Plastics technician

A plastics technician (or artist plastics technician ) is a Artiste, Auteur, or Créateur having for artistic medium of expression, the techniques or the varied material supports, called “plastic”. This term appeared at the 20th century, dependant on the practice of the Visual arts, includes all the artists of the Contemporary art (in opposition to old the Art schools).

Introduction: the most static traditions with the revolutions

Except exceptions, of which certain contemporary and voluntary, it is about work S or Ouvrage S which leaves material traces.

The artists often use several means.

When they use various associations of these means in same the work, this one is known as mixed.

If they use several disciplines, even out of the fields strict of the visual arts, the artist is known as multi-field.

The average plastics already used all over the world and in the history are extremely numerous, even more from their possible combinations. The choice of the means being, at least virtually, with the Discretion of the artist, according to his type of social integration and its critical capacities.

There it is a question of understanding that creation and tradition, are combined, run up, and sometimes are unaware of themselves, all that in a vast world movement, more or less chaotic, without there being matter with moraliser.

Specify thus nevertheless that vis-a-vis the experimental practices, on which we will return lower, there exist practices with successes, particularly because reproducible, it results from the Technique S which are often at the base of practices known as Classique S, even artisanal.

In order not to drown the reader, before going further in the problems, let us name some of the average plastic materials most known.

techniques and average materials used (list, to enrich) :

basic means of assembly, dismantling, wear forced… bonds; various binders, thinners, solvent, acids, tools simple.

antiquated means: the Impressed (Human body, animal, plant, mineral, object… ; the Scraping idem; the Pricking Point, Striker; the Deposit all possible materials; various modes of assembly: Compression, Bond, Joining; etc…

old means and techniques: the natural pigment; scuplture and modelling; the ferronage.

means and techniques known as " classiques" are named: the Drawing, the Painting, the Sculpture, the Modelling, the Engraving.

modern means: the Photography, the Cinema; the Joining of images, the Objet trouv3e, various means of impression and media.

average contemporaries being: the Installation S; the Body-art; different the type of space: natural, agricultural, urban, architectural; the concept; new media visual; data processing; the Video, holography etc…

Some precautions of use

Nevertheless, without whole that is exclusive, as average plastics should well be indicated, but in order not to delude the reader on what the average plastics are, it should be stressed that there is a difficulty which belongs to alive art (like with science), that of a description/definition of its means which does not close the possibilities, which does not lock up in a dogmatism.

The visual arts make party of human creation, even of poetry, therefore of the design which is sought and often the unexpected one.

Except philosophical choices particularistic, religious, political, like science, the visual arts, in their globality, are incompatible with the dogmas, but not with principles founders for some practical.

Science is given like principle of, unceasingly, day after day, universally, to call into question the formulations of its assets to reformulate them with just in the light of its last discoveries, in short the concept of progress of its knowledge. Science wants to be conscious.

The visual arts, are initially built starting from the human matter, which does not result here by the concept of progress but rather in accumulation of experiments subjective and material, with free choice today to pick there, recreate, or to create very short. It acts here of creation, of evolution, sometimes of revolution, but without never it being absolutely necessary that the art of the past falls quasi-totalement, except for the historians, in the oubliettes of the registers of the human errors, registers swarming with so many beliefs and pseudo-rational knowledge.

In art the motivations of the indivisus or groups precede, the conscience is not here an obligatory engine, nor always necessary, and even sometimes quite to the contrary, to leave the place with the automatisms, the " erreurs" diverted and with pure the human Genius. The sometimes violent play between the cultural impregnation and the desire of personal expression makes here are work. Any license in art!

The average material plastics them-even accumulate and are all reusable, except those whose industrial technicality is completely obsolete i.e. nonreproducible because the company complexes which had allowed the techniques of its manufacture does not exist more. The confusion of the styles being a different problem.

Language?

The Création in visual arts often causes at its internal or external observers the birth of Néologisme S or the use of terms resulting from other fields - thus more or less diverted and in a more or less happy way - to try to describe with more close the plastic phenomena ( the chart is not the territory ).

The question is so sharp besides, in the mediums of the visual arts that even the " terms; Expression " and " Language " are with force questioned by some, even can be refused in act by others.

To categorize the means?

The characteristic of many artists plastics technicians of today is to test, leave the beaten paths and often to do everything to take the verbal categories at fault.

Considering the immense variety of the plastic practices, it is very difficult to categorize in general these means so much those can pass from one category to the other, according to the creative freedom of each artist, his capacity to be juggled with its materials.

Even and perhaps even more in the " méta-catégories" - body, Gesture, Marker, Support, space, Media, Public - that is even stronger.

In addition practices blaming the concepts of " pérennité" d'" œuvre" and d'" artiste" chamboulé the traditional landscape of the comprehension of the artistic fact. Moreover emergence of the practices known as conceptual largely disturbed many certainty.

This is why it is impossible to classify in a dogmatic way all the alive creative artists. What at least does not prevent from having grids of analysis like tools to interpret but not to solidify. (The question of classifying some in the " category; Contemporary art " , being seem-you it a Free-centered phénomème.)

Random links: