I resurrect things that have been killed off... My work is all about the potential of materials - even when it looks like they've lost all possibilities

Research about Narrative. Part 2.

I am trying to do a research of the different medias. So next artist is usually doing the sculptures and the installations. As for me, the installations is probably the most difficult media because you have in fact no propa  simbols. You need to do the one the framing and putting the staff in the right way as a methos of expressing yourself.
  In the future, i will try to do the installations anyway but the thing is that you need to use space much as an object of the project. I mean the place there you put your outcome influence on it powerfully and it is one of the mains aspect which will influence on the result.
A successful example of the installation are works of the British sculptor and installation artist Cornelia Parker. 
  From the Wikipedia: "Parker is best known for large-scale installations such as Cold Dark Matter: An Exploded View (1991), for which she had a garden shed blown up by the British Army and suspended the fragments as if suspending the explosion process in time. In the centre was a light which cast the shadows of the wood dramatically on the walls of the room.

In contrast, in 1997 at the Turner Prize exhibition, Parker exhibited Mass (Colder Darker Matter) (1997), arranging the charred remains of a church that had been struck by lightning in Texas into a visual form looking like a suspended cube. Eight years later, Parker made a companion piece "Anti-Mass" (2005), using charcoal from a black congregation church in Kentucky, which had been destroyed by arson. "With the garden shed, I was the person who killed off the object, whereas the church was killed off by fire and the piece is resurrected in the gallery—like a cartoon character."

Parker's compelling transformations of familiar, everyday objects investigate the nature of matter, test physical properties and play on private and public meaning and value. Using materials that have a history loaded with association, a feather from Sigmund Freud's pillow for example, Parker has employed numerous methods of exploration- suspending, exploding, crushing, stretching objects and even language through her titles.

The Maybe (1995) at the Serpentine Gallery, was a performance piece conceived by Tilda Swinton, who lay, apparently asleep, inside a vitrine. She asked parker to collaborate with her on the installation in London (the piece was later re-performed in Rome without Parker's involvement.) She was surrounded by other glass cases containing relics that belonged to famous historical figures, such as Mrs. Simpson's ice skates, Charles Dickens' quill pen and Queen Victoria's stocking. 

She has made other interventions involving historical artworks. For example, she wrapped Rodin's The Kiss sculpture in Tate Britain with a mile of string (2003)  as her contribution to the 2003 Tate Triennial Days Like These at Tate Britain . The intervention was titled The Distance (A Kiss With String Attached). Subconscious of a Monument (2005) is composed of fragments of dry soil, which are suspended on wires from the gallery ceiling. These lumps are the now-desiccated clay which was removed from beneath the Leaning Tower of Pisa in order to prevent its collapse.

Avoided Object is the title of an ongoing series of smaller works which have been developed in liaison with various institutions, including the Royal Armouries and Madame Tussauds. These “avoided” objects have often had their identities transformed by being burned, shot, squashed, stretched, drawn, exploded, cut, or simply dropped off cliffs. Cartoon deaths have long held a fascination for Parker: ‘Tom being run over by a steamroller or Jerry riddled with bullet holes. Sometimes the objects demise has been orchestrated, or it may have occurred accidentally or by natural causes. They might be “preempted” objects that have not yet achieved a fully formed identity, having been plucked prematurely from the production line like Embryo Firearms 1995. They may not even be classified as objects: things like cracks, creases, shadows, dust or dirt The Negative of Whispers 1997: Earplugs made with fluff gathered in the Whispering Gallery, St Paul's Cathedral). Or they might be those territories you want to avoid psychologically, such as the backs, underbellies or tarnished surfaces of things. "

She squashed a whole brass band of instruments with a 250-tonne press and suspend the dimly lit results in mid-air. To my mind the powerful and interesting thing in this project is how the result after pressing was put in the air. It's look like it is floating in the air. 

In my opinion, the idea of using the real forest to make the pic is amazing, this gun is 9 metres height, just imagine it inside the building. I have already read all the articles and interviews with Ms Parker and here i want to put an interesting in my opinion ideas about this particular project.  "Parker's monster gun is playful and disturbing, and poses many questions: what is this blot on the landscape, who does it belong to, what life has it seen? She doesn't provide the answers. She creates stories without plots. A huge gun in an empty landscape: it could be Cormac McCarthy's most pared-down novel." 

 This mess to the first sight looks like rubbish but if you spend a bit more bite plus you will move inside the room you will see the right geometry of this installation. Such projects are a bit tricky but of the public is smart the project seems to be successful.

 What i like a lot in this artwork is the normality of the pressing the objects. You look on them and think that they look much more better in 2d than in 3d way. In this article i looked through 4 projects made by Parker and i can say that the way, the style she squashing the objects is completely her style.