Conversando Con Puebla, Puebla Mexico, 2014
|
|
Conversando Con Puebla: Washi Masking Tape - Hand Torn. August 2014, Puebla Mexico.
Making art is a process. It is a process in time and of time. It is taking an idea and making it real, giving it a tangible form to be experienced outside of itself.
My practice is based on an interest in process and materiality, I combine this with the chance element of site specific work. The site itself determines the starting point and the ensuing conversation.
The material I have been exploring for the past two years is masking tape. Over time I have developed a masking tape webbing that has qualities of camouflage and the ability to shapeshift its way from surface to surface transforming spaces and ultimately itself.
When becoming deeply engrossed in materiality there is a stripping away of meaning and a possibility of direct experience with the material. To stop myself getting bound up in the short-term gain of visual aesthetic rewards, I always go back to the material itself and seek the answers there. I walk a fine line between the controlled and the erratic. Materials have an uncanny ability to exaggerate both qualities, they can seem so palpable and solid yet when we ask them to behave in a certain way they rarely do.
To give myself up to a process takes a leap of faith, which is a short jump to the idea of transcendence, both in making and experiencing an artwork. If the process is allowed to run its course there is surrender and trust involved.
Veronica Herber
My practice is based on an interest in process and materiality, I combine this with the chance element of site specific work. The site itself determines the starting point and the ensuing conversation.
The material I have been exploring for the past two years is masking tape. Over time I have developed a masking tape webbing that has qualities of camouflage and the ability to shapeshift its way from surface to surface transforming spaces and ultimately itself.
When becoming deeply engrossed in materiality there is a stripping away of meaning and a possibility of direct experience with the material. To stop myself getting bound up in the short-term gain of visual aesthetic rewards, I always go back to the material itself and seek the answers there. I walk a fine line between the controlled and the erratic. Materials have an uncanny ability to exaggerate both qualities, they can seem so palpable and solid yet when we ask them to behave in a certain way they rarely do.
To give myself up to a process takes a leap of faith, which is a short jump to the idea of transcendence, both in making and experiencing an artwork. If the process is allowed to run its course there is surrender and trust involved.
Veronica Herber
