greatly, featuring vividly colored extraterrestrial-like figures positioned atop wrecked cars (on the left), as well as an incredibly lifelike horse crafted from old farming ploughs (on the right). To delve deeper into his professional journey and decision to specialize in this particular medium, I reached out to Kevin Killen via phone and posed a series of inquiries.

I first queried him about his views on the current usage and meaning of the term 'Junk art'. Kevin straightforwardly explained that junk art is primarily an American term used

to denote any form of art created from discarded materials. In addition, I asked him if he categorizes his own work as 'junk art', to which he responded that he frequently employs found objects, particularly those salvaged from scrap yards or anything he deems potential in. I further inquired about the various ways he promotes and sells his artwork. He answered, "Well, I can organize and host exhibitions, although it's a risky undertaking as solo exhibitions could be expensive to arrange and facilitate."

It is beneficial if one can make money by selling commissioned artwork. Such commissioned work can be sought by organizations, trusts, and other clients seeking custom-designed sculptures. My focus would primarily be on community projects where I may be asked to create a sculpture related to "joy riders" in a particular area. In such cases, I would incorporate materials like burnt-out car parts or stolen components that have been recovered by the youth in the community. In these community projects, I would actively involve the community in the design process so they can take pride in the sculpture once it is installed in their area. According to Kevin, junk art sculpture is particularly effective in community projects because it can be described as environmentally friendly due to its utilization of recycled materials.

Kevin emphasized that the choice of materials for these projects depends on what the organizing organization deems suitable. Often, the community simply desires something aesthetically pleasing and resistant to damage. To compare Johan and Kevin, I asked Kevin about the benefits of using junk to create a sculpture. Kevin's response echoed the sentiments expressed by sculptors since junk art gained popularity: working

with and viewing stone and bronze has become mundane, and creating sculptures with those materials is costly.

A bronze sculpture may cost around $20,000, even though it might not be valuable. Kevin shared that as the son of a scrap merchant, he always saw the potential for art in scrap metal, which is definitely cheaper. When asked about artists who influenced his work, Kevin stated that he finds inspiration within himself and does not look at other artists' work. However, he does admire artists who solely focus on their art and are not entangled in the trivialities of the art world. One such artist is David Smith, an American artist from the 1950s who created various artwork solely for artistic purposes. Kevin also mentioned "outsider art," a new art form that includes artists without traditional art education backgrounds.

Kevin is particularly fond of artists like ‘Anthony Cowell’ and often finds inspiration in “Raw Vision” magazine, which features many contemporary artists. When Kevin sculpts or observes objects with potential, his own ideas are truly reflected. Growing up with a scrap merchant as a father, Kevin's imagination was naturally shaped by the influence of scrap metal, which he still incorporates into his sculptures. While not all junk art sculptors share this background, the childlike imagination that turns stacked clothes into animals or clouds into pictures certainly does. For these sculptors, creating modern sculptures in junk art form is far more exciting than working with bronze or stone sculptures. In summary, junk art sculpture has a unique way of expressing meaning and emotion that differs from sculpting during the 7th century.

The accessibility of junk materials, fueled by excessive consumerism and

production, has become a defining characteristic of our current era. The resulting issue of non-biodegradable waste overwhelms the world, leading to massive scrap yards filled with unwanted items. Through the choice of materials, sculptures can convey a particular purpose and evoke a strong connection with viewers, especially when popular designs and images are preserved on cans and metal surfaces. Modern society places great importance on design and consumerism, much like how ancient civilizations valued religion, faith, and myths—sculptures served as an expression of their devotion to these beliefs. Similarly, modern junk art sculptures mirror people's devotion to fossil fuels and the planet's pollution. Regrettably, there is confusion surrounding the term 'junk art,' with some people mistakenly referring to artists like Alexander Calder as practitioners of this style in their research using both library and internet sources.

Calder's use of metals in sculpture and its influence in contemporary junk art has led some to wrongly label all metalwork as junk art. However, true junk art is defined as the use of found objects. For instance, creating a sculpture of plants from sheets of metal may incorporate some meaning in shape, form, or style, but it does not qualify as junk art. On the other hand, crafting plants from metals or objects salvaged from broken machines, factories, or scrap yards gives the sculpture a deeper meaning in its materiality or directs attention to a relevant aspect. Such creations can be rightfully called junk art as they are essentially "Art from Junk". Marcel Duchamp's "Bicycle wheel (1913)" is a strange and surreal example of this collaboration between junk materials and objects. Duchamp referred to this type of art as

"ready-made".

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