Following my tutor suggestion, I am honing my ideas about the PP. By now I am about to decide if I go for house hold items or appliances in simple, clear spaces and bright colours or I depict a more busy, detailed scene. I like both ideas. The work of William Scott has caught my eye for his use of space in pastel colours in simple combinations and the simplicity in items and scene description. At the same time I like the work of Michael Craig Martin for its bright colours but it might be too formal for me. John Bokor who I have researched for this project is also very inspiring as he really reminds me what is home, mess and how busy this environment can be. His work is very family oriented and warm. I am also think about how to present it. So far, in an artist book format is something I am considering…. Not there yet …but working towards it…
Richard Wright is an English artist and musician born in London. His intricate designs are in geometrical patterns painted in the the Renaissance technique of fresco and gold leaf. He is interested in painting large scales areas such as ceilings, corners or stairwells. His work has a short life spam as he believe it wouldn’t be absorbed by the art world, I guess he is referering to a comercialised way. I understand and admire his choice of making the art for “now”, it is not about the future. Richard Wright won Turner Prize in 2009. I think his work is very meaningul and romantic. It intrigues the viewers and give people his perception of art and time.
TATE – Grayson Perry at: https://www.tate.org.uk/art/artists/grayson-perry-4657
Grayson Perry is so humbly opened about who he is and I think that is one of the reasons people get so engaged in his talks and with his art. Bright colours and images, a variety of subjects and approaches, he deals with the matters of the world. His depiction is explicit , full of humour, provoking and seducing ways. On the article about his first artwork, I relate to him in the sense that sometimes in the middle of the night, ideas come to his head and he has to just doodle some of it on paper. In preparation for his work it will have some additions and changes but the foundation will be pretty much a resemblance of what he had first sketched. The same happens to me, although I think I am not confident or experienced enough to develop my initial ideas and sketches all the way to a final piece in a more aesthetic and professional way. It is motivating and inspiring to know that an artist do not need to stick with a subject all the time. Grayson Perry deals with his childhood matters, the subconscious ,politics, what is going on in the world , and put images and pieces together creating a narrative. I like how he depicts figures in the foreground a lot bigger than the background. I think he can play around with his feeling and moods in his art because his style is consistent and from tapestry to vases, mixing mediums, textures and materials, he has an unique style and that is what makes him so recognised in the artworld .Grayson made use of all his experiences from emotional pain and self-discovery into strong pieces of art, also adding light feelings and humorous touch. His is an audacious, simple and committed artist. His work really feels that is made for himself at first, and the consequence is that he is able to share them with his viewers. Many people can relate to his art. The difference is that most of us are not brave enough to completely open up about our deep and dark secrets; not realising we are all the same.
Gagosian Gallery – Paul Noble at: https://gagosian.com/artists/paul-noble/
Paul Noble is a British artist who lives and works in London. He has received international recognition for his monumental drawing project of Nobson Newtown. His meticulous drawings of an imaginary city, with accurate details of real urban escapes, depicts the imaginary versus melancolic scenes of an utopic city . Noble played and acted as architect, archeologist, cartographer, urban planner, engineer, activist and more. For this project, Noble was inspired by Chinese scrolls and Japanese sculptures. The Vimeo above gives an insightful tour into his drawing, helping to understand and have a closer look in each scene, showing fragments of it and his process in his studios. His work is amazingly detailed and only with a magnifying glass I could go through smaller figures in parts of the town, in the book Vitamin D – New Perspectives in Drawing.
Adams, Tim (2015) [The Guardian, interview with Stephen Walter] at: https://www.theguardian.com/artanddesign/2015/may/10/stephen-walter-artist-map-maker-london-interview
Stephen Walter is a British artist who lives in London and hand draw maps with pencils with extreme amount of accurate details. His work consists in dedication and time, from days, weeks or months. William Blake is one of the artists he is inspired by. His work is an amazing melting pot of history, traditions, etymology and landscape. Walter gravitates between urban and wilderness places. He sounds like a very old soul in a young body. The reason that now he only draws with pencil is because he found out he was producing toxic waste by using ink in the past. It made him changed his medium. Curiosity, enviromental awareness , passion and dedication are some of the aspects that makes him an inspiring artist. Beyond drawings, his maps is a work of research, investigation and explorationg of cities. As the title of the interview suggest, a lot of his work is about the human residues and traces left, and it takes time to settle in the geography. He traces all of them or at least he tries and creates a poetic, meticulous and engaging artwork.
Project 3: Chose a subject with a substancial number of detailed parts. Consider also whether the parts will be drawn from observation or invented. Remember that the original subject may not be primarity visual (in extended doodling for example); you may be using drawing to describe a narrative or even musical score, so that the imagery is secondary to the relationships between the elements.
Reflection: My first attempt was the pomegranate fruit. I drew by observing the real fruit plus a few photos of it. It required quite an amount of details and I did it with watercolour. The background is oil crayon. The second one was also a still life I set. It took me longer to achieve the details of the coffee beans as they were a lot darker than the pomegranate seeds. The third drawing was a bunch of buttons mostly done by imagination. I checked one or two photos on the internet but the planning , colour and amound I just kept doing. It is a layer in markers and as I progressed, I overlayered with cut outs from coloured paper. These drawing are all in A3 paper. I enjoyed doing all of them but the buttons was the one that took more time, effort and planning. I wanted to fill up the paper but left the edges a bit undone. I like bright colours, I like that the item is linked to my interest in domesticity. I think I can relate this project a little bit with the work of Stephen Walter. My passion for what I want to draw is growing, I go around my house, I hold, look for objects, observe everything around me and what is the purpose of it. I had a great feeling of satisfaction when I finished the buttons one. It is that feeling of: Yes, this one is done and I am proud of it. I think it exudes to the viewers, its energy catch their eyes. I have showed to a few friends and they really enjoyed looking at it, at the details, colours and overall the time taken to execute it. The work of Stephen Walter and this project gave me good ideas for my next project in Part 4.
Aim: Drawing moving figures or a changing scene can be extremely challenging. A large part of that challenge, however, is your own conception of the purpose. By taking a step back from trying to pin the action down to a static conclusion, and instead making a drawing which is a record of the movement and action itself, we can begin to reflect on how to balance movement and form to create a dynamic image.
Method: Find a fairly busy scene, with plenty of movement. Sit somewhere comfortable and out of the way and start making a drawing. As someting catches you eye, capture it as best you can. Keep responding to movements as they happen so you build up a drawing full of dynamic energy. Depending on how fast you can capture form , you may be able to build up a convincing representation of the scene. Don’t lose focus, make each mark as accurately as you can.
Reflection: I didn’t feel comfortable doing this project. I do not enjoy working outdoors, in busy places and it really hurt my eyes trying to draw things in movement. I tried to capture as best as I could as people passed by, their body overall shapes and movements. Most of the time I only managed half way through but after a while I became faster in just outline main features of each person that caught my eye. I like details and colours and it was very challenging just sketching quickly what I saw. Everything else in this project I worked by memory (that was the only part I enjoyed). I think pencil and graffiti were the best materials to execute this project. I used 2B and 4B pencils which gave me the flexibility in shades and quick darker and lighter lines to depict distance. I did many sketches of the people passing by, anywhere I could find space in my pages. Back home I figure I had enough to build up the whole scene by cutting and pasting people in the right sizes according to distance. I had to add some colours to give it a more energetic and happy energy to it. Since I do not enjoy working outdoors and I was not feeling very positive, I thought about making a few changes back in the comfort of my home, to present a colourful and nice work.
Hans Peter Feldmann on guggenheim at: https://www.guggenheim.org/artwork/artist/hans-peter-feldmann
Hans Peter Feldmann at Simon Lee gallery from 24 november 2016 to 24 January 2017 at: https://www.simonleegallery.com/artists/hans-peter-feldmann/
Hans Peter Feldmann, is a conceptual artist born in 1941 in Dusselforf, Germany. He began his career in the early 1960’s making a series of picture books assembling small staple- bound artist’s books that each contained images of certain types such as soccer players, unmade beds, or women’s knees.He is a collector and appropriator of found images and everyday ordinary short term use and popular images of objects. He represents and rework on the images bringing new contexts to them. Feldmann work has an aesthetic and conceptual simplicity. It is playful and executed in meticulous ways. His art work in exhibition remains untitled as he disagree that art should be purchased or owned but to be purely for the viewers personal experience . I think the art of Feldmann shows the variety of material we can use in art. He develops new concepts and images by working in everyday visuals that are part of our lives. Feldmann art is diversified and yet he keeps the sense of simplicity and in our present times it brings awareness for recycling, reusing the unwanted or forgoten and bring them back to viewers with a new meaning or just with a new light . Feldmann doesn’t draw or paint but the manipulation of his collectables has the same effect in transforming shapes, forms and colours communicating visually his thoughts and feelings about the subject.
Wolfgang Tillmans, the art and life of by Emily Witt, The New Yorker on 10th Sep 2018 at: https://www.newyorker.com/magazine/2018/09/10/the-life-and-art-of-wolfgang-tillmans
Wolfgang Tillmanns is a German photographer born in 1968. He studied in Germany and London and was the first non-British person to be awarded the Turner Prize in 2000. Tillmans is known by his diversified body of work . His photos varies from still life, skies, astrophotography and political interests specially in homossexuality and gender identity. He produces images for installations from small to very large. In 1998 Tillmans thought the world have been over photographed and became interested in the chemical foundation of photographic material as well as its haptic spatial possibilities . This new interest gave origin to his abstract work. In my opinion Tillmans work explores the unusual perception of photography. He reinvent objects, given them new meaning or no meaning at all but a sense of deep aesthetic within the space. Tillmans work has many phases and subjects according to his view in the world and the environment he is in. His knowledge and interests goes beyond photography but in people’s emotions and behaviour. I like the relationship he makes in some still life photos and its setting.It is not about the fruit place by the swimming pool but the colours contrast, space, details and energy in it. The beggining of his career is definetely very political, approaching sex and gender identity. His abstracts are very investigative in material,image and effects. Wolfgang Tillmans work gives many possibilities for thinking, understanding, enjoying and questioning the world we live in .
Eileen Hogan by MacKenzie Belisle on 24th May 2019 at : https://www.newhavenarts.org/arts-paper/articles/eileen-hogans-windows-on-reality
Eileen Hogan by Roderick Conway Morris on 6th June 2013 at: https://www.nytimes.com/2013/06/07/arts/british-artist-explores-poetry-of-light-in-enclosed-spaces.html
Eileen Hogan is a British born in London 1946. She is a painter and artist book. Eileen studied at Camberwell College of art when she was 16. The methodology there at the time was very strict . There was an emphasis to draw things very closely which although was restricting it brought some discipline in advantage on how she developed her work. Eileen tends to draw the same object over and over. It involves time and changes, the same ways are we are subject to these factors in our emotions. She started drawing enclosures when she was still studying in Camberwell. Her first interest was in Toothing Common. She feels more comfortable than drawing open landscapes. Eileen developed a deep interest in gardens. She gets inspired by a wall or flower beds for its geometry and the interaction with the place. Another remarkable feature in her paintings are rain and mist. She has the ability to bring that translucent and blurry sensation in a very accurate way. It is abstract but specific. Her painting capture emotion and a very intimate interaction rather it is about people or places. Her time in Greece helped her define what she paints and why. Her attention to geometric lines and light and shade. She is interested in writing and the lines comes to her with the principle that drawing and writing start in the same way: with a line, where everything is placed. Her light and shades brings out emotions and mood, the unconscious part of her paintings.
“The whole idea of presence and absence runs through all of my work. And when I am working on a series of pictures the memory of the place is as important as the place itself,” she said. “I find painting a way of expressing subtle and elusive emotions that I wouldn’t begin to know how to describe in words.” Eileen Hogan – New York times,2013
Very clarifying text taken from ” The book as a work of art” by Georgio Maffei and Maura Picciau. I think I finally understand what the artist’s book mean. The relationship between art and books. It is not a restrict definition but a phenomenon where art is presented in a book structure, works of art. It is reinveted by different artists. It can be poetic, illustrated, minimalistic, informative, conceptual, formated simply with images or words and images. It serve as a self analysis for the artists own work and a place of research.
Sol Lewitt at : https://www.theartstory.org/artist/lewitt-sol/
Sol Lewitt artist’s book by Corraini Edizioni at: https://www.corraini.com/en/catalogo/scheda_libro/378/sol-lewitt-artists-books
Sol Lewitt was an american conceptual artist and painter. He was a leading role for conceptual art but also became part of the minimalist movement. Lewitt central ideas are lines, geometrical simplified shapes and bold colours. He believed that the artist is the generator of ideas, these ideas no matter what form of execution, results in art. His work ranged from sculputures, paintings and drawings. I think his artist’s book was formatted in his own set of ideas using shapes, repetition, basic colours, triggering the viewers different persceptions, understanding and definitions , taking his concepts into a more personal account.
Project 2: Television through times
Aim: Artist’s book can be anything from a concertina fold to a professionally bound volume or an old textbook with sheets stuck in.
Review your research and create an artist’s book about someting which elapses over time.
Project 2 – Evolution of Bra
Reflection: I took me a long time to get my head around the “artist’s book” concept. Somehow I couldn’t register it. What is the difference between the artist’s book and the sketchbook? Couldn’t a sketchbook also present the artists ideas and represent time as well? Another difficult concept was something that “elapsed” over time…. In the end, I decided to go for it, following my instinct. Since I am doing for my PP the subject Domestic life, TV came into my mind as something that is so much part of people’s life and also has changed not only what it looks like as an object but also how it has affected how we think and our lives. I executed this project in a consertina book format. It is all in A3 size papers. The man was coloured in oil crayons. The brain was also coloured in oil crayon and I just took different size copies to paste in different models and TV sizes. The Television were printed from online photos. All the details took me quite sometime to achieve. Overall, I don’t know if it is the right way to do it but it is a book and it is about something that changed over time.
My Second attempt was a book about Bra. I don’t know why, I just followed my tutor’s suggestion of not thinking too much. Something just triggered a memory of paper dolls. Something that I played so much as a child. It was cheap, fun and great to play with a group of friends or alone. I used to do my own paper dolls or extra outfits for the ones I bought. They were usually in the Japanese style of Manga figures: big eyes, small lips, big head and a small body. I decided to draw a more proportional one and also a more realistic figure as if it is for adult women to remember those days…. The book is a catalogue I had from the pharmacy. I used the cover, removed the pages and made up a whole new book to attach to the inside, that can be removed as well as the cover paper doll , and it is ready to play! All the Bras fits the doll figure and it was very entertaining for me to both draw,plan and play with it in the end. Bra had a great significance during my transition from girl to teenager. Not a good experience, I was embarrassed to wear a bra, I didn’t enjoy my body changes and the types of Bra my mum brought me were horrid! I was completely different with my daughter. We went together, we chose nice cute models and I realize how things had changed and how nice would be if I have had that kind of experience…..
I am sketching, planning and I am still not sure what my tutor Diana Ali meant by ‘repetition’. I like the idea but is it really what I literally think is? I am sketching the same image over and over and when I decide what I like and then I will proceed to other images I have chosen for this project. I want to focus on main appliances I use in my domestic life daily : hairdryer, iron, vacuum, a mixer, kettle, laptop or a phone. I want my images to tell a little story about my home, a scene, a couple objects around, bold bright colours the movement of a chaotic and yet lovely home life. I like the lines that follow the object as if it is in movement. The repetition in tonal range might work as well but I need to ask my tutor opinion first.
Find a place of significance to you to create a site-specific artwork. Responding to features of the site, add a drawn element or select a found drawn element which you will extend to express something you find interesting about the site. Relate your art work to your research in your log and synthesise what you’ve learned about installation and environment art with your own interests.
Reflection on Assignment four:
This Part was a very new experience. I find it very uncomfortable to work outdoors or look for sites I find interesting due to the weather in Southeast Asia. Project 3 (Installation) was more interesting and prepared me for this Assignment which, in the end, I really enjoyed. I was a bit apprehensive when I started going outdoors looking for sites and thinking what I wanted to find. I wanted to use my own drawings, I had a few that I really like, to interact with a real site . Using photograph and photographing places for a piece of artwork was something I have never done before. I went around my neighbourhood area and took photos of a few interesting places to work with. There are a lot of concrete surrounding the area where I live, and I wanted to add something fun or very colourful to make a contrast between the real grey world and an imaginary happy world. My favourite site was the alcove featured in one of the pillars under a flyover . As soon as I looked at it, I saw that something could be seeing on the other side of it. A secret passage or an imaginary door that would lead somewhere completely opposite of the concrete jungle around me. It is a typical urban site that pass me the feeling of being a dodgy place when it gets dark, somewhere that not many people would just hang around. I know it would be a lot easier if I had or knew how to use a drawing software, or it might be the same as it took me patience and time to cut figures, re scale images to fit the photograph, play around, photograph the images I like again and again, looking for the right time of the day and light. This experience made me think that photography is a quite fascinating practice. I enjoyed creating an image interacting an urban site with my drawings. I was inspired by the work of street artist Kurt Wenner and Edgar Mueller . I wanted to create fantasy and fun for the viewers to experience. Something to break the dulness of the concrete and make the site bright and attractive to look at. My favourite combination was adding my ‘creatures’ that I drew a long time ago for a children’s book story. They are special to me, I like how they make me giggle. They look cute and naughty at the same time as if they are always up for something. I decided to put them in other sites of photographs I took for this assignment. It is like I am telling a story. The street drain really worked well with some of them hiding behind the bushes. The least successful part I think was the one of the street lamp that I tried to make look like a spaceship. Something didn’t quite fit like the other two images. Hand cutting just lacks that polished finishing that can be done digitally. Overall I enjoyed the process and I like the result. If I had to do anything differently I would like to learn and try to do it using any drawing software, to give it more accuracy and professional look. For instance, the shadows and layers should blend together in better ways. I think through this Assignment I gained a bit of knowledge in photography, how to see things with a different perception and how art can extend to places we live in a more ‘alive’ sort of ways. I would like to explore it more in my next pieces: the mix between photographed images and my own drawings.
Kurt Wenner by Kaushik Patwary (2013) amusingplanet.com at:https://www.amusingplanet.com/2013/01/kurt-wenner-artist-who-invented-3d.html(accessed on February 2020)
Kurt Wenner is known by the artist who invented the 3D Street Art painting. He started his career as a scientific illustrator for NASA but left in 1981, sold all his belongings and moved to Italy to study figurative drawing and art from the great artists from the Renaissance. In 1991 he was commissioned to create a work of art to honor the visit of Pope John Paul II to the city of Mantua.
In the 2000’s he first introduced 3D pavement art at the Santa Barbara Museum of Art. Shortly after he founded the first street painting festival in the United States. Wenner has inspired hundreds of artists around the globe to create their own versions of street art.
He studied Anamorphism that existed in the 17th century but he created his own geometry method that he affirms is very unique from other artists.
Researches suggested on report 3: Yinka Shonibare
Yinka Shonibare MBE- ‘I’m the rebel within’ (2016) [user-generated content online] creat. TATE on 14 January 2016 at : https://youtu.be/WroXoWaGfL8 (accessed on February 2020)
Yinka Shonibare is a Nigerian- British artist who works with painting, sculptures , photography , installation and recently has been working with film and performance. Born in 1962 his working medium key is the African motifs printed fabric in bright colours .Shonibare thinks artists at some point will ask themselves questions such as : What do I want to make? Where do I want to get? He describes his art as post-colonial hybrid.
Shonibare has always been a very versatile artist who changes all the time, always wanting to create something new. He produces conceptual art exploring politics, culture, history, philosophy and identity and the interrelationship between Africa and Europe. According to him these explorations broaden people’s awareness.
He states that in art school, you learn all sorts of techniques, methods and mediums . All these information can be very confusing and that is the reason he has adopt fusion in his style in art. Shonibare approaches art in a more poetic rather when didactic ways.
He founded a project in his studio in East London called “ Guest project”, which serves as a space for artists to experiment and fail. It involves around 150 artists. A platform for artistic to create their art becoming pro-active and taking ownership of where they want to take their art planning exhibitions, marketing and enterprising within themselves.
I find his art very ethic due to the use of colourful African patterns. It is beautiful and dark ,with headless figures or globes replacing heads and a certain stillness in his installation but he also creates performance where movements describes his ideas. He definetely doesn’t limit himself to form and shape. Shonibare art is also very sophisticated using the colourful fabrics in colonial European outfits as a contrast of races, racism and history. Yinka Shonibare is not only an artist who creates and executes art in various ways but also a collaborator in the art community with a project that makes art an endless cycle in life.
Michael Readecker by Karen Wright (2106) on Independent.co.uk at: https://www.independent.co.uk/arts-entertainment/art/features/michael-raedecker-artist-youre-in-the-studio-every-day-and-you-want-to-keep-things-lively-and-a6895566.html (accessed in February 2020)
Micheal Readecher is a Dutch artist who works in London. Initially trained in fashion designer, he combines the traditional craft of needlework with the successful history of painting. Readecker work has many aspects of domesticity in working with fabrics, sticking and embroidery. He is a very experimental artist, using craft material and blending it with his interesting combinations of colours and imagery. I think Readecker reaches the right balance in his tonal range in his monochromatic paintings. The lighting, softness and smooth look blended with stitched details, forms simple and intriguing compositions with a touch of texture of fabric, thread or embroidery.
Michael Craig Martin – ‘Oak tree’ (1972) TATE in 2002 at: https://www.tate.org.uk/art/artworks/craig-martin-an-oak-tree-l02262
Michael Craig Martin , Gagosian at: https://gagosian.com/artists/michael-craig-martin/
John Michael Craig Martin is an Irish -born (in 1941) conceptual, contemporary artist and painter. Martin grew up and studied in the United States but lives and works in London since 1966. In the late 1970′ he started line drawing of ordinary objects. His central idea in his art is the relationship and tension between objects, representation and language. In 1990′ he made a decisive shift in using bold outlines, vibrant colours in flat, clear representation. Through exacting draftsmanship, he uses composition to explore spatial relationships by juxtaposing and layering color. Martin is interested in ordinary objects and the purpose of them. He intended to abstain from style using tape to draw objects without having his own drawing style, doing it by hand and yet, it became his style. He brings out in every ordinary object the beauty and the function of it in using vibrant colours . These colours make them stand out almost as they are alive characters, but not in a cartoony way because it is elegantly traced with its real features .They as represented exactly as they are. Michael Craig Martin gives us a different perception of everyday ordinary objects most people possess, in a energetic and impacting way. His very intriguing work might be ‘Oak tree’. A glass of water placed on the shelf which in the proof of that impossibility, it also deals with language, meaning and what we created and give name in our minds. The preconception we have about material things. It questions our belief in things around us.
Elizabeth Peyton on Wikipedia at : https://en.wikipedia.org/wiki/Elizabeth_Peyton
Elizabeth Peyton on theartstory.org at :https://www.theartstory.org/artist/peyton-elizabeth/
Elizabeth Peyton : Faces contains their time (2015) [user-generated content online] Creat. Lousiana Channel on 09 November 2015 at: https://youtu.be/3Hwl1l_j2vE (accessed on 16th Feb 2020)
Elizabeth Peyton is an American artist born in 1965 . She is known by her small scale portraits of friends, celebrities and historical figures. Her painting has a transparency and her strokes varies from watery to deep, visible shapes and shades.She works from photography, printing or live models.
“Peyton’s portraits, distinct in their female gaze, explore contemporary concepts of identity, sexuality, and beauty using similar techniques and styles that have become de rigueur in modern fashion illustration. Men and women become elongated and androgynous, blushed with feminine hues, evolving and reviving the Romanticism of 18th and 19th century British portraiture. ” (theartstory.org)
The Paragraph above describe in specific words my first impressions of Peyton’s portraits. An androgynous and very feminine feel is one of the uniqueness in her style.
I think the differential in Peyton’s portraits is not the fact that she only portrays the subject but she puts how she feels about the subject and the time it is happening. It is not static faces,but it feels as a scene from a movie or situation we see when observing people. They are emotional and gives a sense of place and energy in the ways she uses her brush strokes, colours, lighting, angles and background. The time represented in her paintings shows our fascination for beauty in the old days to modern, social media oriented life style. The intriguing behaviour of creating intimacy with people we only know from afar.
Feedback on Report for Assignment 4
I was so glad to hear that my Assignment 4 was successful! This part had it’s big ups and downs. Working with outdoors environment was really hard and I don’t think I did or do well. I tried my best and I still tend to take the projects explained on the module to literally. It is a difficult situation and part of long distance learning. I rely mostly on my own understanding of what I read. I am also glad that my researches went well. Diana gave me a good reminder of relating my work to the artists I have been learning about. I must keep it in mind in the next coming projects. Overall, I am really taking into consideration comments such as : take ownership of the projects, turn it around to resonate to me more. I need to lose the fear of doing something wrong! When I put all my heart in my artwork, when I draw what really gives me joy, the result tends to be a successful one. Assignment 4 proved it. Next part I will do more work per project, dig into what really inspires me, relate my work to the artists I have been searching and start defining what I want and how to present my PP.
Now that I feel I am getting somewhere with my PP, I am sketching subjects about my domestic life in a simple way, using bold colours, trying a repetition technique and I want to explore some mark making.
I don’t know yet how to balance these aspects. I am almost sure about the subject, I know the colours I want but repetition and mark making is still unsure.
I like lines, messy, overlapping, scribbled. Would it suit the composition? I like the colours flat and bright. I want the subject to be simple and clear but If I want to depict chaos, shouldn’t I draw very busy scenes???
Method: Make a drawing that realtes to its environment in a way that creates and interesting dynamic between the artwork and the space around it. Think about ways that drawings could take part in a kind of dialogue with the space they inhabit. Text might be one way, or drawn object in partnership with its real world equivalent. A drawing of flowers might be positioned behind a vase. A drawing might be used to ‘join up’ the view between two windows.
Reflection on Pierrete Bloch and Edward Krasinski
Pierrete Bloch was a Swiss French artist born in 1928 and considered one of the most renowed artist of Post-war Abstraction. She used materials such as ink, charcoal, pencil, mesh and horse hair. The description of her using ‘poor material’ could be the fact that her work is unpretentious, transmiting only the pure essence of her artistic endeveaours achieving rhythm, fluidity and simplicity. The term ‘poor’ suits her work as in modest. The choice of black and white and repetition, continuity of lines and forms depicting space and time were explored in various unique ways with materials such as horse hair,creating linear drawing or sculptures. The use of mesh on canvas gave texture and weight to one of her art pieces. Her choice of materials lend to her subject the lines and natural shape.Bloch just let the material evolved with little or no intervention in the process. Her action seems to let the material act itself and she just respond to how it appeared by applying less or more pressure when using ink, charcoal or pencil to repeat forms, shapes or lines that surged as in a dialogue like a dance or music. Her gestural creativity and free expression resulted in powerful but soft pieces, almost as if it is writing art . As an admirer of Cy Tombly’s work, Pierrete Bloch’s work brings me the similar feeling of spontaneity, simplicity, innocence and affirmation in her work.
Edward Krasinski (2001) ‘Untitled ‘ – TATE ( acessed in January 2020) at: https://www.tate.org.uk/art/artworks/krasinski-untitled-t12558
Edward Krasinski was a Polish artist born in 1925. He was also another post-war conceptual artist. Krasinski started his career as an Illustrator and after marrying an art critic he decided to dedicate himself fully to art. He started sculpultures, simple, minimalistic ones. In August 1969 he started his installations with the ‘blue tape’ and it became his trademark. He attached it on everything on his way from furnitures to places and paintings. He never had a clear explanation of the meaning for the blue tape, he let it explained itself since it became part of his installations. I think It could be related to ‘time line’, ‘continuity’ to blue veins? The viewers can decide it.
Maman sculpture at wikipedia accessed on January 2020 at: https://en.wikipedia.org/wiki/Maman_(sculpture)
Louise Bourgeois, French -American artist born in 1911.Borgeois is known for her many sculptures, one of the biggest called Maman, measuring 30ft high and 33ft wide. Her family worked with tapestry hence the symbology of a spider representing her mother as well as meaning nurturing and protective. Borgeois always explored a variety of themes such as : domesticity and the family, sexuality and the body, death and the unconscious . The momument Maman started in 1947 as a series of ink and charcoal drawings and became a sculputure in 1996. Like most of Borgeois sculputures, they all started as sketches/drawings before becaming a 3D shaped pieces.
Contextual focus point : Emily Kame Kngwarreye
Emily Kame Kngwarreye (2014) women’s archive project at: http://www.womenaustralia.info/leaders/biogs/WLE0669b.htm ( accessed on January 2020)
Emily Kame was an indigenous Australia painter born in 1910 in the community of Utopia in the Northern Territory. She only became famous by the time she was 80 years old. During her very short carrer as an artist, she changed her style many times. From small to bigger dots, lines,patterns and sizes. Her work is organic and cultural. It is part of her identity in her community. The use of the root ‘Yam” as theme in many of her paintings shows her connection to her people and how meaningful Yam was to them. Emily painted with her heart and soul, her work is intriguing, colourful and at the same time very harmonic. The use of black background in most of her work creates a sense of dimension almost in 3D perspective. The repetition of lines and dots are continuous as in life source of time, a time that keeps going, no ends, no drama or extreme changes in mark making. It is consistent and drags the viewer attention to wonder over it again and again. There is a fine line between her work being drawing or paintings. In my opinion they are more of paintings because of the tools she use to do it and the non planned, on the go approach, similar to Jackson Pollock, with emotional flow and letting the material works its own ways.
Reflection: The importance of place and belonging for you in your own work.
Opposite than Emily Kame, I never had consistency or cultural strength in life. I have always wanted to draw and paint as a child and was constantly pulled away from it with the affirmation that Art and being an artist could only be a hobby. I stopped drawing during my 20′ and 30′, trying to be interested in something else that would help me have a career and make money. I was brought up in a beautiful country – Brasil , with a lively and warm culture but at home I was hightly influenced by the Japanese culture. Sense of belonging is not something easy for me to define. I feel torn between the two cultures. Most of my adult life was far from my home country and now as an adult, trying to become an artist I still struggle finding my voice in Art. I have wanted to be a children’s book illustrator for so many years and it didn’t happen. I made some money being commissioned for portraits but I never had any passion for doing it. Since I start this course I have learned so much and there are so many things, styles and techniques I like but it is still not defined in my own work. Through the PP I am trying to come out with something more consistent and using my strenghts to achieve it. I definitely like bright, bold colours. I like simple but I enjoy messy and lose mark making as well. Drawing my surroundings and everyday subjects/objects I interact with is what most interest me at the moment. I think place is more important to me than belonging at the moment.
Aim: Drawing in a favourite or inspiring place can be very rewarding, but a great deal of translation goes on – in terms of scale, for example, as well as the information from other senses than the visual which is harder to convey. Creating a site-specific artwork enables the artist to manipulate the participant’s experience of the actual environment, rather than presenting a simulacrum in two dimensions for the spectator to reconstitute imaginatively, or a remnant left over from the artist’s own experience.
Method: Take a walk in a place you know well and make five different small drawn interactions in the environment using only what you find around you and your own body and without damaging any plants or animals in the process. Try to do things which will affect the way a visitor to the space would perceive it, either by directing their gaze or by changing the qualities of the place. Look at the work of Andy Goldsworthy and reflect on how he uses his own body and movements and the way he emphasises his own involvement in balance with the natural material he uses. If you prefer, you can translate this project into an urban setting, but be careful not to commit any acts of vandalism. Arm yourself with a decent camera so that you can record your work.
Reflection: Interacting with the environment
I live in a very urban environment and I do not know how I could interact with it. I don’t like it. I feel mostly comfortable and at peace confined in my home space. My outdoors space is noisy, busy and very suffocating, but I have no choice. There is nowhere I could move things around and I could not think of anything or anywhere I could make drawings. It was very frustrating. In the end I found the playground in my apartament building complex and although there is not much nature around, I managed to work with what I found. The feeling of manipulate natural objects is very good. Working with the organic, colours and shapes, using only my hands to arrange them is being part of the finished product. I wish I could have access to the woods or a bigger space with more nature around me to explore. I have experienced natural sites in the UK, Japan and Brasil. Malaysia has plenty of it but I live in the middle of the capital city of Kuala Lumpur, in an very urban area . I don’t drive and I can’t afford to go anywhere at the moment. The beach is another place that I think I could manage to do a lot. I hope I can get somewhere by the end of this module so I can add something more interesting to this project. Making art in nature can be rewarding and frustrating. Maybe depending on the space and viewers the work can be appreciated before ‘nature’ takes it away, but in the city, people don’t seem to take the time to look of what is not man made as much, they don’t appreciate or look after their environment . The flower I made in the playground was quite big scale and took me nearly an hour. The problem working outdoors here is because it is very hot and humid with mosquitoes pestering you all the time. I like my finished product and after taking the photos I sat in a bench thinking about what else around me I could use to create a new drawing. Two kids came straight after and although the comment of one of them was nice : Look! it is a flower made with different coloured leaves! They soon decided to just step and kick it, with the parent nearby who could at least motivate them to appreciate it a bit more or maybe even having a go doing something…. but he was too busy on the phone.Sad times of the urban modern days.
Andy Goldsworthy, artnet.com at: http://www.artnet.com/artists/andy-goldsworthy/ ( accessed on February 2020)
We share a connection with Stone ( 2011) – TATE shots [user generated content online] creat. Tate on 01 december 2011 at: https://youtu.be/9DjCMqtJr0Q (accessed in February 2020)
Andy Goldsworthy is a British sculptor , photographer and environmentalist who works with natural material in natural and urban settings. He arrange and rearrange things such as flowers, twigs, stones, wood and mud in almost a poetic way. His concept is mostly about nature, us as part of it and the inevitable death and decay as part of the life cycle. His art has a minimalist aesthetic aspect in simple motifs includying circles, snaking lines, spirals and holes. The passage of time and eventual dissolution is central to Goldsworthy work. He rejects the idea of art as a commodity to be exhibited and sold. He is interested in the social history of the land on which he is working and that includes its human population. he feels it is important to acknowledge the site’s history and the various connection with the people from that land. I think Andy Goldsworthy work is a very organic and draw attention to environmental preservation and protection. He shows the need of making and release his own art as almost a religious believe in creating and let nature take care of it. Goldsworthy’s ideas and projects play a very important role of art bringing awareness about our endangered enviroment these days and raise a new generation of spectators and artists to work towards valueing and preserve natural sites for the generations to come. Being a participant in the process of making art like he does is the essence of his work.