Preface
This long essay is an exploration, in parts, of some of the most prevalent interests in my studio practice. The layout serves to structure my understanding of Minimalisms chronological progression as a series of possible modes of conveyance; learned, inherited and imitated.
Throughout this essay I write about the work of Martin Creed (1968), more so than any other individual artist. This is a reflection of my current focus in contemporary art with Creed’s practice being the most significant to me. Only one or two key works will represent many of the artists discussed in the essay. I believe that the intentionally limited scope of a Minimalist practice allows each piece to communicate a large portion of the artists’ oeuvre. I have attempted in every case to select work that best describes the individual artists expression whilst addressing the larger context of my argument.
Throughout this essay I write about the work of Martin Creed (1968), more so than any other individual artist. This is a reflection of my current focus in contemporary art with Creed’s practice being the most significant to me. Only one or two key works will represent many of the artists discussed in the essay. I believe that the intentionally limited scope of a Minimalist practice allows each piece to communicate a large portion of the artists’ oeuvre. I have attempted in every case to select work that best describes the individual artists expression whilst addressing the larger context of my argument.