I researched some of the artists suggested, and, as I was doing so, wondered what they had in common that would define them as process artists and how it could help my practice.
I first looked at the definition of process art. Two elements seem to be important:
- The process of making the artwork is visible in the final outcome: The term process art refers to where the process [] is not hidden but remains a prominent aspect of the completed work (https://www.tate.org.uk/art/art-terms/p/process-art#:~:text=The%20term%20process%20art%20refers,the%20making%20of%20the%20)
- The artist focusses on the process rather than the outcome.
If the focus is on the process, it means that the outcome is not yet defined, and in some cases it can even change. For instance, one of Robert Morris’s creation consists in pieces of felt of irregular sizes arranged on the floor. Every time his artwork was installed for a new exhibition, the pieces were rearranged in a different way, therefore producing a different outcome (https://www.theartstory.org/artist/morris-robert/).
When Eva Hesse’s artwork Repetition Nineteen III was exhibited, she would not give strict instructions as to how the pieces should be placed, leaving some of it to chance: As the artist gave little instruction on placement, each time the work was installed in a new location it took on a new layout (https://medium.com/@madisonelizabethrush/eva-hesse-and-the-physical-touch-9b45526867d2).
As I was doing some research on the subject, I noticed the work of James Hugonin. One of his creations consists in a series of paintings composed of coloured squares that follow a grid. To decide on the colour, he set up some rules and parameters that left some of the outcome to chance (https://www.inglebygallery.com/artists/42-james-hugonin/overview/).
Exploration and experimentation are an important aspect of process art. Eva Hesse worked with all sorts of different media. She first started with drawing but then worked with unusual media including fiberglass, latex and plastic (https://en.wikipedia.org/wiki/Eva_Hesse). Bruce Nauman has also experimented with many media from neon to photography or drawing on paper (https://www.artsy.net/artist/bruce-nauman).
Experimentation often comes with repetition and it can be apparent in the artwork itself. Eva Hesse’s Repetition Nineteen III consists in 19 shapes that are similar without being identical.
Bruce Nauman’s artwork called One Hundred Live and Die is based on an element of repetition with 100 phrases composed of three words. Each phrase ends with “and live” or “and die”.
Agnes Martin’s abstract paintings consist of grids and horizontal and vertical stripes where the key is the balance between reiteration and subtle differences (https://www.theguardian.com/artanddesign/2015/may/22/agnes-martin-the-artist-mystic-who-disappeared-into-the-desert).
Process art has a particular relationship with time in a sense that it can sometimes be ephemeral. As mentioned before, a piece of art can be different for every exhibition depending on how it has been arranged. Experimenting with unusual materials can also mean the artwork does not last. Eva Hesse was asked about her artwork as some of the materials change with time and can deteriorate. She replied: Life doesn’t last; art doesn’t last (https://en.wikipedia.org/wiki/Eva_Hesse).
Researching process art and the work created by these artists has given me the opportunity to reflect further on the process versus the outcome. Focussing too much on the outcome can mean missing a chance to explore new techniques and media and worrying too much about whether every line is right or wrong. Experimenting and taking risks can mean discovering new avenues. It is important to keep a balance between the process and the outcome. Answering a brief can mean that the outcome cannot be left entirely to chance but it is essential to leave some space to focus on the process in one’s practice.
Catherine Roux Degree in Illustration 