The Process of Contemporary Alchemy Collecting, copying and arranging in sculptural forms

276 Pages·2017·7.86 MB·English

UUnniivveerrssiittyy ooff WWoolllloonnggoonngg
RReesseeaarrcchh OOnnlliinnee
University of Wollongong Thesis Collection
University of Wollongong Thesis Collections
2017+
2018
TTRRAASSHH CCOONNVVEERRTTEERR:: TThhee PPrroocceessss ooff CCoonntteemmppoorraarryy AAllcchheemmyy CCoolllleeccttiinngg,,
ccooppyyiinngg aanndd aarrrraannggiinngg iinn ssccuullppttuurraall ffoorrmmss
Sarah Goffman
University of Wollongong
Follow this and additional works at: https://ro.uow.edu.au/theses1
UUnniivveerrssiittyy ooff WWoolllloonnggoonngg
CCooppyyrriigghhtt WWaarrnniinngg
You may print or download ONE copy of this document for the purpose of your own research or study. The University
does not authorise you to copy, communicate or otherwise make available electronically to any other person any
copyright material contained on this site.
You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act
1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised,
without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe
their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court
may impose penalties and award damages in relation to offences and infringements relating to copyright material.
Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the
conversion of material into digital or electronic form.
UUnnlleessss ootthheerrwwiissee iinnddiiccaatteedd,, tthhee vviieewwss eexxpprreesssseedd iinn tthhiiss tthheessiiss aarree tthhoossee ooff tthhee aauutthhoorr aanndd ddoo nnoott nneecceessssaarriillyy
rreepprreesseenntt tthhee vviieewwss ooff tthhee UUnniivveerrssiittyy ooff WWoolllloonnggoonngg..
RReeccoommmmeennddeedd CCiittaattiioonn
Goffman, Sarah, TRASH CONVERTER: The Process of Contemporary Alchemy Collecting, copying and
arranging in sculptural forms, Doctor of Creative Arts thesis, School of the Arts, English and Media,
University of Wollongong, 2018. https://ro.uow.edu.au/theses1/365
Research Online is the open access institutional repository for the University of Wollongong. For further information
contact the UOW Library: [email protected]
School of the Arts, English and Media
Faculty of Law Humanities and the Arts
University of Wollongong

July 2018

TRASH CONVERTER: The Process of Contemporary Alchemy
Collecting, copying and arranging in sculptural forms

Sarah Goffman
4422429

1994 Diploma of Arts (Fine Arts) with Distinction
2000 BFA National Art School, East Sydney

This thesis is presented in partial fulfilment of the requirements for the
award of the Degree of
Doctor of Creative Arts
University of Wollongong
ABSTRACT

This practice-lead research project examines the materiality, collection and conversion of rubbish: things,
objects and stuff that we define as discards from contemporary culture. By focusing on trash as artifact
and trash as treasure, this project suggests that we re-evaluate the commodity and draw attention to an
alternative consumerism which values the packaging as much as what it used to contain. Using tropes of
decorative design to imbue objects with a new life and re-commodify them in consumer terms, the project
works with techniques of copying and simulation to re-position rubbish within a contemporary framework
of material cultures.

My exegesis revisits two decades of art practice, focusing on elements that have explored ecological and
cultural themes that often appear to be contradictory. In order to look at the expanse of decorative arts
that are available, I bring together a new perspective that connects my fascination with historically
significant works of Asian art, and contemporary consumer waste culture. I unpack my past works adjacent
to the present, forming an analysis of the aspects that inform and confront me along the way.

The exegesis accompanies a major new exhibition. I am a 3-D printer involves the intertwining and co-
mingling of cast-off items to create new objects and environments, demonstrating that beautiful visions
can emerge from the detritus of modern life and illuminating the gap between the original and the copy.
The exhibition includes copies of seventy pieces from the Wollongong Art Gallery’s Asian collection that
are presented alongside other works inspired by Silk Road exchanges.

The research project as a whole suggest that within consumer culture the original can be reinterpreted by
introducing slippages. The result is a series of flaws, mistakes and errors in objects that are expressive of
the ruptures and contradictions of contemporary material culture. By re-making valuable commodities out
of found trash there is a correlation formed between user and consumer; and, in merging contemporary
understandings of trash with priceless antique objects an alternate materiality is found.

ii
iii
I, Sarah Goffman, declare that this thesis, submitted in partial fulfilment of the
requirements for the doctoral award of Doctor of Creative Arts, in the School of the
Arts, English and Media, Faculty of Law Humanities and the Arts, University of
Wollongong, is wholly my own work unless referenced or acknowledged. This
document has not been submitted for qualification at any other institution.

Sarah Goffman
Date April 18, 2017
iv
ACKNOWLEDGEMENTS

I sincerely thank my principal supervisor Dr Su Ballard and co-supervisor Dr Jacky
Redgate. In addition, the Wollongong Art Gallery and all their staff for the
opportunity to work with their Mann-Tatlow collection. Elvis Richardson and Jane
Polkinghorne for so many fiddly bits and formatting, whose assistance made this all
possible. This doctorate and research has been conducted with the support of the
Australian Government Research Training Program Scholarship.

v
LIST OF FIGURES (All figures follow bibliography)

Figure 1. Bulk Load 2007, collected plastic bags dim.var. p.114

Figure 2. Trashcan Dreams 2008, collected plastics, 20M x 3.5
Photograph Garth Knight p.115

Figure 3. Refuse 2005, collected plastic bags, bamboo poles,
3M x 3M x 2.5M Photograph Gary Warner p.116

Figure 4. Her secret was listening to flowers wear out their colours 1994,
silver gelatin prints on board, 960 x 480 p.117

Figure 5. Karakusa Chair 2011, found plastic chair, 1M x 600 x 500 p.118

Figure 6. Outhaus 1998, waxed cardboard, nails, wood 2.5M x 2M x 1M p.119

Figure 7. Blueprint 1998, cardboard, wood, nails, hot glue,
cinder blocks 3M x 2M x 1.75M p.120

Figure 8. Mikala Dwyer Goldene Bend'er 2013 Photograph ACCA
p.120

Figure 9. Hany Armonious Selflok 1994-2001, Photograph Roslyn Oxley
p.121

Figure 10. Small Mall 2007, Installation view, mixed media dim. Var.
Photo Silversalt p.122

Figure 11. Cornflake Bowl 2007, cornflakes, hot glue 900 x 600
Photo Silversalt p.122

Figure 12. Self Portrait in Food 2007, watercolour on paper, papiermache,
Perspex shelf, 2000 x 1.5 Photo Silversalt p.123

Figure 13. Believe 2009, Mars bar, 900 x 300 p.124

Figure 14. Swell 2002, Installation view, mixed media, dim.var. p.124

Figure 15. VICTORIA! 2007, mixed media, dim.var. p.125

Figure 16. Dentures 2007, hot glue, balsa wood, paper, 500 x 300 p.126

vi
Figure 17. Fatty and Slender 2010, installation view, mixed media dim.var.
Photo Jane Polkinghorne p.126

Figure 18. Jakuchu copy 2010, bakers clay, cardboard, ink, hot glue
Photograph Jane Polkinghorne p.127

Figure 19. Intercourse Table 2011, take-away containers, dim. Var. p.127

Figure 20. Intercourse Table (in operation) 2011, with Vegan curry,
yogurt and pickle p.128

Figure 21. Mishka Borowoski’s Cake 2011, chocolate cake with ganache,
350 x 200 x 200 p.129

Figure 22. Sim City 2006, installation view, mixed media dim.var.
Photograph Silversalt p.129

Figure 23. Grotesque Dinner 2006, In situ, dim. var. p.130

Figure 24. City of Plenty 2015, Installation view, dry goods, dim. Var. p.130

Figure 25. Self Portrait in City of Plenty 2015, installation view, dim. Var. p.131

Figure 26. Cave of Food in City of Plenty 2015, tins, dim. var. p.131

Figure 27. Refuse shop 2016, installation view, dim. Var.
Photograph Gary Warner p.132

Figure 28. Giovanni Anselmo Senza titolo (Struttura che manggia)/
Untitled (Eating Structure) (1968/2002) Photograph Museum of
Contemporary Art p.133

Figure 29. Hard Rubbish food 2015, detail, mixed media, dim.var. p.134

Figure 30. Hard Rubbish 2015, installation view, mixed media, 4M x 2M x 700
p.135

Figure 31. Jingdezhen wall 2014 p.136

Figure 32. Jingdezhen rubbish receptacles 2014 p.136

Figure 33. Jingdezhen hotel 2014 p.137

Figure 34. Plastic Arts 2010, PET and other plastics, enamel paint, permanent marker
dim.var. p.137
vii
Figure 35. Plastic Arts 1 2009, shelf view, 1.75M x 1.6M Photograph Mike Myers
p.138
Figure 36. Plastic Arts 2 2009, shelf view, 1.75M x 1.6M Photograph Mike Myers
p.138

Figure 37. Tank 2005, glass, water, plastics, hot glue, oil paint, sand, gloves, lead,
contact adhesive, Styrofoam, Velcro, 1.75 x 750 x 400 Photograph Gary
Warner p.139

Figure 38. Tank 2005, (detail) water, fungus, plastics, hot glue, lead, Styrofoam,
Velcro p.140

Figure 39. Plastic Arts 2009, PET plastic, enamel paint, permanent marker, 150 x 150
Photograph Mike Myers p.141

Figure 40. White Series 2009, PET plastics, enamel paint, dim. Var. Photograph Mike
Myers p.141

Figure 41. Re(f)use 2016, installation view, PET plastics, enamel paint, permanent
marker, dim. Var. p.142

Figure 42. Black and Gold Series 2011, (detail), PET plastics, enamel paint, enamel
pen, dim. Var. Photograph Jessica Maurer
p.143

Figure 43. Felix Gonzalez-Torres "Untitled" (Portrait of Ross in L.A.) 1991
p.151

Figure 44. Hard Rubbish 2015, detail. Mixed media, dim. var. p.152

Figure 45. Hard Rubbish 2015, detail, mixed media, dim.var p.153

Figure 46. Barbara Kruger Untitled (I shop therefore I am) 1987 p.154

Figure 47. Other People’s Money 2001, banknotes, pins, 145 x 67 p.155

Figure 48. Bits of Other People’s Money 2007, banknotes, spray adhesive, glass, dim. var.
Photograph Jamie North p.156

Figure 49. I paid $90 to show $100 2013, watercolour and gouache paints, 145 x 67
p.157

Figure 50. Swell 1980-2002, detail, found banknotes, Perspex, sellotape, dim.var.
p.158
viii
Figure 51. Shrine to all Women 2005, detail, mixed media, dim. var. p.158

Figure 52. Shrine to all Women 2005, installation view, mixed media, dim. var.
p.159

Figure 53. Tea Ceremony at Tokyo Wonder Site with Izumi Murata 2011
p.160

Figure 54. Tatami Room in Plastici 2012, (installation view) Photograph Alex Wisser
p.161

Figure 55. Windows in Tea Room at Plastici 2012 p.161

Figure 56. Tatami drawing 2012, (detail) cardboard, biro, 4M x 2.5M Photograph Alex
Wisser p.162

Figure 57. Occupy Sydney 2012, installation view, cardboard, permanent marker,
dim.var. Photograph Silversalt p.162

Figure 58. Occupy Sydney 2012, detail, cardboard, permanent marker, dim.var.
Photograph Silversalt p.163

Figure 59. Plantroom 2001, sellotape, dim.var. p.164

Figure 60. Eco-boutique 2001, cardboard, latex, water, 400 x 350 x 330 p.165

Figure 61. Seven Days of Packaging 2013, watercolour on paper, dim.var. Photograph
Jessica Maurer p.166

Figure 62. Seven Days of Packaging 2013, (detail), watercolour on paper (each) 440 x
360 Photograph Jessica Maurer
p.167

Figure 63. Soup Cans 2013, (installation view), watercolour on paper, digital print 440
x 360 p.168

Figure 64. The Doctor Is In 2004, Metro-ten bus tickets, aluminium, glue, dim. var.
p.168

Figure 65. Fatty and Slender (after Hokusai) 2010, watercolour on paper, 140 x 120
Photograph Jane Polkinghorne p.169

Figure 66. Fatty and Slender receipts 2010, receipts, sellotape, 1.9M x 850 Photograph
Jane Polkinghorne p.170
ix