Notes on Rule-Sets

This post is the equivalent of an information point you find at places like train stations and airports. The reason I have written this blog post is because I have noticed I am repeatedly having to explain what a 'Rule-Set' is in my other blog posts at the moment (2023). So, to help reduce my need to do that, I will just link to this post if and when I need to explain what a Rule-Set is in future blog posts.

With the above in mind, I would like to point out this post is a collection of key points, with each point expanded upon slightly. So, you might find it yourself feeling like you are jumping around suddenly from one point to the next. If all has gone well, though, you should be able to get a basic understanding of what a Rule-Set is and how it fits into my Artistic Practice relatively quickly -- so you can get back to what you were originally reading. This post is about building your intuition, not offering a thorough explanation.

What Is a Rule-Set?

A Rule-Set is a collection of rules/constraints I must abide by when making an artwork. A typical example of what a Rule-Set looks like is as follows:

1. An artwork must comprise of two sheets of paper.
2. Each piece can only be folded a maximum of two times.
3. Both pieces of paper must be different colours to each other.
4. At least one piece of paper must be A4 in size.

I usually build a Rule-Set out of about three or four rules, before I begin working on a new piece. I don't spend much time thinking about the individual rules. I tended to just write down the first three or four things that come into my head when I sit down at my desk. With that said, I'm normally aware of the materials I have to hand whilst I generate the rules -- almost every time. And, I would be remiss if I did not say these materials exerted their influence on my decisions regarding the rule making process.

Why Do I Use Rule-Sets?

Rule-Sets are a part of a process I devised, whilst at University (2006 - 2009), to help me create artworks. They help me create artworks by forcing me to think creatively to overcome a limitation/problem. I must stress, though, this is not a new idea or unique to me. It is an idea which falls under the idea of Creative Limitation and my favourite example of this is a book called A Void by Georges Perec.

'A Void' is an English translation (by Gilbert Adair) of the French novel called 'La Disparition', written by Perec in 1969. There are other translated versions of 'La Disparition' with different constraints but the English version's constraint was/is it could not use the letter 'e' -- following Oulipo constraints.

I Do Not Use Rule-Sets as Much as I Did in the Past

Whilst at University, my use of Rule-Sets became the defining factor of my Artistic Practice. Over time, I come to realise the viewer needed priming with prior knowledge. Without priming the viewer, my work would leave them confused or bored because all they saw was the 'immediate visual'. The notion or appearance of a Rule-Set was lost on the viewer. It was a tool and not the main attraction but I expected the viewer to know about it somehow. Because of that, I have reduced my reliance on them. If I do use them, though, I shy away from making them front-and-centre. I tend to discover them these days -- usually whilst working on a group of works which form a series. When I stumble across them, I then to stick with them just to see where the work goes. With that said, I am happy to stop using the Rule-Set if nothing interesting comes from it.

Rule-Sets Are Influenced by Lawrence Weiner’s 'Declaration of Intent'

I was partial to conceptual art at University. Because of this, Lawrence Weiner was a big influence on how I thought about art. The work with the biggest influence was Lawrence Weiner's 'Declaration of Intent' (1968). I came across this declaration before I began concocting Rule-Sets and, if I am honest, it took me a while to make the connection between the two. Weiner's declaration is as follows,

1. The Artist may construct the artwork.
2. The work may be fabricated.
3. The work need not be built.

Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

When you compare that to my Rule-Set example above, hopefully, you can see the similarities. With that said, Weiner's declaration was not at the forefront of my mind when I started making Rule-Sets. So, I do not know how much of a coincidence the similarities between my Rule-Sets and Weiner's declaration are. Having said that, Weiner's declaration has influenced my notion of Rule-Sets in a clear and obvious manner. And, the connection is something I do not want to shy away from.

Aside: I've written a blog post about Lawrence Weiner in my Noteworthy Artists and Artworks series. This post expands on the 'immediate visual' and my reluctance to view or portray Rule-Sets as the focal point for my artworks.

Rule-Sets Are, Also, Influenced by Sol LeWitt

I like Sol LeWitt's work as a matter of course. With that said, his Wall Drawings are probably the most obvious examples of his works influencing me and my Rule-Sets. Each one of his wall drawings has a specific set of instructions which one of his technicians would/will adhere to when creating said drawings. For the sake of brevity, I will focus on one wall drawing to show how they have informed my notion of Rule-Sets. That drawing is Wall Drawing #164, (1973) (Fig. 1).

Aside: I've written a blog post about Sol Lewitt and 'Wall Drawing #164' in my Noteworthy Artists and Artworks series. This post includes more information on the aesthetic influences and connections between LeWitt's and my work.

I would like to be very clear here and say how LeWitt's artwork looks is not immediately relevant, in the context of this post. The most important part is the instructions he left for people to carry out (on his behalf). In the case of 'Wall Drawing #164' (Fig. 1), the instructions are as follows,

A black outlined square with a red horizontal line centered on the axis between the midpoint of the left side and the midpoint of the right side and a red diagonal line centered on the axis between the lower left and upper right corners.

This 'instruction set' is more directional than Weiner's declaration above but lends itself to creating more repeatable results.

My Rule-Set Example, Weiner's Declaration and LeWitt's Instructions

I would say my Rule-Sets sits somewhere in-between Weiner's declaration LeWitts instructions. And, to help illustrate the point above, I have placed the three examples next to each other -- making it easier to compare and contrast them.

My Rule-Set Example:

1. An artwork must comprise of two sheets of paper.
2. Each piece can only be folded a maximum of two times.
3. Both pieces of paper must be different colours to each other.
4. At least one piece of paper must be A4 in size.

Lawrence Weiner's 'Declaration of Intent':

1. The Artist may construct the artwork.
2. The work may be fabricated.
3. The work need not be built.

Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

Sol LeWitt's Instructions for 'Wall Drawing #164':

A black outlined square with a red horizontal line centered on the axis between the midpoint of the left side and the midpoint of the right side and a red diagonal line centered on the axis between the lower left and upper right corners.

As you can see, Weiner's declaration is more abstract and generalised than LeWitt's instructions. Weiner's use of the words 'The work', 'may' and 'need not' are open-ended. They do not specify anything specific like LeWitt's use of 'centered on the axis' or 'midpoint of the left side'. My Rule-Set example, on the other hand, incorporates aspects from both Weiner and LeWitt. You can see this with the inclusion of 'maximum', 'At least one', 'two sheets', 'paper' and 'A4'. Or, 'maximum' and 'At least one' mimics the open-ended nature of Weiner's declaration and 'two sheets', 'paper' and 'A4' mirror the quantitative, more concrete, nature of LeWitt's instructions.

Hopefully, that's cleared-up what 'Rule-Sets' are and you can get back to what you were originally reading.