Focus from investigation – Inquiry phase 1

My inspiration to explore the human condition stems from a recent journey to the high country of Northern Victoria. The high country is an ancient, rugged and picturesque place that has endured many life cycles. Then in the first few weeks of January this year everything was lost. Fires ravaged the high country, reducing vibrant colour into a lifeless husk. This transition from life to death was immediate and created an overwhelming

sense of loss within me in terms of the human condition. However, in the wake of all this devastation, new life returned through the cycle of rebirth. Using the research methodology discussed in Liam Hearne’s facilitated workshops, I am looking to explore the concepts of lifespan that define the evolving emotions within my human condition.

In challenging associations of the stark contrasts between life and death, my investigative body of work will explore a view that represents the movement between the two and the idea that they may be closer together that they are perceived. In building upon ‘Conductor,’ ‘Guardian’ will look to liberate and enclose the human form in a capsule of textural form that prepares the occupant for the life beyond death and the death after life. By challenging the socio-norm, the work will be a tactile and tangible expression of reflections into mortality.

UNIT 3 Art as Knowledge

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Self-directed Focus

To explore the ephemeral connections between death and rebirth in relation to the

human condition

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Self-directed Inquiry Question

How artists use form to reflect on death and rebirth in

relation to the human condition?

Guardian (2020) 190cm x 60cm x 20cm Wearable Suit 7 variations of hand fossicked seed pods, birch twigs, dried plant matter, jacket, hessian sack, wire, zip ties, moss, polymesh, Duct Tape, Mud Face paint 2 X 29cm X 42cm print and 1x 74cm X 46cm print on matte photographic paper on 120cm X 150cm Black Masonite Board

Matthew SchoutropSt Joseph's College, Gregory TerraceVisual Art Internal Assessment 2: Project – inquiry phase 2

Matthew Schoutrop

Artist Statement

Guardian is the keeper of the bridge that connects soul to body.

Guardian is a wearable pod that works to juxtapose the end points of life and death by placing symbols of each side by side. Life wrapped in the husk of death.

The live tissue of my own human condition is protected by dormant life; seed pods waiting to flourish and live again. The shroud of Guardian allows me to recognise enlightenment; clear vision, understanding and acceptance of a perpetual lifecycle that begins with death and end with life. Inside Guardian I am a sentinel; I stand on the bridge; at peace with my mortality in this time of transmigration. I seek to extend my hand towards those looking on to share this personal metamorphosis between the physiological and spiritual journey that we all face in our lifecycles.

Ashes and dust that release life and spirit – all in my hands as Guardian.

Guardian (2020) 190 x 60 x 20 cm Wearable Suit 7 variations of hand fossicked seed pods, birch twigs, dried plant matter, jacket, hessian sack, wire, zip ties, moss, polymesh, Duct Tape, Mud Face paint 2 X 29cm X 42cm print and 1 X 74cm X 46cm print on matte photographic paper on 120cm X 150cm Black Masonite Board

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RESOLVED BODY OF WORK Installation view

Guardian (2020)

190 x 60 x 20 cm Wearable Suit

7 variations of hand fossicked seed pods,

birch twigs, dried plant matter, jacket, hessian

sack, wire, zip ties, moss, polymesh, Duct Tape, Mud Face paint

2 X 29cm X 42cm print and 1x 74cm X 46cm

print on matte photographic paper on 120cm X 150cm Black

Masonite Board

RESOLVED BODY OF WORK Installation Image

Guardian (2020) 190 x 60 x 20 cm Wearable Suit 7 variations of hand fossicked seed pods, birch twigs, dried plant matter, jacket, hessian sack, wire, zip ties, moss, polymesh, Duct Tape, Mud Face paint

2 X 29cm X 42cm print and 1x 74cm X 46cm print on matte photographic paper on 120cm X 150cm Black Masonite Board

Guardian (2020) 190 x 60 x 20 cm Wearable Suit 7 variations of hand fossicked seed pods, birch twigs, dried plant matter, jacket, hessian sack, wire, zip ties, moss, polymesh, Duct Tape, Mud Face paint

2 X 29cm X 42cm print and 1x 74cm X 46cm print on matte photographic paper on 120cm X 150cm Black Masonite Board

RESOLVED BODY OF WORK Installation Image

RESOLVED BODY OF WORK Installation Image

Guardian (2020) 190 x 60 x 20 cm Wearable Suit 7 variations of hand fossicked seed pods, birch twigs, dried plant matter, jacket, hessian sack, wire, zip ties, moss, polymesh, Duct Tape, Mud Face paint

2 X 29cm X 42cm print and 1x 74cm X 46cm print on matte photographic paper on 120cm X 150cm Black Masonite Board

ANNOTATED DETAILS OF THE RESOLVED ARTWORKS Developing

Researching Research influencing my central focus:

Ana Mendieta’s ‘Silueta Series’ (1973-1980) investigates the extension and reduction of form and its spiritual and physical connections to nature.

Nick Cave’s ‘Soundsuits’(1992-2012) works to insulate and shield the wearer from the outside world with a layerof accumulated materials and meanings.

Robert Klippel undertakes the manipulation and organisation of found objects to create authentic sculptures that

resonates with the history and morality of the audience.

Reflecting The textural and lineal repetition of the seed

pods worked to enhance the verticality ofGuardian.

Standing very tall and with the majority of mybody concealed; I was instilled with confidence,understanding and acceptance of the moralitythat lay around me.

With my face revealed I could see the reactionsfrom others but was protected by the suit fromtheir pessimism and negativity; positive in theideal that to attain enlightenment you need to diebefore you have the opportunity to live.

Guardian (2020)(Details)190 x 60 x 20 cm Wearable Suit 7 variations of hand fossicked seed pods, birch twigs, dried plant matter, jacket, hessian sack, wire, zip ties, moss, polymesh, Duct Tape, Mud Face paint 2 X 29cm X 42cm print and 1x 74cm X 46cm print on matte photographic paper on 120cm X 150cm Black Masonite Board

Personal context – Seeing the lush and wonderful beauty of the Victorian High Countryravaged by fire was an emotional loss when all life was lost instantly.

When new life came from the black pasture’s regeneration was enacted by naturesnatural life cycle prompting my use of dormant seed pods and organic plant matter.

My focus is communicated through a suit that envelopes my human form indormant materials; thus, places the symbols of life and death side by side.

SUPPORTING EVIDENCE Preliminary Studies

Unless otherwise indicated content is © Matthew Schoutrop 2021. Available under the Creative Commons Attribution 4.0 licence (CC BY

4.0) Published by Queensland Curriculum and Assessment Authority (QCAA) 2021.

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