On the Unfinished and Failure in Art

Abstract

My work consists of wooden structures in the shape of rectangular prisms with varying heights. The structures are wrapped with wool but because of the heavy handedness of the pull, the structures have twisted through time and now result in distorted, warped structures. Some works in the series are more transparent as they are intentionally left unfinished, revealing the process through its imperfections. The structures continue to twist and warp through time, creating an infinite work that dance in the space, giving the work a human quality. Although the first work failed as the aim was only to create a straight edged rectangular prism, the outcome was more of a success as it created a more intriguing work that formed relationships. There is a fascination in the unfinished and failed works of artists, which is something I explore. I look at the types of unfinished works, those that are literally unfinished and those that appear unfinished. Both types of unfinished works reveal the process and create a picture of the artist in the studio working. There is a fascination in the unfinished as the viewer is able to add to the work through imagination, or in some works physically. Therefore, the process becomes of more importance than its progress. There is a questioning of whether an artwork is truly a failure. Some artists intentionally invite failure into their work as there is a chance success can emerge from it. I believe that a work is truly a failure when it does not meet the artist’s expectations. When a work is intentionally made to fail it gives an impression of failure. Deconstructivist architecture is warped and looks as if it may break at any moment, also giving an impression of failure. Whether intentional or not, it is the failed works that are more intriguing rather than the plain geometric abstract structures. Failure and the unfinished no longer carry negative connotations, but are now embraced.