HSC Visual Art Resources

A resource site for visual art teachers and secondary students completing their HSC in the Visual Arts

RICHARD WILSON

Richard Wilson
20:50 1987
Used sump oil, steel
Dimensions variable
image credits: http://www.saatchi-gallery.co.uk

Richard Wilson
Turning the Place Over 2007
Liverpool City Centre
image credits: http://avaxnews.com

Richard Wilson, born 1953 London, lives and works in London.

Richard Wilson creates artworks as an installation artist, exploring ways in which the audience experiences and interacts with certain spaces. Two of Wilson’s best known artworks are 20:50 (1987) and Turning the Place Over (2007).

Walking into the installation artwork 20:50 (1987), via a walkway that extends into the space, the audience encounters a room filled with reflections of the surrounding architecture, with a ground that resembles a clear pool, or a highly polished floor that suspends distance and space. On further inspection, the viewer finds out that the floor is in fact covered waist deep in oil. 20:50’s title originates from the type of recycled engine oil used to create the installation. the oil sits still in the space, the audience has to be constantly reminded not to touch it but are invited to softly blow, creating ripples on its surface. Wilson has exhibited the installation in countries such as Japan, America and Australia. The artwork 20:50 is part of the permanent collection (since 1991) at Saatchi gallery, London, in a custom-built room that highlights the illusionary qualities of the installation.

Turning the place over (2007) is a piece of commissioned public art for Liverpool’s European Capital Culture onto a condemned building, the Cross Key House in Moorfields. The piece consists of an oval section of the facade of a building that rotates three dimensionally on a spindle still attached to the building’s surface. To do so, Wilson had an 8 metre in diameter sphere cut from the walls and windows of the building, reattaching it to a motor that turns the cut out section around on its axle in a two minute cycle.

 The seemingly impenetrable surface of the oil mirrors the architecture of the room exactly, placing the viewer at the mid-point of a symmetrical visual plane. One of the first people to see 20:50, a man who was delivering paper to the gallery, asked me how he could get downstairs: he thought he was looking into another gallery beneath the walkway. When I dipped my finger through the surface of the oil, his jaw just dropped.

– Richard Wilson on 20:50

The room at Country Hall is wonderful, with loads of light and reflection, and I’ve carefully tuned the work so that from the end of the walkway you can’t quite see the sky above the buildings opposite, but it appears in the reflections. If it goes right, you should feel as if you were falling out into the sky.

– Richard Wilson on 20:50

one of the masterpieces of the modern… 

What I actually do is tweak or undo or change the interiors of space and in many instances actually enlist parts of the building as part of the sculpture… And in that way I unsettle or break people’s preconceptions of that space.

– Richard Wilson

The idea of a Tardis-like space, where the internal volume is greater than its physical boundaries, had always appealed to me. That was how the idea for 20:50 came about. I’ve always been concerned with the ways you can change architectural space – whether it be a room or a whole building – to alter your perception, to knock your view of the world off-kilter.

– Richard Wilson

Richard Wilson
20:50 1987
Used sump oil, steel
Dimensions variable
image credits: http://www.telegraph.co.uk

Richard Wilson
Turning the Place Over 2007
Liverpool City Centre
image credits: http://edinburghfestival.list.co.uk

THE CONCEPTUAL FRAMEWORK:

ARTIST

  • interested in altering and recreating space and architecture
  • creates installation and public artworks

ARTWORK

  • sculpture works
  • installation, site specific
  • created with strong influences to architecture
  • commissioned pieces
  • recreates perceptions of space and volume
  • object based
  • unusual materials used, recycled resources

AUDIENCE

  • have access to the artworks both in and out of the gallery/museum setting
  • can be someone just passing by on the street
  • cn be formal and informal

WORLD

  • influences of architecture and space
  • access to artworks through travelling shows and recreated exhibitions
  • working with found/already existing architectural spaces

Richard Wilson
20:50 1987
Used sump oil, steel
Dimensions variable
image credits: http://www.saatchi-gallery.co.uk

Richard Wilson
Turning the Place Over 2007
Liverpool City Centre
image credits: http://www.guardian.co.uk

THE FRAMES:

SUBJECTIVE

  • feelings of distortion of space and trickery for the viewer
  • experienced through the use of illusions
  • sense of wonder created through the use of architecture and choice of unusual materials

STRUCTURAL

  • created in regards to space and surrounding architecture
  • creates illusionary spaces, depth and volume through choice of materials and distortion
  • heavy-duty materials, commercial by-products, waste
  • sculptural, installation based artworks
  • moving elements in some installations
  • hiring of engineers and specialists for some creations

CULTURAL

  • explores the creation of artworks win different architectural spaces and designs
  • use of common objects, waste materials
  • western interpretations of western created architecture
  • choice of site for public art installations

POSTMODERN

  • artworks viewed as installation, public artworks
  • use of objects and waste materials
  • moving elements
  • creating illusions of space and volume through trickery and viewer perception

Richard Wilson
20:50 1987
Used sump oil, steel
Dimensions variable
image credits: http://thefashionbloggers.blogspot.com.au

Richard Wilson
Turning the Place Over 2007
Liverpool City Centre
image credits: http://www.telegraph.co.uk

PRACTICE:

  • involved in public art and installation artworks
  • interested in exploring and reinventing space through illusion
  • explores redefining architectural spaces and volume
  • uses large-scale commercial materials
  • knowledge of architecture and design
  • reinterpretation of waste materials and buildings
  • enlisting parts of the buildings architecture into the artwork/installation

Richard Wilson
20:50 1987
Used sump oil, steel
Dimensions variable
image credits: http://azurebumble.wordpress.com

Richard Wilson
Turning the Place Over 2007
Liverpool City Centre
image credits: http://weburbanist.com

RELEVANT LINKS:

http://www.saatchi-gallery.co.uk/artists/richard_wilson.htm

http://www.guardian.co.uk/artanddesign/2003/apr/04/thesaatchigallery.art3

http://www.richardwilsonsculptor.com/biography.html

http://www.youtube.com/watch?v=DBXwA0gcBm4

http://avaxnews.com/wow/Turning_The_Place_Over_By_Artist_Richard_Wilson.html

Richard Wilson
20:50 1987
Used sump oil, steel
Dimensions variable
image credits: http://azurebumble.wordpress.com

Richard Wilson
Turning the Place Over 2007
Liverpool City Centre
image credits: http://en.wikipedia.org

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This entry was posted on 27/01/2013 by in All, Documented Forms, English, Installation, Public Art, Sculpture.

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