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This event is part of the national being human festival of the humanities, which is taking 
place in around 50 towns and cities across the UK between 15th and 24th of November. 
Being Human is the only national festival dedicated entirely to celebrating research across 
the humanities – from art history, archaeology, languages, philosophy and more. This year 
the festival explores the theme of origins and endings. Being human aims to make the 
humanities accessible and fun for all, and is run by the school of advanced study, university 
of London in partnership with the arts and humanities research council and the British 
academy. You can see the full programme online at the being human website. 
1
Art with upcycling: origins and endings. 
2
Upcycling is creation or modification of an artefact, object or product from used or waste 
materials, components and products which is of equal or higher quality or value than the 
compositional elements or original materials. It is an umbrella concept incorporating 
creative repair, reuse, repurpose, refurbishment, upgrade and much more. It is an 
alternative to mass production and consumption based on virgin materials in the current 
linear economy of take make use and dispose. In principle, upcycling extends the lifetimes 
of materials, components and products therefore reducing waste, increasing material 
efficiency and reducing industrial energy consumption, contributing ultimately to the 
reduction in green house gas emissions and other environmental impacts. 
3
Art with upcycling or upcycling‐based art refers to any art practices utilising upcycling as a 
main approach to creating art pieces. It is also called as recycled art, junk art, trash art, 
fount art or readymade art. With the increased importance of environmental sustainability, 
several artists have been committed to upcycling discarded materials or found objects for 
creation. Historically, however, art with upcycling had less to do with environmental 
sustainability. 
4
The first artist who utilised upcycling is known to be Marcel Duchamp. His specialty was the 
ready‐made art. He chose a mass‐produced product and isolated it from its usual context 
and presented it as a work of art. Fountain is one of Duchamp’s most famous works 
exhibited in 1917. It’s a porcelain urinal signed R. Mutt. Duchamp used such found objects 
as art in order to describe revolutionary forms of art or anti‐art which rejects prior 
definitions of art and question art in general. Anti‐art is associated with the Dada 
movement, an art movement of the European avant‐garde in the early 20th century. Dada 
movement had primary, socio‐political motivation against war and capitalism. 
5
Marcel Janco was the co‐inventor of Dadaism in Eastern Europe. Janco’s masks in 1918 
were created from scraps of cardboard, paint, glue and sack‐cloth, all crumpled and torn, 
with ragged edges and patchy paint to give raw and rough finish. These purposeful crude 
looks aimed to evoke disfigurement and predominance of gas masks in war. 
6
Kurt Schwitters, another Dadaist, was also part of pioneers of art with upcycling. His unique 
contribution to modern art was a mixed‐media sculpture made from paper, cardboard and 
other rubbish titled ‘Merzbau’. It was the transformation of six rooms of the family house 
which took place gradually between 1923 and 1933. This is one of the most important art 
works in modern art and it has been the inspiration for many installation artists. 
7
During the early 20th century, a wide variety of approaches were offered in addition to 
Dadaism. They included Cubism, Expressionism, Futurism, Purism and Surrealism. Pablo 
Picasso, co‐founder of the Cubist movement, was another precursor of upcycling art. His 
work, bull’s head, in 1942 is a found object artwork created from seat and handlebars of a 
bicycle. The creation was rather accidental as Picasso found an old bicycle seat next to a 
rusty set of handlebars in a pile of objects. He mentioned that the idea of the bull’s head 
came to him before he had a chance to think. The seat and handlebars joined together in 
his head. And this is regarded as Picasso’s most famous discovery by some art historians. 
8
Despite the efforts of these pioneers, upcycling‐based art did not become a movement 
until the 1950s. 
9
In 1950s, artists like Robert Rauschenberg started to promote a combined form of painting 
and sculpture. Rauschenberg is regarded as a neo Dadaist and predecessor of the pop 
artists for his incorporation of the stuff of everyday life into his work. In the work, bed, in 
1955 he merged elements of post‐war abstract painting with found objects. Another work, 
first landing jump, in 1961 was made from a rusted license plate, an enamel light reflector, 
a tire impaled by a street barrier, a man’s shirt, a blue lightbulb in a can, and a black 
tarpaulin as well as paint and canvas. Rauschenberg questioned the distinction between art 
objects and everyday objects, working in the gap between art and life. 
10
Other sculptors also began to explore the use of urban detritus and other unusual
materials. Jean Tinguely was one of them and has been best known for his sculptural 
machines or kinetic art in the Dada tradition. His work, Metamatic no. 17 was createdin
1959 from a number of differently‐shaped found objects, primarily black metal wires, 
wheels, belts, cogs and crank‐shafts. When mechanized, the elements rotate in different 
directions and at varying speeds. Tinguely’s art satirized the mindless overproduction of 
material goods in advanced industrial society.  
11
Upcycling‐based art matured during the 1960s. A famous exponent was Armand Fernandez 
who was influenced by Marcel Duchamp, Kurt Schwitters and the earlier Dada anti‐art 
movement, and is known for his extraordinary assemblages of debris and waste items. At 
the beginning of his career, he started on his series of see‐through plastic cases containing 
rubbish. For example, home sweet home created in 1960 is assemblage of gas masks. Many 
of Arman’s early sculptures point to the strangeness inherent in the idea of identical, mass 
produced objects. Gathering these identical objects together, he distracts us from their 
functional purpose and presents them as endlessly repeated forms. Arman’s persistent use 
of trash was a deliberate nod to the waste that mass production generates at the end of 
products’ useful lifetimes. In this respect, Arman’s work might be read as an important 
early response to environmental issues. 
12
From the mid‐1970s onwards, Arman devoted seven years to a monumental sculpture 
made from 60 cars, entitled long term parking. In late 1990s, he also created functional 
products based on upcycling such as table base utilising waste musical instruments. 
13
Another noted exponent between 1960s and 90s was César Baldaccini whose creations 
were mostly constructed out of old car parts. 
14
Similarly, John Chamberlain is best known for creating sculptures from old automobiles. He 
did not comment on the waste but he chose materials that were cheap, abundant and easy 
to work with. He also enjoyed the process of finding and accumulating them. 
15
Another example is Richard Stankiewicz who is known for his welded scrap‐metal 
sculptures. He has been noted for his witty middle aged couple created in 1954. 
16
The sculptor and film‐maker Bruce Conner, noted for his spooky constructions, made from 
broken dolls and old stockings. 
17
Joseph Beuys utilised a range of objects and other contemporary junk materials. 
18
Edward Kienholz used discarded objects that appeared grimy and damaged to evoke the 
society’s sexual prudery, political corruption, moral hypocrisy and oppression of 
marginalised groups. 
19
Niki de Saint‐Phalle was one of the few women artists in general and especially amongst 
those who worked on upcycling‐based art. Everything Saint‐Phalle did was in the name of 
rebellion and deconstruction of societal conventions. She was part of Nouveau Realisme
movement in the spirit of the earlier Dada movement bent towards deconstruction and 
anarchistic work. For example, Portrait of my lover created in 1961 consisted in an 
assemblage of a shirt stolen from an insistent lover she was trying to get rid of and a target 
in the place of this head that visitors were supposed to shoot at. 
20
During the 1990s, the art group known as the Young British Artists made extensive and 
controversial use of found objects and other waste materials. Damien Hirst became famous 
for a series of artworks in which dead animals were preserved. He used shock almost as a 
formal element. For example His 1990 work a thousand years consisted of a large vitrine 
containing a rotting cow’s head, flies, maggots, sugar water and a bug zapper. Generation 
upon generation of flies live, eat, reproduce and die within this enclosed environment. This 
work addressed the concept of life and death as a cycle. 
21
Tracey Emin rejected the stereotype of the polite modest Englishwomen, and publicly aired 
her dirty laundry through her artwork and public appearances. She has played the bad girl 
that the public has critically embraced. Such societal response has been part of her 
artwork. My bed exhibited in 1998 consisted of her own unmade bed with sweat‐stained 
sheets and other highly personal items such as stained underwear. 
22
Cornelia Parker experimented with what she called “avoided objects”. These include 
objects that have been squashed, burnt or exploded; objects only partially formed; objects 
that are avoided socially or psychologically; and non‐objects like cracks, creases and 
shadows. Cold Dark Matter: An exploded view created in 1991 is the restored contents of a 
garden shed exploded by the British Army. 
23
In the 20th century, a number of artists utilised upcycling with varied motivations. Upcycling 
for few artists was a means to rejecting prior definitions of art, questioning the distinction 
between art objects and everyday objects, deconstructing societal conventions, or 
provoking visitors to think about political corruption, moral hypocrisy or oppression of 
marginalised groups. Upcycling was also a way of conveying shock. It was used to criticise 
overproduction and consumption. Some creations based on upcycling were rather 
accidental. Several artists used waste or found objects simply because they were cheap, 
abundant and easy to work with. Some utilised upcycling as they enjoyed the process of 
finding and accumulating used or waste materials. 
24
In present time, numerous artists in the world utilise upcycling for various reasons. 
Michelle Stitzlein’s art work is turning recycled materials and found objects into new 
decorative art pieces. 
25
David Mach’s artistic style is based on flowing assemblages of mass‐produced objects. 
26
Jason Mecier creates one of a kind outrageous mosaic portraits. 
27
Mark Langan creates art pieces from cardboard boxes and other reclaimed materials. 
28
Subodh Gupta experiments and creates with a variety of media incorporating everyday 
objects that are ubiquitous throughout India. 
29
Ha Schult travels with his trash people made out of crushed cans, computer parts, bottles 
and more around the world to draw attention to the environmental issues. 
30
Tyree Guyton, through his art, has drawn attention to the plight of Detroit’s forgotten 
neighbourhoods and spurred discussion and action. 
31
Yongho Ji makes sculptures out of recycled tyres. 
32
We also have local artists utilising upcycling in East midlands. Sarah Turner creates art 
pieces and functional products from waste bottles and cans. 
33
Michelle Reader makes bespoke recycled and sustainable sculptures from recycled 
materials. 
34
We don’t know how this contemporary art with upcycling could develop or end. Hopefully 
there won’t be the end of upcycling‐based art and there will be more artists with diverse 
backgrounds in every country and region to utilise used and waste materials, creating 
meaningful artworks and inspiring the world.  
35
This one day co‐creation event is coordinated and funded by De Montfort University. The 
contents of this video were created and narrated by the VC2020 lecturer, Kyungeun Sung, 
in the school of design, faculty of arts, design and humanities at De Montfort University. 
Most contents came from Encyclopedia of Art Education, Tate, The art story modern art 
insight, museum of modern art, and sartle rogue art history. 
36

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