Originating in a discussion of Marcel Duchamp’s “ready-mades,” and taking inspiration from Alberto Burri and the Arte Povera movement in Italy, students foraged for found materials to provide a palette of possibilities for original designs.
The main problem inherent in working with “junk” is achieving a unity that somehow transcends the humble origin of its means. In other words, how do you make something that doesn’t look like a bunch of trash stuck to a background? Avoiding the “scrapbook effect” is paramount. The most successful solutions are those that manage to activate the ground, drawing it into the overall design so that it participates in the whole, even to the point of asserting a prominence that vies with the more obvious figural elements. In many cases the solution presents itself by adjusting the proportion of the ground, cutting it down to find the right balance with the materials, which is really just a way of enlarging the elements within the design. In other cases, designs cluttered with too many bits and pieces are improved by simplifying, allowing a few extraordinary forms, colors, or textures to breath and resonate.
Working with found material is a brilliant way to explore an alternative modality in design. Beginning artists often conceive of the process of designing as starting with an idea and working in stages to realize it. What many students come to appreciate is that the process of design can be as much a matter of finding a certain rightness, a logic, as it were, inherent in the materials and in their various relationships as we play with possibilities. It’s a bit like starting a fire with wet wood, trying to ignite a spark that continues to build. When it works, the results can be an epiphany. The often striking impact of the best pieces borders on the miraculous, not less so because of the sheer improbability of finding beauty in what most people regard as trash.