Here are some of the artists that I looked at that informed certain parts of my practice, I will attempt to explain where they informed me where possible. Further info can be found under ‘Studio Practice 2015’.

Mariko Mori: Rebirth 2012

“…Mori’s recent practice has evolved around a fascination with ancient cultures, among them prehistoric Jomon (c.14,000 – 300 BC) in Japan and Celtic traditions in Europe. Founded on a belief in cycles of death and rebirth, these were marked by a holistic world view that placed mankind in a more harmonious relationship with our surroundings. These interests are expressed through emerging technologies and digital media, which the artist embraces as tools to be harnessed in order to reconnect with our environment.”

Mariko+Mori+Rebirth+Royal+Academy+Arts+pD1T4aBu0e0l Mariko-MoriMiracle-2011-detail8-photo-paintings-Cibachrome-prints-diachronic-glass-salt-crystal69-cm









Mariko Mori, ‘Miracle’, 2001.
Cibachrome print, frame in diachronic glass, glass balls, crystal ball, chain, salt, 69 cm each element (set of 8 elements), Salt circle: 84.58 cm diameter.


Mariko Mori, ‘Primal Memory’, 2004.
Lucite, 25 x 126.8 x 129.6 cm.


Mariko Mori, ‘Flat Stone’, 2006.
Ceramic stones and acrylic vase, Stones: 487.5 x 314.6 x 8.8 cm, Vase 38.1 x 27.9 x 43.2 cm.

“Human ritual meets scientific investigation into natural phenomena: Her floor piece “Flat Stone” (2006) echoes pebble shrines from the mid-Jomon Era (3500-2500 B.C.), aligned with the winter solstice’s light. A replica of a Jomon mask hangs on the wall above it, almost hovering like a deity over its realm.”

Chiharu Shiota


First photo: In Silence [CentrePasquArt, Biel – Bienne ] 2008

Second photo: Installation view of Dialogue From DNA at Manggha, Centre of Japanese Art and Technology, Krakow, Poland by Chiharu Shiota; 2004;

Usage of thread and scale of installations. Similair themes cultural and traditional aspects of her practice.,. ‘Chiharu Shiota’. N.p., 2015. Web. 21 June 2015.

Robert Smithson

“Smithson did not see entropy as a disadvantage he saw it as a form of transformation of society and culture

“Much of Smithson’s output was shaped by his interest in the concept of entropy, the second law of thermodynamics that predicts the eventual exhaustion and collapse of any given system. His interest in geology and mineralogy confirmed this law to him, since in rocks and rubble he saw evidence of how the earth slows and cools. But the idea also informed his outlook on culture and civilization more generally; his famous essay Entropy and the New Monuments (1969) draws analogies between the quarries and the strip malls and tract housing of New Jersey, suggesting that ultimately the later will also perish and return to rubble. ”

Smithsons writings are beautiful I particularily liked reading the essay “Towards the Development of an air terminal site (1967) by Robert Smithson for Art Forum June 1967. Within this essay It talks about Smithsons likeness to Alexander Graham Bell and his own investigations into Crystalline structures. Smithson used the crystalline structure as inspiration for his ‘Spiral Jetty’ but I really loved his ‘non-site’ installations and hope to use some of these formal aspects of using gallery space and mirrors into my own work.


Robert Smithson, Rocks and Mirror Square 1969-71   


“Four-Sided Vortex” (1965)    


    Sixth mirror, Land Art 1969

“The maps that serveyors develop from coordinating land air masses resemble crystalline grid networks…Mapping the Earth, the Moon or other planets is similar to mapping crystals…In short all air and land is locked into a vast lattice.” (Smithson)

Alexander Graham Bell

bellphoto    20120615-tetrahedonal_shed_graham_bell0856838

“”He built a pyramid shaped outdoor observation station that reminds me of the art of Robert Morris….From inside his solid tetrahedron Bell surveyed his ‘flight’ projects – the tetragonal lattice-kites. A grid connection was established by him between ground and air through this crystalline system…. The site was joined to the sky in a structural equation.” (Smithson)

I love the scientific equations that Bell is explored its amazing what he discovered through working through the Crystalline theories. Science meeting art is an exciting innovative avenue that Smithson also discovered through entropy. Growing crystals and learning about the scientific theories that they derive from is synonomous with my own studio practice.


children-3    z1L93at   Children_Who_Chase_Lost_Voices_From_Deep_Below_2011_720p_BDRip_XviD_AC3-ViSiON-06822  18zpd6qkonp5vjpg

Anime and its relation to Japanese culture is something I really love. The similarities that I draw between the story telling- the parodies of life, the tragedy and comedy and all the good things that make up great storytelling and the way in which gods and kaitiaki (guardian) are consistent in the world of anime is very similar to the gods and tohu that exist in the Maori world view. I envision that the Kaitiaki sculpture that I would like to make will be very similar to the wolf mother that Princess Mononoke was adopted by. The stills  above are from the anime ‘Children who Chase Lost Voices’ by Makoto Shinkai, as with most anime the heroine is a young girl who discovers a lost world that she initially finds through her crystal quartz radio. The frequency she connects to allows her to meet a young man from the world ‘Agartha’. The story line is all about feelings around loss and death and life and how she connects to this place within her self. One of the moments in the movie is when one of the spirit gods from Agartha crosses over to the ‘real world’ and cannot survive, when he falls to his death he crystallises! The similarities in this movie to what I have been thinking about in studio were quite astounding. Im looking to do animation next semester as its a visual language that I thoroughly enjoy. Also I have thought about doing time lapses of the growing crystals which in thought I could possibly do in animation?

Lygia Clark


Bichos (Critter), 1959


Ar E Pedra / Air and Stone, 1966

Lygia Clark. “believed that art ought to be subjective and organic. Throughout her career trajectory, Clark discovered ways for museum goers (who would later be referred to as “participants”) to interact with her art works. She sought to redefine the relationship between art and society. Clark’s works dealt with inner life and feelings.”

Clark firstly making objects that you interacted with and then the development of objects that could heal someone psychologically were important theories that I looked in studio as my initial thoughts into making the crystals were about the objects having a healing and balancing effect on the audience.



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