Posts Tagged ‘systems thinking’
The process for completing each individual painting in this assemblage is identical. The canvas is divided in half diagonally in each direction, horizontally and vertically and and then the operations are repeated in each quadrant thus created. The colours are applied in alternate bands vertically, horizontally and diagonally.
The process is the same for each canvas which then becomes a quadrant within the whole, but performance varies (both over time and from person to person). The differences are performance related whereas the sameness is a result of the process. Both are functions of the system.
Two paintings I want to see again are Natalie Dower‘s Fast Track Through 44 Points and Metan by Chris Baker. Both paintings seem to position themselves in a continuing relation to Modernism, as opposed to a break with it, and I guess this may be true of all of the paintings on show here. Maybe this is to state the obvious, it’s abstract art after all. But Modernism breaks down into a number of traditions even when we are within the general term ‘abstraction’.
Chris Baker seems to draw from many of those traditions, and I am not always entirely sure that they are ‘abstract’ as figurative elements sometimes find their way in, though not so with Metan. Is the title Old English? Others of his titles are similar. Could it be that the paintings reference an outmoded language, one that has lost its original meaning and can be plundered now for new ones?
It “draws from” quite literally, the lines seem excavated from a less than unified ground, or alternatively it is created by filling in the negative spaces allowing the linear structure to emerge. It is double in that it presents a strong figure/ground contrast, the light lattice like structure being figure against the dark ‘background’ that is actually ‘foreground’. It is also double in terms of the divided space, the structure bisecting the canvas down and across the middle (more or less) as well as in numerous other ways. The structure looks arrived at through trial and error, like a form trying to get out of the otherwise monochrome surface, and in getting out it bends the space, so that the bottom half recedes, giving the appearance of horizontality, whereas the top half extends upwards giving a vertical appearance. The bottom half of the structure could be the shadow of the top half if the lines corresponded, which they don’t so that interpretation is discarded, but then it reasserts itself, only to be discarded, it’s a cycle, a system, in a way.
I situate Natalie Dower’s paintings within the tradition of Constructivism and more specifically Systems art. One of the many things I appreciate about that approach is the unpredictable and un-work-out-able results that can be generated by logical means, or a pre-determined path. The great systems thinker Gregory Bateson’s question: “What pattern connects the crab to the oyster and the orchid to the primrose and all the four of them to me, and me to you?” seems to resonate with Dower’s aesthetic investigations, based as they are on the abstract pattern that connects all things. Mel Gooding recently said of her: “Like her ‘Systems’ comrades, Dower has worked in the knowledge that all nature – from the spiralling mechanics of the galaxies to the growth of a snail’s shell and the branching of a plum-tree – is governed by mathematical rules”. So when I look at the wonderful Fast track Through 44 points, I know that it is ordered by mathematical rules, I just don’t quite know what they are.
I approach it a bit like I might a puzzle, attempting to work out what is going on, except that I don’t care much for puzzles whereas I do care a lot for this painting and paintings of this kind. Possibly the title helps to solve it, though it could be a diversion. I am sure that the organisation of the line and points through which it passes as it journeys about the surface is not random, but I am unable to determine the rules for it. As I study the construction I feel sure that the ordering principle is staring me in the face but I just can’t see it. I realise that this may be saying a lot more about me and my slowness to catch on, than about the painting! Again the ‘figures’ (the bars and lines) look like they are the consequence of filling in the spaces with black, so that it is difficult to decide which are the positive and which the negative shape, though I think we would agree that we read the black as space and the lighter tones as structure, until we don’t. The support is shaped, therefore some of the bars are ‘real’ rather than drawn. I like the difference between the constructed edges and the drawn edges, and that the image extends beyond the confines of the square, confounding its identity as image and asserting its constructed-ness.
These are wonderful things to view, and I am looking forward to making another visit soon.
The other artists in this exhibition are: Dominic Beattie / Isha Bøhling / Ian Bottle / Katrina Blannin/ Alice Browne / Simon Callery / Keith Coventry / Tom Hackney / Jumpei Kinoshita / Hannah Knox / John McLean/ Sarah McNulty / Neil Mendock / Mali Morris/ Jost Münster / Selma Parlour / Geoffrey Rigden / Dan Roach / Danny Rolph / David Ryan / Estelle Thompson / Julian Wakelin.
In my day-job, it is my last day of full time employment at a company where I have worked for over 30 years (in its various incarnations). The end of an era, or was it an eon?
As well as having the pleasure of working with some wonderful people, it was also a great place for learning from the work. I learned how to work on the system, rather than just working in it.
It is a sad fact that employees all over the globe spend their time and ingenuity getting around the system, or “playing the system”, mostly because employers don’t give them the opportunity to get involved in improving it.
According to W.Edwards Deming “it is the job of management to work on the system, to improve it, with the help of those who work in it”.
“One of the most intriguing things about models is that once a valid correspondence has been set up between the subject and its image, the model may reveal aspects of the subject not obvious to direct consideration…A diagram may be used as an empirical tool for discovering new properties in some conceptual structure”.
Far from mechanically repeating a pre-existent concept or structure, constructivism can be in a real sense a technique of discovery – a source of new knowledge through aesthetic response to the material object.
Here’s something I am working on at the moment. Mybe it is just too simple, a system of tessellations, merely a pattern not really a painting at all (?)
Yet I am so fascinated by it that I feel I could make hundreds of them and still have more to do.
Anyway, is it just me or is it almost impossible not to see, in this next one, four (eccentric) figures?
Four individuals, doing their own thing, (they probably don’t realise that their behaviour is entirely a consequence of the system in which they operate).
Is there really room for creativity in the workplace? I don’t mean art in the workplace…
…though I think that would make an interesting study.
I mean creative thinking. Whilst that term probably needs some definition I am going to leave that difficult task for another time and assume we share a general understanding of it.
In large companies especially, creativity is needed (W.Edwards Deming said “it is necessary to innovate”) and often it is verbally encouraged. But then, at the same time, any behaviour that might approach the creative also tends to be stifled.
One way of stifling something is to claim to be managing it. I note that Talent Management is a euphemism for the squandering of talent and Performance Management guarantees that the performance of any organisation will be sub-optimised.
It is almost as if the more that an idea gets talked about the less it is likely to be experienced. For example, we hear so much about “communities” (the HR community, the Learning & Development community, the artistic community, the gay community, the local community, etc) precisely at a time when our experience of community is virtually non-existent. It must be a virtual community!
Recently, a friend was telling me how in their workplace the job purpose of the Quality Manager seemed to be to prevent quality.
“The whole is more than the sum of its parts”, from Gestalt theory, is perhaps better represented as “the whole is different than the sum of its parts”.
The whole is experienced differently than can be accounted for simply by understanding the component parts.
Combining previously existing wholes, they become parts of a new whole. New properties emerge.