Plastic Constructions - CRIT

I have put the work below for the critical assessment. The points raised were:

• reference to the discipline of painting 
• the deliberate flimsiness and deskilling of art
• aesthetics of non-aesthetic materials
• pop culture allusions
• criticism of the "home improvement" fenomenon in media
• self containment of the pieces (an issue for me)

Plastic Constructions; steel frame, vinyl film, polythene sheets, lighting gels, correx, light; unfolded dimensions 110 x 145 cm; Nov 10

Plastic Constructions; steel flat, chrome tube, plastic tube, acrylic rod, vinyl film, polythene sheets, lighting gels, duct tape; overall dimensions 160 x 100 x 30 cm; Nov 10

I have also shown the trolley as a reference, the starting point for the constructed structures. It was perceived really well, although the fact that it 'just works' could be its weakness, the immediate attraction of the construction is incongrus.

Plastic Constructions; extended painting; wooden hand trolley, tissue paper, polythene sheets, water soluble muslin; overall dimensions 130 x 50 x 50 cm; Oct 10

The references that came up where Unmonumental as the practices featured  elevate the un-heroic materials and structures. Artist names mentioned amond others were Jim Lambie, Isa Genzken, Miquel Mont and David Batchelor.

Isa Genzken, Stelen, Kunstverein Braunschweig, 2000

The column for Isa Genzken is a recurring motif: its linear purity becomes a critical field on which she explores the relations between art, architecture, design, and social experience. Living and working in Germany and in New York, Genzken’s column structures of the 1990s draw on the vertiginous, reflective forms of Manhattan skyscrapers, adapted in 2000 into proposals for improvements to the architecture of Berlin.

David Batchelor.
Brick Lane Remix, 2003

This quote from David Batchelor is something that describes well my position:

My relationship with painting is ambivalent. I use the term in its strict sense, which is that I am, I guess, motivated by entraption, a simultaneous attraction to it, and repulsion from it. I used to paint and I haven’t painted for a good fifteen years, more than that actually. And yet at the same time, pretty much everything I do in the studio is certainly informed by painting. Even if my work is mainly three dimensional and some would call it sculpture, but I don’t think I would. Painting still informs it more than anything else. And so probably you could describe all my work as failed painting.