Extended Research
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After my initial visits to the Drawing Room in Unit 1, I felt the extended research was an exciting chance to partake in informative research and began thinking about all the different ways I might go about it. Some of the many directions I travelled on my research journey included: researching rubbings at the British museum; I thought about archeology collections and archives that housed rubbings; I thought about how my original degree in classics might be helpful in approaching material collections such as ancient mosaics or other historically important sites; I considered historic sites and features such as the steps of the Bodleian library at oxford university; I attempted to research about the possibility of accessing abandoned buildings and even looked into haunted spaces in London that might have some significance. All these ideas are exciting and perhaps are worth further consideration.
Allegra Pesenti Interview
My first breakthrough with an external partner was to contact Allegra Pesenti, who agreed to a written interview. I managed to get her email after contacting the Hammer Museum, where she used to work. Pesenti was the curator of the exhibition and subsequent publication “Apparitions: Frottages and Rubbings from 1860 to Now, Feb 7–May 31, 2015”. This text was important for my research, and I had many questions since reading it. The interview went as follows:
Tom Harper:
In a time when touch is so transgressive, how relevant is bringing back a sense of touch and connection in the world through art?
Allegra Pesenti:
I think a sense of touch and connection are forever vital to art, and of course it is all the more relevant at the heels of the pandemic in which we have been physically distanced from both human and material ‘closeness’.
Tom Harper:
I’m interested in how you came to select the artists that you did and the works that you showed. Perhaps you could talk a little bit more about what drew you to these artists and works?
Allegra Pesenti:
Artists immersed in the practice of rubbing and related work appeared in my path as soon as I started thinking about the subject both historically and in the present. A revelatory moment was Jennifer Bornstein’s exhibition at Gavin Brown’s in New York city, in which she rubbed the entire surface of the floors of the gallery and placed the sheets of paper on the walls, creating a monumental reversal of space and sense of disorientation. I was also struck by how the marks of the floors emphasized the site’s age and history, as if she were retrieving its ghosts from its inner linings. Bornstein’s rubbing practice evolved from abstraction to figuration and remained a main point of inspiration throughout my research on the subject.
Tom Harper:
You write about traces in the exhibition and how recording objects, surfaces or places can reveal and assume a new presence as rubbings. I am very interested in rubbing to reveal void spaces such as cracks, scores or the tiniest marks of wear and tear. Perhaps you could tell me more about frottage’s power to transcend its subject matter and create new meanings?
Allegra Pesenti:
There is an element of wonder and unexpectedness in rubbings which is what made the practice so appealing to Surrealist artists. Max Ernst found his deepest fantasies in the grains of the wood of his floorboards. A comb easily morphed into an animal’s body. I think that ability to ’transfigure’ objects and to see beyond their common forms and uses is at the core of this form of artistic expression.
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Tom Harper:
Is there any way that you think rubbing and frottage has changed and developed as a contemporary art practice since the exhibition?
Allegra Pesenti:
Artists continue to experiment with rubbing and frottage and the practice continues to stretch into new territories - whether sensory, physical, or performative. The Jazz musician and composer Jason Moran traces the taps of his keyboard onto paper and creates some of the most poignant and deeply moving ‘recordings’ of his sounds and improvisations.
Tom Harper:
And what is it about rubbing that draws artists time and time again to use this most basic and ancient of drawing methods; What is it about this process that keeps it relevant in contemporary art and in particular drawing?
Allegra Pesenti:
Perhaps the very fact that it is so basic and accessible, yet also deeply layered and complex in its possibilities.
Tom Harper: Since Apparitions, frottage and rubbings are being used as the mainstay of artists like Ingrid Calame and strongly featuring in the work of high-profile artists such as Kiki Smith and Catherine Anyango Grünewald. Have any artists stood out for you since the exhibition that you think are important and that you would have included in the exhibition if it had been put on today?
Allegra Pesenti:
As I mention above, Jason Moran for sure. I love the work of Kiki Smith and would certainly include her if I were to do a take two of this exhibition. There are so many artists I would have loved to include but couldn’t for reasons of space and accessibility…so I’ll save that list for the next iteration!
Raquel Serrano Interview
Raquel Serrano is a fine art doctorate student at the university of seville. She was awarded a fellowship in print at Camberwell College of Art in the spring term of 2022. She uses rubbings and frottage and plans to continue to do so as part of her research. I asked her if she was willing to do a short, informal interview and she most gratifyingly agreed.
Here is what transpired:
Tom Harper:
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What is it about frottage that excites you and how did you come to see this as an important part of your practice?
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Raquel Serrano:
I became interested in frottage from my PhD supervisor María del Mar Bernal who wrote a great article on the subject. (https://tecnicasdegrabado.es/2020/el-frottage-todo-esta-en-el-roce). I am interested in experimentation with the printed image and how printing can turn into drawing. The images produced by say rubbings replaces the reality of what was there. I want to question what the reality of an image is. I like how rubbings can look like quite abstract images but are in fact highly representational. So, the image is the surface, but the surface is moved from its original place. I’m playing with our concept of an image and the concept of perception.
Tom Harper:
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What new materials are you using to make your rubbings and why?
Raquel Serrano:
I have been working with canvas recently and I have found it can be very pragmatic in a lot of situations, especially when you are outside and rubbing on the ground. Before I was working with large sheets of paper, using a sponge and graphite powder to apply the rubbing. I have found that, unlike paper, fabrics like canvas are both more durable, and much more pragmatic when you are outside. They will not ruin if they get wet and they can even be machine washed if you apply fixating beforehand. They do not weigh much so they can easily be transported, and it allows you to work in large formats since it is difficult to find paper rolls of that magnitude. I also found that you can add eyelets and can easily be stretched out in a space like a painting. This makes them very pragmatic for very large rubbings in a way that paper just doesn’t easily allow for, especially when thinking about hanging them in a space. They also have a more haptic element to them; in that they can become quite sculptural. You can fold, crumple and manipulate them in many ways.
Raquel, Serrano, Transfer the surface, Frottage graphite on canvas, 100 x 375 cm 2022
Tom Harper:
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What artists have you researched and what is it about their work that you find fascinating?
Raquel Serrano:
I am interested in the works of Juan Carlos Bracho who has rubbed the walls of a gallery space with graphite. By drawing directly onto the walls in this way, he creates beautiful ephemeral drawings, that get erased from the space after the exhibition ends. I am interested in the imprintment of the land itself and have appreciation for the work of Andrea Gregson, who takes large scale rubbings of rock formations. All these artists reflect on the space itself, moving the surfaces, manipulating them, folding them and turning the images of reality into three-dimensional elements, which invite the viewer to inhabit the image
This interview was great for considering my methods and new choices of materials and the artists who use them. I experimented with using canvas for rubbings as I may wish to use it in the future if I go outside or for works that need to be hardier and need to be on the floor or manipulated in some way. (see process and critical reflection).
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Taking rubbings at the Type Archive
After doing some research to see where I might find some historic printing machinery to further my research, I came across The Type Archive, which housed an assemblage of historic printing presses. I spoke with the curator, Sallie Morris, and to my delight I was given not only a tour of the archive but also allowed to take some rubbings of the machinery.
The archive has some truly amazing artifacts from the past and it was fascinating to delve deeper into the history of print. I settled on the Wharfdale-style machine called the “Defiance”, which was made in Yorkshire by inventor David Payne back in the 1860’s. This machine revolutionised the printing trade and it was an incredible honour and with great excitement that I undertook the task of producing a print of the press that had created perhaps millions of prints itself. The extra weight of historical importance of the machine was something I had never been able to engage with before with a space or object and it really added to the interest and significance of the work for me.
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Rubbing the Wharfdale not only helped me further develop my visual language but also formed a greater emotional connection with these archaic, increasingly rare artifacts. This feeling was only enhanced by the knowledge that the archive was losing its funding and would no longer be open to visitors. The very machine I was rubbing would soon be stored away somewhere indefinitely, behind closed doors. I came closer to understanding why these machines have emotional significance and importance. The arts and culture are under increasing threat and these prints could perhaps be a way of showing what we are losing as a society.
The experience of this enigmatic space and its relics, dripping with the history and the importance of Britain’s cultural and technological heritage makes me keen for further opportunities. There are other institutions that I could attempt to contact based on connections I have made with the curator there. I feel trying to approach collections, archives and institutions of this sort could be an important part of my practice in the future.
White Chapel Gallery
I have been interested in what it is about the studio and creative spaces that fascinate me and why they are worth commemorating through my interventions. I wished to contextualise my understanding of the wider debate surrounding the studio in contemporary art practice and so after doing some research I went to Whitechapel Gallery to gain further insight. I was most fortunate that it was having an exhibition that touched on this issue. The exhibition itself, A century of the artist’s studio 1920-2020 was very illuminating, concerning itself with the notion of the studio space, both as a public space to showcase the artists identity or as a private space to "take refuge, reflect, experiment and even cannibalise the studio itself." (see contexts to read more about how this important exhibition helped my practice).
TOM HARPER
CONTEXTS
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Doris Salcedo
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Doris Salcedo’s work is concerned with trauma and loss, often using minimalistic and economical art works that act as a vehicle to talk about wider social and political issues. In her work, 'Shibboleth' at the Tate Modern, the artist created a giant crack running through the entire 150 metre length of the gallery floor. This is a representation of the broken system of geopolitics that divide us along socio-economic and racial lines. It is a deep wound, the location of which touches on the nature of the art institution itself.
Shibboleth, 2007, 548 ft Crack, Installation View, Tate Modern.
In a similar way to my work, the cracks are suggestive of something being broken and ignored (Barker et al., 2020), for Salcedo, a “symbol of the damage caused by cultural and geographical exclusion“ (Salcedo et al., 2007). In my work I am more concerned with the archaeological excavation of surfaces and spaces, getting deeper, revealing secrets that lie just beyond our normal vision. However, like her, my work does consider the institutions I make my interventions in. I hope to provide a “counter archeology”, like Salcedo, about the arts and the art school, the studios of which have been an important part of my lived experience for the last few years (Bal & Borchardt-Hume, 2007). Like her I wish for my outcomes to work on a number of levels, one of which is to reflect on the invisible deterioration of the art ecosystem in the Uk, from schools and institutions to the lack of space in large urban areas due to rising rents and property prices, all in the wilting shadow of never-ending economic austerity.
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As someone who is interested in larger sculptural projects, I feel at times a sense of despair (Ellard & Harvey, 2015). This is something that, like the artist, my rubbing of cracks in the studio shares with her work. There is this idea that our world is broken (Bal & Borchardt-Hume, 2007) and that it is in need of fixing. The spreading of my crack piece into other parts of the studio, in a similar vein to her works, is to invite the viewer to follow the cracks like a line drawing and try and work out their enigmatic meaning, their growth a signifier of a decay, albeit quite a beautiful one, about an ephemerality of what once was and may never be again.
Doris Salcedo, an untitled work as part of “The Materiality of Mourning”, Harvard Art Museums
Her later works, especially ‘The Materiality of Mourning’, "rely on everyday objects that act as artifacts, tables and old cupboards that form into one silent mass, a kind of memorial of the past. The “meticulous" positioning and “haptic presence” bring forth interesting narratives about domesticity and perhaps, knowing the artists, a sorrowful political statement about Columbia's troubled political past (Schumacher, 2017). Using old furnishings and weathered tabletops, these accretion of layers of human traces has obvious resonance with my own work. The way in which I also present my archaeological artifacts of surfaces, the complex decisions around composition and sophistication, is something I want to evolve and consider in more detail. There’s that feeling of the familiar and the unfamiliar, the past and present that I think is much like the mood in my own work. I want to investigate the intricacies of this subtle language further as I develop my practice.
References
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Barker, G., Echevarria Aguirre, M., Berroya Elosua, A. & Morlesín Mellado, J. A. (2020).
Bal, M., & Borchardt-Hume, A. (2007). Doris Salcedo. Tate Publishing.
Ellard, G., & Harvey, J. (2015). Studios for Artists: Concepts and Concrete, a collaboration between Acme Studios and Central Saint Martins. Black Dog Publications.
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Schumacher, B. (2017). On the Presence of a Universal Material Narrative in the Work of Doris Salcedo. [online] The Vision & Art Project. Available at: https://visionandartproject.org/on-the-presence-of-a-universal-material-narrative-in-the-work-of-doris-salcedo/ [Accessed 8 Nov. 2022].
Tate (n.d.). ‘Shibboleth I’, Doris Salcedo, 2007. [online] Tate. Available at: https://www.tate.org.uk/art/artworks/salcedo-shibboleth-i-p20334.
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© 2022 By Tom Harper