W I L L W H I T T I N G T O NQ 10 2 113 81

A N A LY T I C A L R E P O R T

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Contents

1.Introduction2. Methodology2.1Website2.2 Worksheet2.3 Painted Discarded Objects3. Results3.1 ADJUSTMENT3.2 PLACEMENT4 Conclusion4.1 Ownership4.2 Curiosity4.3 Destruction4.4 Prologue

‘The object stays the same, the colours change. Colour is important, colour to the primitive brain means life, nourishment. where there is colour there is food, water and a habitable environment.The application of shape and colour change the identity of the object, which means a change in expectation and approach to the surrounding area. Change of expectation causes change in behaviour.’

-Prologue from ADJUSTMENT

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Introduction

The craving for colour is a natural necessity just as for water and fire. colour is a raw material and indispensable to life. At every era pf his existence and his history the human being has associated colour with his joys, his actions and his pleasures.1

The project I have chosen to undertake is based on peoples reaction to shape and colour in their environment. Throughout the project I have attempted to discover more about how the public react to colours and shapes in regards to improving quality of life in the inner city /industrial environment. The project developed from the question: If graffiti in an area reduces quality of life, can you then use the same approach to an opposite effect? This then turned more widespread as I considered how people decorate their homes to feel more comfortable, have a preference in which colour car they own, the clothing people are attracted to, how as a species we have always manipulated our environment visually, and not always only focused on the practicalities of life. It is shown in many ways all across the world that colour and shape largely effects our approach to any given situation.

All we see is colour and shape, can you then learn how to improve peoples mental well-being through carefully implementing positive associations through the use of an abstract medium? (By an abstract medium I mean by using non-figurative associations in order to reach a wider audience.)

Children are fascinated by shape and colour, and are encouraged to engage and learn about the different possibilities with coloured blocks to build structures and compositions, paints to make representations, and I think this is evidence of our primitive attraction to colour and shape, even in a world in which it perhaps matters less than it did 200,000 years ago as we developed further as a species.

Methodology

Colour Test Website

I created a website where the user had the choice to choose from four colours, as a colour was clicked, I was sent an email telling me the response given. The website was a good chance to explore whether people would make a different choice in a more comfortable situation as opposed to under more pressure as with the worksheet explained below, as in using the website the individual is choosing at their own speed, most likely in a comfortable place at home or on a break at work using a mobile phone.

Colour And Shape Worksheet

One of my research methods was to hand out a work sheet to individuals I was working with as well as two schools I was doing workshops with. 170 individuals of the majority age ranging between 9 and 30 years old participated in the survey conducted. The survey asked the individual to pick a colour, the choice was between blue, red, yellow and green. I encouraged the participants to choose without thinking, attempting to tap into a more

Léger, Fernand- On Monumentality and Colour 1946 Harvard university press1

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Contents

1.Introduction2. Methodology2.1Website2.2 Worksheet2.3 Painted Discarded Objects3. Results3.1 ADJUSTMENT3.2 PLACEMENT4 Conclusion4.1 Ownership4.2 Curiosity4.3 Destruction4.4 Prologue

‘The object stays the same, the colours change. Colour is important, colour to the primitive brain means life, nourishment. where there is colour there is food, water and a habitable environment.The application of shape and colour change the identity of the object, which means a change in expectation and approach to the surrounding area. Change of expectation causes change in behaviour.’

-Prologue from ADJUSTMENT

2

Introduction

The craving for colour is a natural necessity just as for water and fire. colour is a raw material and indispensable to life. At every era pf his existence and his history the human being has associated colour with his joys, his actions and his pleasures.1

The project I have chosen to undertake is based on peoples reaction to shape and colour in their environment. Throughout the project I have attempted to discover more about how the public react to colours and shapes in regards to improving quality of life in the inner city /industrial environment. The project developed from the question: If graffiti in an area reduces quality of life, can you then use the same approach to an opposite effect? This then turned more widespread as I considered how people decorate their homes to feel more comfortable, have a preference in which colour car they own, the clothing people are attracted to, how as a species we have always manipulated our environment visually, and not always only focused on the practicalities of life. It is shown in many ways all across the world that colour and shape largely effects our approach to any given situation.

All we see is colour and shape, can you then learn how to improve peoples mental well-being through carefully implementing positive associations through the use of an abstract medium? (By an abstract medium I mean by using non-figurative associations in order to reach a wider audience.)

Children are fascinated by shape and colour, and are encouraged to engage and learn about the different possibilities with coloured blocks to build structures and compositions, paints to make representations, and I think this is evidence of our primitive attraction to colour and shape, even in a world in which it perhaps matters less than it did 200,000 years ago as we developed further as a species.

Methodology

Colour Test Website

I created a website where the user had the choice to choose from four colours, as a colour was clicked, I was sent an email telling me the response given. The website was a good chance to explore whether people would make a different choice in a more comfortable situation as opposed to under more pressure as with the worksheet explained below, as in using the website the individual is choosing at their own speed, most likely in a comfortable place at home or on a break at work using a mobile phone.

Colour And Shape Worksheet

One of my research methods was to hand out a work sheet to individuals I was working with as well as two schools I was doing workshops with. 170 individuals of the majority age ranging between 9 and 30 years old participated in the survey conducted. The survey asked the individual to pick a colour, the choice was between blue, red, yellow and green. I encouraged the participants to choose without thinking, attempting to tap into a more

Léger, Fernand- On Monumentality and Colour 1946 Harvard university press1

3

instinctual approach. On the other side of the survey there were four shapes to choose from, a circle, a triangle, a diamond and a square. I chose this colour range as a basic indication of colours we teach children about from a young age, as with the shapes. I used this approach as if we have felt it so necessary to teach children about these particular colours and shapes for such a length of time, we must have a connection in some way that is past our conscious thought. This theory is based on ideas presented in Carl Jung's archetypes and the collective unconscious theory, as explained in the book The Secret Of The Golden Flower:

‘It must be pointed out that just as the human body shows a common anatomy over and above all racial differences, so, too, the psyche possesses a common substratum transcending all differences in culture and consciousness. I have called this substratum the collective unconscious. This unconscious psyche, common to all mankind, does not consist merely of contents capable of becoming conscious, but of latent dispositions towards certain identical reactions. Thus the fact of the collective unconscious is simply the psychic expression of the identity of brain-structure irrespective of all racial differences. This explains the analogy, sometimes even identity, between various myth-motifs, and symbols, and the possibility of human beings making themselves mutually understood. The various lines of psychic development start from one common stock whose roots reach back into all the strata of the past.’2

My methodology reflects ideas presented by Jung, in regard to creating something with a multinational language, the work will need to speak in a similar tone to all backgrounds in order to communicate a positive message to the majority. This is why figurative work would be less appropriate for the project.

The initial plan was to use this research to create a direct piece, which was then to be exhibited in a busy public space and reactions would be observed from there, as a solution to the project. This would have been more straight forward and easier to asses than the outcome I created. This would have been a neat ending to the project and would have meant there would have been ample opportunity to observe public reaction. After realising that it was not possible to crate the piece in the required time frame, I realised that the project would have to come to an end by a different means.

The new method of answering the question involved a much for head on approach into dealing directly with the public and observing direct reactions to the act of making the work as opposed to the work itself.

Painted Discarded Objects.

The colour and shape research then influenced the decisions made during the painting process, along side the large input of environment and public reaction. (In certain circumstances I felt it was not too wise to stay in the situation and to finish painting quicker than planned.) In order to bring work into the public space with no reliance on any other body but myself, I decided to make paintings on discarded objects such as fridges, sofas, cabinets, hub caps etc. This in turn is reversing the negative association and removing the abject nature of the entity as explained in the prelude to the book presented as an artefact, ADJUSTMENT:

Wilhelm, R., Jung, C.G., Chinese, the and Wilhelm, S. (2001) The secret of the golden flower: A Chinese book of life. .2(Wilhelm et al., 2001)

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instinctual approach. On the other side of the survey there were four shapes to choose from, a circle, a triangle, a diamond and a square. I chose this colour range as a basic indication of colours we teach children about from a young age, as with the shapes. I used this approach as if we have felt it so necessary to teach children about these particular colours and shapes for such a length of time, we must have a connection in some way that is past our conscious thought. This theory is based on ideas presented in Carl Jung's archetypes and the collective unconscious theory, as explained in the book The Secret Of The Golden Flower:

‘It must be pointed out that just as the human body shows a common anatomy over and above all racial differences, so, too, the psyche possesses a common substratum transcending all differences in culture and consciousness. I have called this substratum the collective unconscious. This unconscious psyche, common to all mankind, does not consist merely of contents capable of becoming conscious, but of latent dispositions towards certain identical reactions. Thus the fact of the collective unconscious is simply the psychic expression of the identity of brain-structure irrespective of all racial differences. This explains the analogy, sometimes even identity, between various myth-motifs, and symbols, and the possibility of human beings making themselves mutually understood. The various lines of psychic development start from one common stock whose roots reach back into all the strata of the past.’2

My methodology reflects ideas presented by Jung, in regard to creating something with a multinational language, the work will need to speak in a similar tone to all backgrounds in order to communicate a positive message to the majority. This is why figurative work would be less appropriate for the project.

The initial plan was to use this research to create a direct piece, which was then to be exhibited in a busy public space and reactions would be observed from there, as a solution to the project. This would have been more straight forward and easier to asses than the outcome I created. This would have been a neat ending to the project and would have meant there would have been ample opportunity to observe public reaction. After realising that it was not possible to crate the piece in the required time frame, I realised that the project would have to come to an end by a different means.

The new method of answering the question involved a much for head on approach into dealing directly with the public and observing direct reactions to the act of making the work as opposed to the work itself.

Painted Discarded Objects.

The colour and shape research then influenced the decisions made during the painting process, along side the large input of environment and public reaction. (In certain circumstances I felt it was not too wise to stay in the situation and to finish painting quicker than planned.) In order to bring work into the public space with no reliance on any other body but myself, I decided to make paintings on discarded objects such as fridges, sofas, cabinets, hub caps etc. This in turn is reversing the negative association and removing the abject nature of the entity as explained in the prelude to the book presented as an artefact, ADJUSTMENT:

Wilhelm, R., Jung, C.G., Chinese, the and Wilhelm, S. (2001) The secret of the golden flower: A Chinese book of life. .2(Wilhelm et al., 2001)

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‘Objects that convey a sense of deterioration which appears to break our codes of coexistence, reflecting a lack of responsibility for things outside ones own home. Blemishing the community, by association with waste, clutter, dirt, the unwanted. Cheap products that are built not to last. Household goods turned into deteriorating structures slouching by the side of the road, stagnantly standing in the street in hope of disappearing with as little effort used as possible, being stripped of any value possible within he first few days.’

This method allowed me to work freely in the public domain and test my theories with little or no interference. The main restrictions on this section of the project was the reliance on what I could find available to use as a subject, and the limit in which I could observe interaction without interfering in the piece by being there myself as part of the work, therefor peoples reactions immediately becoming responsive to my presence as well as the works, polluting my research and causing a distraction from the essence of the piece. This was unavoidable as I became recognised as the individual carrying out the works after speaking to various people in the local community whilst painting.

To try and avoid repetition I cycled around various areas, searching for objects to transform into works, but I found most of the objects painted around the same area. These streets seemed to always have something new, and the pieces would stay for up to two weeks.

The pieces were of various sizing and materials. The main correlation between them was that they were discarded objects, commonly seen in the streets left to be swept up, smashed, raided for monetary value in some cases. This means another connotation is added to the work; Consumerism and the waste caused by ‘disposable culture.’ It raises the issue of the harm caused by cheap, mass produced products, which are not built to last but bring necessities to people unable to afford (or unwilling to pay) for a product that will last for a long time. The result is the massive amount of excess pollution caused by the transportation, the exploitation of factory workers to bring down production costs and the littering on the streets of communities when these products inevitably stop working, with very little recyclable value.

(This is not to say there are no benefits of this method, and the production of affordable/widely accessible necessities, I am focusing on the life of the object in relation to the work created.)

Results

The results of the experiments were unexpected, but also predictable. I had expected more damage on one hand, on the other I had hoped for more of a playful, curious interaction with the objects placed.

To break down the results I will list the pieces, locations and reactions, I will then present my theories on the behaviour towards the works.

(In order to keep to the word limit I have chosen a selection of responses.)

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Worksheet Results

Blue-61

Red-51

Yellow-25

Green-33

Circle-56

Square-23

Diamond-23

Triangle-28

Website Results

Blue-15

Red-14

Yellow-6

Green-10

On both tests blue and red showed most favour, and the results from both tests yielded the same results. Blue being the favourite followed by red. Blue and red are often portrayed as opposite entities, in opposing political parties, (Labour and Conservative, Democrats and Republicans.) also in religious symbolism as the virgin Mary would typically be wearing a blue cloak, and martyred saints can be seen to be wearing red cloaks. These two main bold colours have been in focus for thousands of years, why? Blue to the primitive mind could show confidence in the safety of the weather, blue sky no danger. As red would symbolise blood. I had expected green to be more favourable, as the colour of nourishment and life, to examine further I would need to re-arrange the order of the colours and execute the tests again.

Circles proved to be the most popular shape, the shape of the sun, the wheel, a representation of life, movement. without the circle we would have no transport, no machinery. We may have copied the shape from the sun as the circle does not exist in the natural world. Triangles were the next most popular, the shape of structure, a symbol of sexuality for both genders in ancient language, depending on which way it was pointing.

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ADJUSTMENT

Fridge, The Polygon;

Asked to paint a carwash, comments were ‘Beautiful!’ Tipped on side after one week. Cautious interest of local children. Whilst painting this object I received a couple of responses. A woman walking past exclaimed ‘Beautiful!’ It was very positive to get this reaction to the first painting, this was whilst photographing the work after it was finished. I was approached by a man working in the car wash opposite, who asked about primer for the painting, assumably considering using the same brand paint on cars. He told me to come back and paint on the car wash at some point when the weather was good. A show of humans lust of ownership of things found interesting or pleasurable, I will still paint there although when the project is finished, a part of the project is the notion of the temporary, to turn into memories for people who witnessed them, if with positive effect, will stay for much longer than the permanent piece.

Fridge, St Mary’s

Asked to paint a car, (Jokingly.)‘Why you designing a fridge for?’ -Group of African males, aged 20-30. ‘Number one!’’-Middle Eastern Male aged 50+‘Can you get me a job mate?’ ‘We used to get up to all sorts when we was younger, if its not hurting anyone keep doing it!’ British Male, aged 40-50‘Oooh its so cool!’ Group of Middle Eastern Females, aged 16-18

The locals looked interested. This is the first object I painted in this area, and was during the religious festival of Eid. During this celebration the women wear brightly coloured clothing covered in sequins and complex patterns. I think the extra colour added to the street via the work was seen as a positive action partially to do with the high spirits in relation to the time of year.

Fridge, St Mary’s

“I’ll have to put that back in the flat now!’ Indian male, aged 40-50Motor removed from back of fringe whilst painting, releasing harmful gas.‘I’ve lost my wallet on this road, have you found it?’Taken into shop, unsure what it sold, asked to paint windows, shutters, shopkeeper looked around for something for me to paint on. Asian male, aged 30-40Interest but less positive, humour felt more of a front, did not spend long due to tense atmosphere.

Cabinet, The Polygon

‘Nice one!’ Male, Eastern European, 20-30

5

Worksheet Results

Blue-61

Red-51

Yellow-25

Green-33

Circle-56

Square-23

Diamond-23

Triangle-28

Website Results

Blue-15

Red-14

Yellow-6

Green-10

On both tests blue and red showed most favour, and the results from both tests yielded the same results. Blue being the favourite followed by red. Blue and red are often portrayed as opposite entities, in opposing political parties, (Labour and Conservative, Democrats and Republicans.) also in religious symbolism as the virgin Mary would typically be wearing a blue cloak, and martyred saints can be seen to be wearing red cloaks. These two main bold colours have been in focus for thousands of years, why? Blue to the primitive mind could show confidence in the safety of the weather, blue sky no danger. As red would symbolise blood. I had expected green to be more favourable, as the colour of nourishment and life, to examine further I would need to re-arrange the order of the colours and execute the tests again.

Circles proved to be the most popular shape, the shape of the sun, the wheel, a representation of life, movement. without the circle we would have no transport, no machinery. We may have copied the shape from the sun as the circle does not exist in the natural world. Triangles were the next most popular, the shape of structure, a symbol of sexuality for both genders in ancient language, depending on which way it was pointing.

6

ADJUSTMENT

Fridge, The Polygon;

Asked to paint a carwash, comments were ‘Beautiful!’ Tipped on side after one week. Cautious interest of local children. Whilst painting this object I received a couple of responses. A woman walking past exclaimed ‘Beautiful!’ It was very positive to get this reaction to the first painting, this was whilst photographing the work after it was finished. I was approached by a man working in the car wash opposite, who asked about primer for the painting, assumably considering using the same brand paint on cars. He told me to come back and paint on the car wash at some point when the weather was good. A show of humans lust of ownership of things found interesting or pleasurable, I will still paint there although when the project is finished, a part of the project is the notion of the temporary, to turn into memories for people who witnessed them, if with positive effect, will stay for much longer than the permanent piece.

Fridge, St Mary’s

Asked to paint a car, (Jokingly.)‘Why you designing a fridge for?’ -Group of African males, aged 20-30. ‘Number one!’’-Middle Eastern Male aged 50+‘Can you get me a job mate?’ ‘We used to get up to all sorts when we was younger, if its not hurting anyone keep doing it!’ British Male, aged 40-50‘Oooh its so cool!’ Group of Middle Eastern Females, aged 16-18

The locals looked interested. This is the first object I painted in this area, and was during the religious festival of Eid. During this celebration the women wear brightly coloured clothing covered in sequins and complex patterns. I think the extra colour added to the street via the work was seen as a positive action partially to do with the high spirits in relation to the time of year.

Fridge, St Mary’s

“I’ll have to put that back in the flat now!’ Indian male, aged 40-50Motor removed from back of fringe whilst painting, releasing harmful gas.‘I’ve lost my wallet on this road, have you found it?’Taken into shop, unsure what it sold, asked to paint windows, shutters, shopkeeper looked around for something for me to paint on. Asian male, aged 30-40Interest but less positive, humour felt more of a front, did not spend long due to tense atmosphere.

Cabinet, The Polygon

‘Nice one!’ Male, Eastern European, 20-30

7

Car, City Centre

‘Practising spraying cars?’-Male, British aged 40-50‘Are you 100% english?’-Male, British aged 40-50‘It’s all about peace and love is it?’ -Male, British Aged 30-40‘It looks like african tribal paintings’-Male, British Aged 25-30

Builders nearby were skeptical but interested, questioned the worth of what I was doing, generally friendly and reasonably open minded, head of the building site trying to benefit, using photograph of image as ‘Community Involvement.’

PLACEMENT

The Difference in reactions is due to members of the public not observing the work in PLACEMENT being created, only observing the work as it stands after I have placed it in the chosen location.

Paving Slab, City Centre

7 days-Tipped over.9 days-Stood back up.28 days-Child admiring work, parents photographing child with the work, trying to take the piece home, parents not allowing.56 days-Removed

3 people observed photographing the work in the duration.

Hub Cap, Main road/Central

4 days-Kicked/Thrown6 days-Put back9 days-Half taken14 days-Kicked/Thrown16 days-Moved nearby21 days-Moved again into gutter26 days-Removed

Concrete Fragment, City Centre1 day-Thrown against wall, numerous times, marks left on the wall3 days-Flipped over7 days-Moved half a metre 14 days-Moved again21days- Removed

Scrap Material, Phone box, City Centre

4 days-Moved to new position6 days-Moved again to new position

7

Car, City Centre

‘Practising spraying cars?’-Male, British aged 40-50‘Are you 100% english?’-Male, British aged 40-50‘It’s all about peace and love is it?’ -Male, British Aged 30-40‘It looks like african tribal paintings’-Male, British Aged 25-30

Builders nearby were skeptical but interested, questioned the worth of what I was doing, generally friendly and reasonably open minded, head of the building site trying to benefit, using photograph of image as ‘Community Involvement.’

PLACEMENT

The Difference in reactions is due to members of the public not observing the work in PLACEMENT being created, only observing the work as it stands after I have placed it in the chosen location.

Paving Slab, City Centre

7 days-Tipped over.9 days-Stood back up.28 days-Child admiring work, parents photographing child with the work, trying to take the piece home, parents not allowing.56 days-Removed

3 people observed photographing the work in the duration.

Hub Cap, Main road/Central

4 days-Kicked/Thrown6 days-Put back9 days-Half taken14 days-Kicked/Thrown16 days-Moved nearby21 days-Moved again into gutter26 days-Removed

Concrete Fragment, City Centre1 day-Thrown against wall, numerous times, marks left on the wall3 days-Flipped over7 days-Moved half a metre 14 days-Moved again21days- Removed

Scrap Material, Phone box, City Centre

4 days-Moved to new position6 days-Moved again to new position

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10 days-Moved again to new position14 days-Removed

Hub Cap, St Mary’s

7 days-kicked, thrown, left face down10 days-leant against lamp post10 days-Removed

Metal Letters, City Centre

During set up

Male, British, 40-50 years old, asking about project, positive response2 Males British 40-50 years old, asking about project, encouraging but sceptical response.5 minutes- 3 adults and 5 children stopped to look7 minutes-Teenagers look, pretend to steal letter10 minutes- Child re-arranges letters, tries to balance the S so it is correct15 minutes-Another child re arranges letters, also tries to balance the S so it is correct.19 minutes- Another Child picks one letter up and moves it.20 minutes- Letters packed away.

Conclusion

“The urge to destroy is also a creative urge.”- Mikhail Bakunin, later repeated by Pablo Picasso.

Curiosity, destruction, energy. The main responses to this work were either playful, destructive or expressing our craving of ownership.

Ownership

Ownership means control. In our society we crave both to own and to control, these things are in our primitive instincts, to try and keep stability in an ever changing and threatening world. These pieces stand out from the city scape in an uncontrollable manner, although they serve no purpose, there is a need to understand things around us, even if not directly. It is easier to understand something, (Or unnecessary to) if we are in control of it. We also want to own things we feel we would benefit from. Why did the person at the car wash want the wall painting? It does not make the work run more efficiently, or make the business more profitable.

The german phycologist Jonas Cohn found a surprising love of contrasts of highly saturated colours in an experiment he conducted on 14 young subjects, and later concluded that there was a common, basic, sensual instinct for strong colour which was only later modified by culture. A later researcher F. Stefanescu-Goanga reinforced Cohn’s conclusions emphasising ‘the individual consciousness and above all individual experience.’ (Exert from my Research Methods essay.)3

Gage, J.D. (2000) Colour and meaning: Art, science and symbolism. Berkeley: University of California Press.3

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A great example of the our values revolving around ownership is explained in the extract by Erich Fromm No.1 in the bibliography.

Once the object is owned, it is no longer serving as a Visual Reparation and becomes a piece of art work for the sake of being an attractive object itself. Therefor removing the purpose of the work, the work is created for a means of serving the public, or finding a way to use these Visual Reparations as a method of creating a more beneficial environment.The pieces were also attempted to be restored to their former state by other members of the public after the work had been damaged, each piece that was broken or flipped over, it was placed back in a similar position it was previously. Keeping the balance between things, the balance of curiosity, creativity, destruction and ownership, ownership in the sense of taking responsibility for their environment was as evident as ownership in the sense of ‘having.’

Curiosity

‘Curiosity has been consistently recognised as the critical motive that influences human behaviour in both positive and negative ways at all stages of the life cycle’4

The pieces have brought out the instinctive curiosity in the members of the public that chose to engage with the work. Particularly in children, this is a very positive response, seeking out answers in the act of engaging physically with an the objects placed. This is part of the ‘remedy I was trying to provide, a positive distraction from the connotations the un-edited objects hold, the works then replace the idea of waste, selfishness, decay, with ideas of why? who? when? what? Encouraging a fresh approach to the environment. Curiosity is a key ingredient in anything looking to progress, there is no positive motion without curiosity. In regards to moving the work around and playing with the pieces, such as the work in the phone box, I assume it was people who pass the spot often/spend time nearby. The destruction of some of the objects also reflects the curiosity in our nature strongly. It gives the individual a feeling of the need to do something, providing a temporary purpose, even if that purpose is trying to smash one of the works.

Loewenstein, G. (1994) ‘The psychology of curiosity: A review and reinterpretation’, Psychological Bulletin, 116(1), pp. 75–98. doi: 4

10.1037/0033-2909.116.1.75.(Loewenstein, 1994)

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Destruction

‘Destructiveness is the outcome of un-lived lives. ’5

The act of attempting to destroy these objects may reflect a deep set frustration in some members of the public, I must take into account that the day after I placed the concrete fragment, a woman fell from the multi-storey car park nearby and died. The act of smashing the work against the wall may well have been somebody involved with the incident, relieving their despair and frustration on the object that stands out most. Although this is not the only case of people feeling the need to break the works placed in public. The fridge in the polygon was tipped on its side, presumably by people who had been drinking, putting their brains into autopilot. The acts of lashing out in one way or another may reflect our pack mentality as a species. Things which stand out can be considered threats, and in the case of these pieces, useless to those who have little. For what use does a piece of public art have if you struggle to pay your bills every month? Stress causing the life to be un-lived, unfulfilled as time is filled with frustration and resentment. This is the opposite of curiosity, yet just as important in the development of our species mental state. We survived long enough to develop into modern humans by woking in groups with set rules and norms. Changes are threatening to a current way of life, introducing a factor of risk to the individuals psyche. Perhaps these pieces seemed to represent gentrification to some individuals whom do not want their city to become like so many others.

These pieces brought out many emotions in the actions of the public, from the playful curiosity in children to the destructive frustrated nature of those who feel oppressed. These are the some of the emotions of the city, brought forward into actions towards art works. Whether the individual realised they were contributing or not has no matter. I feel even the more negative responses had a positive outcome by the way of associating with something even ever so slightly out of the routine of their daily lives. I think the pieces have shown that peoples reactions can be changed by the application of colour and shape into their environment, as with the positive reactions to the pieces in ADJUSTMENT and the interaction with the pieces in PLACEMENT.

Fromm, E. (1960) The fear of freedom. 17th edn. London: Routledge & Kegan Paul.5(Fromm, 1960)

10

Destruction

‘Destructiveness is the outcome of un-lived lives. ’5

The act of attempting to destroy these objects may reflect a deep set frustration in some members of the public, I must take into account that the day after I placed the concrete fragment, a woman fell from the multi-storey car park nearby and died. The act of smashing the work against the wall may well have been somebody involved with the incident, relieving their despair and frustration on the object that stands out most. Although this is not the only case of people feeling the need to break the works placed in public. The fridge in the polygon was tipped on its side, presumably by people who had been drinking, putting their brains into autopilot. The acts of lashing out in one way or another may reflect our pack mentality as a species. Things which stand out can be considered threats, and in the case of these pieces, useless to those who have little. For what use does a piece of public art have if you struggle to pay your bills every month? Stress causing the life to be un-lived, unfulfilled as time is filled with frustration and resentment. This is the opposite of curiosity, yet just as important in the development of our species mental state. We survived long enough to develop into modern humans by woking in groups with set rules and norms. Changes are threatening to a current way of life, introducing a factor of risk to the individuals psyche. Perhaps these pieces seemed to represent gentrification to some individuals whom do not want their city to become like so many others.

These pieces brought out many emotions in the actions of the public, from the playful curiosity in children to the destructive frustrated nature of those who feel oppressed. These are the some of the emotions of the city, brought forward into actions towards art works. Whether the individual realised they were contributing or not has no matter. I feel even the more negative responses had a positive outcome by the way of associating with something even ever so slightly out of the routine of their daily lives. I think the pieces have shown that peoples reactions can be changed by the application of colour and shape into their environment, as with the positive reactions to the pieces in ADJUSTMENT and the interaction with the pieces in PLACEMENT.

Fromm, E. (1960) The fear of freedom. 17th edn. London: Routledge & Kegan Paul.5(Fromm, 1960)

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BIBLIOGRAPHY

No.1

‘Each poet describes a similar experience; his reaction to a flower he sees while taking a walk. Tennyson’s verse is:

Flower in a crannied wall, I pluck you out of the crannies, I hold you here, root and all, in my hand, Little flower – but if I could understand What you are, root and all, and all in all, I should know what God and man is.

Translated into English, Basho’s haiku runs something like this:

When I look carefully I see the nazuna blooming By the hedge!

The difference is striking. Tennyson reacts to the flower by wanting to have it. He ‘plucks’ it ‘root and all’. And while he ends with an intellectual speculation about the flowers possible function for his attaining insight into the nature of God and man, the flower itself is killed, as a result of his interest in it.Basho’s reaction to the flower is entirely different. He does not want to pluck it; he does not even touch it, all he does is ‘look carefully’ to ‘see’ it.’6

Berger, J., BBC, the and al, et (1972) Ways of seeing (A pelican original). 35th edn. London, Eng.: British Broadcasting Corp. and Penguin Books.

Eastlake, C.L. and von Goethe, J.W. (1970) Theory of colours. London: Frank Cass.Gage, J.D. (2000) Colour and meaning: Art, science and symbolism. Berkeley: University of California Press.

Gregory, R.L. and Gregory (1997) Eye and brain: The psychology of seeing. 4th edn. United States: Princeton University Press.

Itten, J., Birren, F. and Van Hagen, E. (1970) The elements of color: A treatise on the color system of Johannes Itten, based on his book ‘the art of color’. New York: John Wiley & Sons.

Jung, C.G. (1981) The collected works of C.G. Jung: V. 9, Pt. 1: Archetypes and the collective unconscious. Edited by Gerhard Adler and R. F. C. Hull. 2nd edn. United States: Princeton University Press.

Laneri, R. (2009) Why we love--and need--public art. Available at: http://www.forbes.com/2009/05/05/state-of-the-city-opinions-george-rickey-public-art.html (Accessed: 13 May 2016).

Matzner, F., Vito, A., Buren, D., Graham, D. and Acconci, V. (2003) Public art: A reader. 2nd edn. Germany: Hatje Cantz Verlag.

McKee, A.J. (2016) ‘Broken windows theory | academic theory’, in Encyclopædia Britannica. Available at: http://www.britannica.com/topic/broken-windows-theory (Accessed: 16 May 2016).

Panofsky, E. and Wood, C.S. (1997) Perspective as symbolic form. New York: Zone Books.

Fromm, E. (1983) To have or to be? 5th edn. New York: Bantam Books (Mm).6

(Fromm, 1983)

11

BIBLIOGRAPHY

No.1

‘Each poet describes a similar experience; his reaction to a flower he sees while taking a walk. Tennyson’s verse is:

Flower in a crannied wall, I pluck you out of the crannies, I hold you here, root and all, in my hand, Little flower – but if I could understand What you are, root and all, and all in all, I should know what God and man is.

Translated into English, Basho’s haiku runs something like this:

When I look carefully I see the nazuna blooming By the hedge!

The difference is striking. Tennyson reacts to the flower by wanting to have it. He ‘plucks’ it ‘root and all’. And while he ends with an intellectual speculation about the flowers possible function for his attaining insight into the nature of God and man, the flower itself is killed, as a result of his interest in it.Basho’s reaction to the flower is entirely different. He does not want to pluck it; he does not even touch it, all he does is ‘look carefully’ to ‘see’ it.’6

Berger, J., BBC, the and al, et (1972) Ways of seeing (A pelican original). 35th edn. London, Eng.: British Broadcasting Corp. and Penguin Books.

Eastlake, C.L. and von Goethe, J.W. (1970) Theory of colours. London: Frank Cass.Gage, J.D. (2000) Colour and meaning: Art, science and symbolism. Berkeley: University of California Press.

Gregory, R.L. and Gregory (1997) Eye and brain: The psychology of seeing. 4th edn. United States: Princeton University Press.

Itten, J., Birren, F. and Van Hagen, E. (1970) The elements of color: A treatise on the color system of Johannes Itten, based on his book ‘the art of color’. New York: John Wiley & Sons.

Jung, C.G. (1981) The collected works of C.G. Jung: V. 9, Pt. 1: Archetypes and the collective unconscious. Edited by Gerhard Adler and R. F. C. Hull. 2nd edn. United States: Princeton University Press.

Laneri, R. (2009) Why we love--and need--public art. Available at: http://www.forbes.com/2009/05/05/state-of-the-city-opinions-george-rickey-public-art.html (Accessed: 13 May 2016).

Matzner, F., Vito, A., Buren, D., Graham, D. and Acconci, V. (2003) Public art: A reader. 2nd edn. Germany: Hatje Cantz Verlag.

McKee, A.J. (2016) ‘Broken windows theory | academic theory’, in Encyclopædia Britannica. Available at: http://www.britannica.com/topic/broken-windows-theory (Accessed: 16 May 2016).

Panofsky, E. and Wood, C.S. (1997) Perspective as symbolic form. New York: Zone Books.

Fromm, E. (1983) To have or to be? 5th edn. New York: Bantam Books (Mm).6

(Fromm, 1983)

12

Rookes, P., Wilson, J. and Willson, J. (2000) Perception: Theory, development and organisation. London: Routledge.

Wolfson, E. (2014) How color shapes our lives. Available at: http://www.theatlantic.com/health/archive/2014/01/how-color-shapes-our-lives/283376/ (Accessed: 12 May 2016).

Fromm, E. (1960) The fear of freedom. 17th edn. London: Routledge & Kegan Paul.

Fromm, E. (1983) To have or to be? 5th edn. New York: Bantam Books (Mm).

Loewenstein, G. (1994) ‘The psychology of curiosity: A review and reinterpretation’, Psychological Bulletin, 116(1), pp. 75–98. doi: 10.1037/0033-2909.116.1.75.

Wilhelm, R., Jung, C.G., Chinese, the and Wilhelm, S. (2001) The secret of the golden flower: A Chinese book of life.

Gage, J.D. (2000) Colour and meaning: Art, science and symbolism. Berkeley: University of California Press.