Conny O’Connor – K00185158
CCS Dissertation - Kieran Cashell
Review of Studio Practice
This dissertation is a close examination of my
studio practice which is based on the study of symbolism. It considers artists, some contemporary as
well as certain Renaissance predecessors who have helped drive the development
of my studio project: Symbolism and Transformation. This essay proceeds to critically question
the function of symbolism in contemporary art.
Primarly, the ways such artists use symbolism in their work but also
questioning the reasons why they do not just communicate directly but choose to
use the symbolic - a form of indirect expression.
Currently, my project uses symbols to create
surrealistic and autobiographical images as a way of exploring common themes
and emotions that anyone can relate to.
A few of these would be self-doubt, anxiety, death, depression as well
as peace, serenity, kindness and so on.
In other words, the images created in this project are meant to evoke
something in the viewer, be it an emotional response or a memory. There is a symbol or a series of symbols
based on the themes mentioned above in every piece of work made for the project
thus far. Much of it is purposely left
open ended by using something that has multiple symbolic meanings and
connotations such as the dog or the stone.
This immediately gives the piece greater depth in its conceptual meaning
and the viewer is inclined to study the piece further. While some of the work appears to be
scenarios which are nothing out of the ordinary, much of it is purposely put
together in a surreal way. The reason
for this is that certain scenarios, such as a lake in an eye being supported by
a clasped pair of hands or a living dog with half a face (examples of prints
made in my practice) does not happen in the physical world. Much of the time these images do not make
sense literally but as a result of putting different symbols together to
express an emotion, the objects combine to convey interesting and diverse
connotations. In this case, the subjects
used act as metaphors as a means of self- expression.
Drawing is the central component in developing all
my ideas in the studio. The prints
created here are made mostly from woodcuts and drawings (with pen and pencil)
however there are a few etchings and some photographs taken in the photo studio
as well. One of the main inspirations to
take this approach for me was the discovery of a Dubai-based artist called
Moosa Al Halyan. His practice consists
of mainly drawings and paintings and his attention to detail in all of his
pieces have informed the methodology I have developed in the studio since I saw
some of his work in the Venice Biennale.
Moosa Al Halyan is an artist who uses symbolism
in a contemporary context which deals with the question addressed in this
paper. In an online interview with Moosa
and his practice in “The National-Arts and Life” (2015) he explains that he
draws the horse to represent human beings in order to “escape issues of
discrimination and racism” (Reference).
He also draws the horse in a contorted and sometimes semi-abstract way to
represent in his words “a state of being”.
So depending on what mood the viewer may be in, they are more drawn to
one piece than another as there are different emotions conveyed in each
picture. To sum up, Moosa Al Halyan is a
contemporary artist who uses symbolism as a way of conveying emotion. His art is intended to be engaged with by
everyone and the horses he draws reject everything that makes humans different
such as race, gender, religion and so on.
This is just one example of the function of symbolism in contemporary
art. While Moosa uses the symbol of a
horse in a subtle way to avoid offending the viewer, other contemporary artists
use symbols for satirical value with the sole purpose of making fun of people. One such artist is a printmaker based in
Wisconson in the USA, Raymond Gloeckler.
Gloeckler is a contemporary artist who appeals
not only for his use of symbolism but also his philosophy on the woodcut medium
and its challenging nature. In a book
called Progressive Printmakers (YEAR)
he talks about why he is so driven to create woodcuts. The introductory title to his chapter in the
book is “The Woodblock/ Without Pretense/ Black and White/ Tool and Block/
There is no place to hide” (Reference).
Throughout the chapter Gloeckler explains what he means by this. He says that the woodblock medium is the
“ultimate test of artistic and technical skill” (page 69) meaning that there is
no shortcuts or ways of cheating for the artist. Once a mark is made, there is no erasing it
or covering it up. If a mistake is made,
you live with it or start again. The
approach seems simple as it is just cutting into wood with a tool. However the very nature of the woodblock is
quite direct and honest or to use Gloeckler's words, “what you see is what you
get” (73). This way of thinking about
the woodblock print is what attracted me to work with the medium. It challenges the artist to make ones
strongest work as there is no room for error.
Similar to Moosa Al Halyan, Gloeckler uses
animals for symbolic purposes. However
he uses them for satirical value rather than to convey emotion. Gloeckler (75) says that he uses all kinds of
animals like cows, donkeys, wrens, jackasses among many others as a way to
satirize specific types of people in the hope that we see what we are doing and
attempt to “mend our ways” (page 74).
Many of these animals are used in an autobiographical way as he explains that
they usually also represent himself.
Gloeckler uses the warthog as a “symbol
to deal with male mid-life problems” (75) as it is considered the ugliest
creature in the animal kingdom, at least according to him.
Much like Gloeckler and Albrecht Durer (who will
be discussed further on) my work and prints can also be considered
autobiographical as many of the themes dealt with in my practice often relate
to my life and my own mood at any given time.
One symbol in particular that is revisited in my work time and time
again is the dog. Humans have shown an
interest in dogs for multiple millennia for their useful qualities in hunting,
their unflinching loyalty to their masters and their overall likeability. Over the years humans have come to associate
dogs with multiple different meanings and connotations. In The
Book of Symbols-Reflections on Archetypal Symbolism (296 and 298) the dog's
symbolic meanings are explained. Martin
(2010, 296) discusses how the dog has been a human companion for thousands of
years and has been seen by multiple mythologies as a guide between the living
and spiritual world for humans to follow.
The dog has been associated with evil or hellish ideas, often being
referred to as “hellhound”. It is in the dog’s nature to dig holes and
bury bones in the ground as well as eat the flesh off the remains of other dead
animals. In Maurice Bloomfield’s book “The Dog of Hades” he talks about the dog
of the underworld going back as far as ancient Greek and Roman mythology known
as “Cerberus”. It is a multi-headed dog that supposedly
guards the Gates of Hell.
While the dog has multiple connotations, one of
the most common ideas associated with our animal companion is depression,
linked in particular with the black dog.
There is an online website called “Bipolar
lives” that promotes the success of people with bipolar disorder or
depression in an attempt to inspire people to be successful and to take control
of their own mental health. It uses
Winston Churchill, one of Britain’s most inspiring twentieth century
politicians, as an example. The source
says that Churchill used to refer to his manic depression as his “black dog”. This is also mentioned in an essay titled
“Black Dog: The History of an Expression” (2005) by Linda Michael. According to Michael’s paper, this phrase has
been used by humans for over two millennia stating that the first time the
expression was used to describe depression was by Roman satirist and poet
Horace from 65 to 68 BC.
The main work that stood out for me in my
research of the dog being used as a symbol for depression was an engraving by
Northern Renaissance master Albrecht Durer.
According to an essay on the work by Ginny Berndt, it was most likely
created by Durer to “depict his melancholy” (page 1). It discusses the many symbols the artist used
to illustrate his depression such as the slouched position of the figure, her
clenched fist which is said to represent helplessness as well as her dark face
and so on. At her feet is a dog that
looks like it is on the verge of death.
Its ribcage is clearly seen through its body which appears to be wasting
away. What is interesting about the dog
is that it is engraved just as a dog would look. In contrast to the previous artists which
were discussed who exaggerated their animals to portray their symbols, the
features of Durer’s dog are not exaggerated in any way. In fact it is not obvious that it would
symbolise depression and its meaning could be easily missed by the viewer if
they do not understand the dog’s symbolic meaning.
The idea of melancholy being centre stage in this
print is backed up by German art historian Erwin Panofsky in his book “The Life
and Art of Albrecht Durer”. He comments
on the location of the figure in the print, stating that it is a “chilly and
lonely spot not far from the sea” (156).
Saturn and its relation to geometry as well as the spleen are also
discussed at length as they represent melancholy (one of the four humours) in
ancient Arabic and Greek writings. German-Jewish
philosopher and art critic Walter Benjamin discusses the allegorical content of
the engraving in his book “The Origin of German Tragic Drama”. On page 152 Benjamin mentions that dogs are
best for tracking and running, however this dog seems to be almost lifeless. He puts forth the fact that artists,
especially humanists at this time “write with concrete images” (169). In other words, they used allegory as a means
of expressing ideas, opinions and emotions through visual content rather than
words. With this thought in mind, it can
be argued that Albrecht Durer used allegory as a means of expressing his melancholy
with a life which he was not content.
Being inspired by Albrecht Durer, Raymond
Gloeckler and Moosa Al Halyan, I am currently working on creating a body of
work using symbolism as a way of evoking an emotional response through drawing,
photography, etchings and woodcuts. It
is important to note that as this is third year work my studio practice is not
yet fully developed and is still in its early stages. As mentioned earlier, the main symbol being
worked on to date is the dog. I own a
black labrador and my constant interaction with her helped trigger my interest
in the animal. The first theme dealt
with is the dog being referred to as a metaphor for death. It is said to be a guide for humans to get
from the living world to the afterlife when they die. The print made in response to this is a
drawing which later became an etching of a dog’s face, half living and half
dead. The connotations are left open
ended for the viewer to come to their own conclusions about the piece.
The symbolism of the dog was taken further with
an A3 woodblock print (Fig 3) done soon after the etching. The symbol dealt with here is that of the
hellhound. Bringing in the themes of
depression and death, this print is meant to convey a sense of fear,
hopelessness, helplessness, despair, anxiety and self-doubt. This print was influenced by the giant three
headed dog Cerberus who guarded the Gates of Hell in ancient Greek
mythology. In contrast to this however,
my fictional creation only has one head and is portrayed as clawing its way out
of the very pit of hell. It has jagged
teeth with eyes almost like a snakes for a truly evil looking expression. Its jaw is wide open ready to devour the
unfortunate condemned souls who end up there, one of which can already be seen
suspended over the dog’s mouth. Gustave
Dore’s etchings of Dante Alighieri’s “Dante’s Inferno-The Divine Comedy” were
another source of inspiration here.
There are two main prints of these.
One black and white, the other drawn on top with a red marker.
The last dog print that will be discussed is an
A2 woodblock (Fig 4). This print is dark
in mood, appearance and subject matter.
An influence in the mood and style is a German Expressionist printmaker
called Kathe Kollwitz. Her woodcuts were
generally very dark and conveyed intense sorrowful emotional content. My print attempts to apply some of the dark
elements of her work, seeing as the theme explored here is the feeling of
depression or that of the “black dog”.
In this piece, the dog is portrayed holding onto the person’s shoulders
because like depression, the dog will always stay with the figure whether they
like it or not. The figure shown has his
or her hood up so we cannot see their face.
The background is completely black, totally devoid of all colour,
creating a sense of despair. To make it
even more tragic looking, the work can be read as the dog trying to help the
figure, but to no avail. Not even man’s
best friend is capable of bringing any joy to this hopeless figure. The symbol was meant to be subtle here in
contrast to the rest of the prints, making the viewer work to find out what it
was all about.
Although the dog is the symbol most explored in
my practice, my work deals with other symbols as well. As a change of pace from the morbidly
depressing subject matter being dealt with thus far, I looked to a different
symbol which would have positive uplifting connotations. The symbol chosen was the lake. This stemmed from the many days of my
childhood spent looking out over a wide lake in Cratloe woods, wondering what
lay beneath its waters and feeling a sense of peace and stillness, a feeling at
times that only being out in nature can give us. The
book of symbols describes the lake as a “tranquil eye” which gives way to
“dream, reflection, imagination and illusion” (44). It is compared to a mother, giving nutrients
and a safe environment for her inhabitants to dwell in. In her reflection, the image of the world
appears to be reversed, which is interesting to note because the very nature of
a woodblock print is to print out its carving in reverse. There are many other connotations associated
with lakes such as mythical creatures like nymphs, nixies and water demons and
myths and legends such as The Lady of the
Lake of Arthurian. However the focus
of this print was the tranquil eye, the stillness of the water and the calming
scenery of lakes to convey a feeling of scerenity, positive thinking and
general happiness.
Based on the research carried out for this study,
it is clear that symbolism or the use of allegorical content in artistic
practice can take many forms. Artists
such as Albrecht Durer appear to have used it as a means of self-expression
while others like Raymond Gloeckler use it on occasion to satirise certain
groups of people including himself by turning them into various animals. Then there are those such as Moosa Al Halyan
who unlike the other two artists mentioned, take themselves out of the equation
by using allegory not to express themselves but to draw an emotional response
from the viewer. There seems to be
endless uses for symbolism. The way they
are used in my studio practice varies.
Having been inspired by all three artists above, my work takes on all
three of these approaches rather than just one.
When I started to incorporate the concept of allegory into my practice,
I simply illustrated the symbols themselves.
Examples of these prints are photographs (Fig 10 and Fig 11).
As time went on I was unsatisfied with merely
drawing the symbols as they were. This
is when I started using the concept of allegory as a way of communicating an
emotion. I took some of the most common
emotions among human beings and created images using specific symbols which
related to that mood. Figure 8 is a
print specifically aimed at creating a joyful and meditative mood for the
viewer. Lakes are symbolic for
peacefulness and stillness which is why it was selected for this feeling. Other works are darker in nature. Figure 9 is a dog with the characteristics of
Satan. The dog was used for its
relationship with the underworld and the feeling I was conveying here was anger
and hopelessness. The dog has two human
hands which are both clenched and we learned from Irwin Panofsky’s analysis of
Durer’s Melancholia 1 in “The Life and Art of Albrecht Durer” that clenched
fists suggest insanity because it is a sign of a “ problem which cannot be
solved” (163). In this book also, Dante
Alligueiri says people feel like they “imagined themselves holding a treasure”
(162) suggesting they have gone insane.
My latest works have moved on from conveying
emotion to satirising global issues. The
issue in question is the mass extinction and endangerment of multiple animal
species at the hands of human greed.
Many animals like the great apes are going extinct because humans are
destroying their habitats. I am
currently studying an essay that goes into great detail on this topic called
“Roots of the Modern Environmental Dilemma:
A Brief History of the Relationship between Humans and Wildlife”. The latest work done in my practice is Fig
7. This is a drawing of a gorilla in
homeless attire indicating that the gorilla is homeless and has nowhere to
live. The gorilla has become a symbol
for the destruction of the environment at human hands. This is the first of a series of works I am
currently working on.
Fig
2.
Fig 3.
Fig 4.
Fig 5.
Fig 6.
Fig 7.
Fig 8.
Fig 9.
Fig 10.
Fig 11.
Melencolia 1 by Albrecht Durer.
Conny
O’Connor – K00185158
3rd
Year Dissertation
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