What distinctive individual views and features can be seen in the work? A very abstract way of art. A very modernized and unusual interpretation of a unicorn. Oliver was interested in structural formation, in the principles of ‘spiraling, wrapping, binding, swelling, expanding and stretching 2. How does the work attempt to express the personal views of the Artist? The artwork automatically portrays that the artist likes to play around with her artworks, and doesn’t make them in an ordinary manner. It shows us the abstract and unusual side to art. What new media is being used in a new and innovative way? Oliver used a variety of materials, including paper, resin, tissue, fiberglass, hair, copper and aluminum. The ethereal impression and supple curves of her objects belie the inherent qualities of their materials and the intensive process of their production. Artworks: 1 . Does this artwork create a connection with ideas or themes between the artist and the audience? It certainly creates a connection, perhaps a mythical one. The audience is left with questions, they’re left wanting more. This is what abstract art is. 2.
What re the ideas being conveyed by this artwork? Oliver’s sculpture suggests a passage from one place to another, a Journey from a material dimension into an imaginative, other world. 3. How are the artworks shaped by the contemporary technology? Contemporary technology for example would be phones and computers etc. These new forms of technology have definitely shaped contemporary art. If I wanted to see Bronzy Oliver’s artworks, I’d simply go on Google images and I could see them all, without having to go see it in person. Everything can be viewed over this new contemporary technology.
World: 1 . How have contemporary or historical events influenced the approach the artist has taken towards the work? The materials which are used in the artwork are materials which haven’t been used, towards the end of the 20th century, many new art forms came about such as; Environmental art, abstract art, street art etc. 2. How are beliefs and understood concepts being supported by the artwork or questioned by the artwork? The concept that Bronzy Oliver uses is quite an understood one, she makes sculptures out of known materials, which are also popular amongst other artists. . How have new advances in technology, scientific discoveries or medical procedures influenced the artwork? Well unicorns obviously aren’t around today. Many question whether they ever were here? She is giving us the chance to view the unicorn in a completely different form, perhaps her interpretation of a unicorn. 4. How does the artwork express the new mood in society or the world? It raises the question of “are unicorns real” Bronzy Oliver I believe, liked unicorns and Just wanted us to view it in her way.
Audience: 1 . How could the audience be alarmed or disturbed by the artwork? Perhaps the efferent interpretation of a unicorn could be quite disturbing or even scary. Or the abstract manner the artwork is made in. But I don’t believe this artwork is alarming or disturbing. 2. What views do you think critics have formed with the work? Critics may be amazed with the way she has made her artwork, the materials which she has incorporated and her interpretation off unicorn. 3. How do you think historians may view this work?
Because her artwork is about a “passage from one place to another, a journey from a material dimension into an imaginative, other world” historians might IEEE this meaning as much modernized. A view which could only have come from the late 20th
Question: Referring to this ‘case study Artist, name one or two frames which best describe the viewpoint of the artist. Describe why you believe this (or these) Frames best describes sews the artist has to create the works. Give Examples of three works in your explanation. Unicorn 1984 – Bronzy Oliver’s sculpture can best be described with the structural frame. It is of organic forms which twist and turn to convey a quiet energy. The delicate friction between surface and depth breathes life into her objects: dense surfaces with translucent and vital interiors of air and light.
Her objects are often sphere-like with hollow spaces or openings – openings which lead to somewhere else, devolving from where they started. In the exchange between these aspects, Oliver’s sculpture suggests a passage from one place to another, a Journey from a material dimension into an imaginative, other world. Oliver used a variety of materials, including paper, resin, tissue, fiberglass, hair, copper and aluminum. The ethereal impression and supple curves of her objects belie the inherent qualities of their materials and the intensive process of their production.
As a result copper appears lithe, its resiliency creatively subverted. Comet II 1988 – This artwork is best described with the subjective and cultural frame. The intricately woven copper form of ‘Comet II’ represents a seminal shift in Bronzy Oliver’s early practice. Exhibited in the artist’s self-titled show at Rosily Cooley Gallery in 1988, this work is one of the earliest instances of Oliver’s craftsmanship with copper, having previously sculpted with materials such as paper, cane and fiberglass.
The work is a stunning example of what would become the artist’s signature practice; the painstaking manipulation of copper into elegant, deceptively simple forms which echo the organic shapes of plant and sea life. While this sculpture undoubtedly evokes the idiosyncratic structure of a Jellyfish, the title of the ark sends our imaginings in a dual direction: not only to the depths of the ocean, but also to the outer reaches of the universe. In titling the work ‘Comet II’ the artist complicates the way that we initially see the artwork, pulling into focus the fabulous ambiguity and infinite possibilities of Oliver’s forms.
Dirigible 1989 – This artwork is best described using the structural frame. The easy, voluptuous curves of the work disguises the painstaking nature of the artist’s process; twisting and welding the pliant copper wire to create the intricate metal weave. The microcosmic, complex surface of the work is an interface between the elegant form of the sculpture’s overall shape and the internal cavity or void where the sculpture breathes. It is at once fragile and forbidding; crafted from metal and yet seemingly weightless.
Bronzy Oliver alludes to these intriguing tensions in the title of the work ‘Dirigible’ – a term for a blimp, or airship supported by its own buoyancy. The three dimensional presence of this work is so demanding that even the shadow that it produces is outstanding. Practice: 1 . Name the work and the artist. Describe the steps you believe the artist has taken to create their work. Comet II 1988, by Bronzy Oliver. This is an artwork which has been made from intricately woven copper in the form of a comet II.
An artwork like this would have taken great effort, to weave copper. The steps I believe which were taken would be, the idea of making something. She first would have had to come up with something, then she’d have to decide what materials she was going to use, which in this case was copper. And then the technique she’d use to make it which in this case was also weaving. 2. List the media the artist has used and discuss how this is important to the overall effect. The media Bronzy Oliver has used is copper, and the technique she chose was weaving.
Perhaps to show the intricacy of the artwork. Or to purely show what she could do. This adds sophistication to the artwork and the overall effect. 3. Describe the process the artist has used? The steps I believe Bronzy Oliver would have taken would be, firstly an idea of what to make. She would have had to come up with something, then she’d have to decide what materials she was going to use, which in this case was copper. And then the technique she’d use to make it which in this case was also weaving. 4. Name the new technologies used by this artist.
Use examples of artworks to help describe this. Her artworks were generally crafted from patented copper and bronze. Their fragile appearance, which transcends the robust and industrial character of their material, belies a strength that is often based on successful geometry found in nature such as tubes, spirals and membranes, this is shown in the artwork “unicorn”, and also in “comet II”. Essay: “Explain how Bronzy Oliver maintains a strong personal relationship with her artworks. You must refer to specific works in your essay’ Use three works.
Bronzy Oliver definitely maintains a strong personal relationship with her artworks, this is portrayed with the meaning of each artwork. Every artwork that she makes displays her own views, and each one was made for a reason. The three works which display her strong personal relationship are; Survivor 1988, Lunar 2001 and Swathe 1997. Bronzy Oliver’s artwork Survivor 1988, is an example of how strong a relationship she withheld with her artworks. Oliver’s mysterious copper sculpture is like a relic covered from an archaeological dig.
The year this work was produced the artist held a solo exhibition at Rosily Cooley Gallery titled ‘Objects From Another Time’, and it is clear from the title ‘Survivor’ that Oliver also intended this sculpture to invoke a mythical history. By transforming the surface of the copper with a blue and green patina, the artist creates the illusion of the ancient past, reminiscent of a Bronze Age relic. In 1988 Oliver was artist-in-residence in the French city of Brest where she researched the metal work techniques of the Cells.
It was their traditions that turned ere onto the creation of spiral structures in her work, which is evident in the conch- like form of ‘Survivor’. Oliver’s strong personal relationship is also portrayed through the artwork Lunar 2001 , where she has once again twisted and turned the copper into a circular shape, with many complex designs on the outside. Amanda Rowel explains “The microcosmic, complex surface of an Oliver sculpture is an interface between the macro form of its overall shape and the internal cavity or void where the sculpture breathes.
The ease of connection between these three formal aspects of her works long with their gently mimetic character – as alluded by their titles – constitute their elegance and simple pleasure. ” This portrays that Bronzy Oliver looks to her artworks almost as living things, her connection goes far beyond that of artist and artwork. The third artwork which resembles that strong connection between artist and artwork is Swathe 1997. She wanted her own works to spark the imagination of viewers in the same way as poetry, simultaneously distilling an essence whilst opening doors to multiple interpretations.
The artwork Swathe sparked the imagination of viewers through its intricate webbing and meshing which required extraordinary technical virtuosity involving the manipulation of materials such as copper wire, bronze and aluminum, in this case Just woven copper. Rather than mimicking or abstracting nature, her works suggest a profound interest in the timeless forms of geometry occurring in the natural world. Some may argue whether she’s an environmental artist, with a passion for nature. In conclusion, with reference to the three artworks. An obvious relationship is portrayed, this is shown through the complex meanings of each artwork, and the