Richard Wentworth / Critical Research I

A Practitioner Research

I realised that object making was going through my last three projects, such as the collected items wore on my body, my body enacting in the performance and a piece of mnemonic paper made with my shower water. However, my work, chronologically, started from photography, then to explore performance and the use of objects. When I talk about the performance in my practice, I understand performance as a sort of live sculpture and my body as an object. Consequently, the cooperation of photography and sculpture interests me during photography practice. I currently research into Richard Wentworth and his work, which has altered the traditional definition of sculpture as well as photography.

screenshot from the website

Notes and Key Words

Richard Wentworth born in 1947 in New Zealand, and now bases in London.

  • his work encircling the notion of objects and their use as part of our day-to-day experiences.
  • to subvert their (objects’) original function and extend our understanding of them by breaking the conventional system of classification.
  • in photography, Making Do and Getting By, documenting everyday, paying attention to objects, occasional and involuntary geometries as well as uncanny situations that often go unnoticed.
  • ready made sculpture
  • encounters of oddities and discrepancies in the modern landscape.
  • to explore the nuances of modern life and the human role therein.

Sentences from the Conversation with Hans Ulrich

  • I had probably taken indifferent pictures for four or five years…, I started to noticed that there was a little thread you could pull out.
  • How we are in the digital century but there’s still the analogue feast from the previous century to comb through (the images in the book begin in 2006 when RW switched to a digital camera from film)
  • so these pictures record a moment of my inquisitiveness(curious), if you like, they’re a trace of something.
  • No, I don’t interfere or coax or prompt, but of course a photograph always comes with a point of view, both physical and metaphorical. If there’s no available light, there’s probably no there photograph.

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