It's The Mother (2008) Nathalie Djurberg
Nesessity of Loss (2006) Nathalie Djurberg
1. What do you understand by the word 'claymation'?
Claymation is a form of art in which the artist builds minature (or otherwise) models of clay figurines, and whilst filming this moves the figurines into position so that they create a motion picture of 'claymation.' However, claymation does not have to be it for motion purposes, it can also just be the figures by themselves.
2. What is meant by the term 'surrealistic Garden of Eden'? and 'all that is natural goes awry'?
The term 'surrealistic Garden of Eden' in my opinion from the research I have found, means a perfect sanctum, perhaps that is so perfect, it seems surreal, meaning that it is not real in any sense of the word, and makes us feel uneasy because this place can just not be so. The term 'all that is natural goes awry' meaning that the nautral order of something has become so entirely disjointed so it is no longer what it is meant to be and instead mayhem exsists in it's place.
3. What are the 'complexity of emotions' that Djurberg confronts us with?
Djurberg confronts us with the knowledge that the human emotion is a difficult thing in bring together or pin down. They are so complex that they hold many secrets aswell as many different layers of being, in Djuberg's work we see images of great destress aswell as that of great joy. She combines all these different emotions in to one emotion and this is where we can see the ''complexity of emotions."
4. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?
As claymation is often a medium used to create work for children, we can therefore note the child-like ideas she has brought in to it. The characters (some of them) hold a child-like simplicity and also the ideas that they have are that of those children would sometimes have. Although for the main part I would think that while, yes, there is the childish thought there, it is very minor compared to the vulgar and tainted ideas of the real world.
5. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?
I think the reason for this is because, for the very simple reason that they can. Artists are forever pushing the boundaires of what is politically correct and what is not. The idea that we can turn something that is meant for children into something pornographic is just further proof that the world is becoming twisted and our minds are completely desensitized where as a few decades ago something like this would be completely frowned upon. This type of work is just physical proof that the world is changing and growing, fast.
6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?
Because in its own right it is very beautiful and moving. Djuberg clearing has talent and flair for the kind of work she does, and it is very different and controversial to many other things that are being produced. People, as a whole, love to see things that disgust them and push their imaginations further. This is why I believe she won the Silver Lion, because her work showed much promise to push the ideas of the surreal onwards.
7. Add some of your own personal comments on her work.
Although I think she is very talented and I have enjoyed looking at her work aswell as researching her, I do not care very much for what she is doing. It is not the kind of thing I enjoy. Not so much the ideas she is portraying because I think it is very courageous for a young girl to be creating such things, I just don't care much for claymation.
References;
Nathalie Djurberg, Kaput Art Magazine (2006) http://www.meatspaceart.org/meatspacesite/kaput02/02/sansone.htm
Nathalie Djurberg, RFC Muesum (2008)http://www.rfc.museum/index.php?option=com_content&view=article&id=350&Itemid=552
Venice Biennale: Nathalie Djurberg (2009) http://we-make-money-not-art.com/archives/2009/10/nathalie-djurberg-who-won-the.php
I like your definition of the surrealistic garden of eden. That the place is so perfect that is jus cannot be real. I agree that Djurbergs works are complex and have many layers to them – some we like, some we don’t. I think all the emotions together can be confusing and confronting but that is what makes her works unique. I agree that here work has childish element s more in what it is constructed from than its content and that though it is from a fake world of clay it shows real world fears and concerns. Pushing boundaries is what artists do best to grab our attention and they have to work harder now as it is like you said, we have become desensitized to many things. Claymation as art is a whole different and new medium for me to think of as art and i do believe that Djurberg is very talented at what she does.
ReplyDeleteI found all the comments you made about Djurberg’s work very interesting, especially what you said about our minds being desensitised to work like hers and about people loving to see things which disgust them. I think people are naturally intrigued by things they haven’t seen before and Djurberg’s work definitely offers this with its sweet and sinister quality. I definitely agree with you about people becoming more desensitised to art of this nature. I also part agree with what you said about some people (but not all) love to see things which disgust them because if this wasn’t true things like horror movies etc. wouldn’t be as readily available to view.
ReplyDeleteHello Gwen. I found that your answers for this post kept me interested all the way through to the end. In fact, I especially enjoyed the last question as it showed me just how much (or how little?) you actually appreciated this kind of work. Too many people would just complete the questions then compliment the artist, but you have shown me that your responses are truly personal (like all blog responses should be) towards the artist's work and ideas. Kudos to you too for actually enjoying yourself while you were observing and researching something you weren't too interested in.
ReplyDeleteI think people’s response is very different about her works like you and me. Of course I respect her natively; creative mind but I can’t say I have a good feeling. I know she has a great talent and flair for the kind of work she does. Moreover, I recognize I already have seen lots movies or drama within the same issues like her work. Even though I am not critical, her work is still uncomfortable for me. By analyzing myself such issues broken the image of claymation which as in warm and soft emotion so it is bumpy for me. Anyway, I can say your view point toward her is very developmental
ReplyDeleteI like your summary about how people love to seethings disgust them and essentially push their imaginations further. Following this i also agree that people like to go out of their comfort zone, which in this case Djurberg's work does. But in saying that i found, amongst everyone elses responses including yourself, her works are interesting and engaging but however not enjoyable. I wonder if this defies the purpose of art altogether or if there is a ever evolving answer.
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