Despite my setback today I still managed to re-prep my screen and get a couple of prints done in blue, however not as many as I wanted to get done. I like the effect of the layering of the different colours, but still feel like my prints are missing something. I am going to continue printing and layering next week, and see how my work develops.
I came in to continue my screen printing today. I wanted to layer some of my orange prints up with the same shapes but in blue. However when I came in to begin printing, I found that someone had started to strip my screen even though I had only had it out for a week when you are allowed three. This was really frustrating and has meant that I’ve had to completely repeat the process and expose my images onto my screen today. I doubt I will be able to carry on screen printing today as I have a time limit in which I can print. I am trying my best to get my screen fully prepped so I will be able to begin screen printing early next week before the end of term.
The whole seminar revolved around the concept that sometimes we make work but don’t know why we’ve made it, usually meaning that it doesn’t fit in with any of our other work. The seminar looked at some of the work of the Fine Art tutors, with an exhibition of some of this work in the foyer, an exhibition of their art that hadn’t been displayed before.
David Batchelor became interested in colour in 1993. ‘Talisman’ is a sculpture made by Batchelor that embraces colour. Batchelor struggled to get the sculpture right so in frustration painted one side pink. This lead to the sculpture now asking the question, why not colour?
The idea of a stumble is something we normally think of as a failed action, something that embarrasses us. Freud’s theory suggests that a stumble, such as a slip of the tongue, represents a bit of repressed desire, that we don’t consciously intend to say. This can be applied across to Fine Art. Although a stumble in art may not be the same as a stumble in everyday life, as it can be extremely beneficial to an artist’s practice, it could also showcase a hidden desire to make a certain type of art. In Jeff Wall’s ‘The Stumbling Block’, a photograph shows a woman tripping over a man lying on the pavement from the “Office of the stumbling Block – Works Dept”. The woman’s face however shows no shock, as if maybe she tripped over the stumbling block deliberately. Maybe Wall is trying to suggest that we should embrace our stumbles to see what they contain. As artists we have the freedom to explore our mistakes and are more attune with our failures. As artists, we may need to make mistakes and make bad art in order to make good art. This theory reminds me of what we discussed in the Failure Key Concept Lecture.
Robert Pepperell – The Right Kind of Wrongness
I found Robert Pepperell’s talk on ‘The Right Kind of Wrongness’ the most interesting as it related the most to my own practice. Pepperell always struggled understanding his role and what he is doing as an artist, which I really relate to. I feel myself that I have no specific direction in which I’m going in or my own type of style. Pepperell talked about looking at paintings by Matisse, Braque, Newman and wondering why their paintings were so highly acclaimed as technically, they were bad paintings. This leads to the question, what’s the difference between a good work of art and bad work of art? The very reason you think a work of art is terrible, is why it may be so successful.
Pepperell’s contribution to the exhibition was titled ‘The Orange Problem’. There’s no orange in the environment or the nerve system. Like all colours, orange is not actually there. The world is devoid of colour, the colour we see is generated by wavelengths processed in our eyes. Orange didn’t exist until 1600, back then they describes orange as redness or yellowness. It was only when oranges, the fruit, were introduced that it was accepted as a colour in itself.
Pepperell described how that if you stare at a colour for a long enough time, it begins to turn grey as our visual receptors get tired. This is a completely new concept to me and I’m definitely going to test this theory out. Pepperell also talked about colour deception within his own practice. He found that when he put a lighter orange on top of a more vibrant orange, it looked a light green. This is a really interesting concept that I really want to explore as I’m currently focusing my own practice on colour. I think it would be interesting to play around with optical illusions solely with colour.
‘Laws of Form series #10. Robert Pepperell.
‘Laws of Form series #3. Robert Pepperell.
‘Laws of Form series #6. Robert Pepperell.
Paul Granjon – Studio Shelves
What I took from Paul Granjon’s talk was that he takes inspiration without specific intention. Granjon makes assemblages of random objects. This is a concept that I experimented with before last year in a 10 minute painting class I partook in. In this class I had to make a sculpture in 2 minutes out of random objects I had either collected or found, and then do a quick 10 minute painting of it. I found this to be really successful and created some really interesting abstract paintings. I really like this concept Granjon uses to create sculptures and is a technique I want to work with further down the line in my own practice.
André Stitt – Residues and Partial Objects
What I found most interesting about Andre Stitt’s practice was that he created an exhibition that consisted purely of displaying objects used in previous performance art pieces from the years of 1982-2008. The exhibition was titled ‘Substance’ and was displayed in the GT Gallery in 2010. It refers to objects as partial objects reminiscent of pre-modern cabinets of curiosities.
Todays key concept lecture with James was discussing the theme of the everyday, more specifically, a variety of comical work that has had influence on his own practice. Comics are a subset within Fine Art that I have never even considered. Until today I didn’t realise that comics could be put within the same bracket, so it was quite refreshing to discover a new format of working.
We were introduced to artist, William Hogarth. Although not a comical artist, his paintings tell a story through a progression of different scenes. We looked specifically at ‘A Rake’s Progress’, and how the fictional story of Tom Rakewell is told through 8 paintings. Tom inherits a fortune from his miserly father but then follows a path to vice and destruction.
I really like this concept of subtly telling a story through a progression of paintings. It is not something that fits with my current work but it is definitely a concept that I will consider using in the future.
David Hockney created his own response to Hogarth’s ‘A Rake’s Progress’, resetting the story to a young gay man’s adventure through Los Angeles and the loss of individuality within a commercial society.
I really like Warhol’s use of line drawings, in which he says lines can tell a story. I have never really done any simple, cartoonish line drawings. They almost scare me more than photo accuracy. It is a technique I want to begin to adopt, whether in or out of my subject work, as I think it would be a fairly fast and fun way of generating work.
James mentioned that you could create a comic, and take copies to a comic book shop who would pay you as you see it. This would be a really good way to get my name out as well as earning a bit of pocket money at the same time. It is an idea I am definitely going to consider using.
Other comical artists I was introduced to in Key Concept:
James Gilroy ‘Punch Cures the Gout’.
uses satire to convey a message.
Winsor McCay ‘Little Nemo in Slumberland’.
Basil Wolverton ‘Scacehawk’.
Katshuhiro Otomo ‘Sound of Sound, from Memories’.
Pablo Picasso ‘The Dream and Lie of Franco’, 1937.
Roy Lichtenstein ‘Oh Jeff’, ‘Still Life After Picasso’.
I think it is a really useful skill to be able to make your own sketchbooks, and is a technique that I have wanted to learn for a while. I think it may be useful for my screen prints I make further down the line in terms of making them into a book.
binders bone/bone folder
needle and thread
Book Binding Instructions:
Cut paper down to size in the direction of the grain (because you fold with the grain).
Fold the pages using a binders bone to make sure they’re properly folded.
Slot one 1 page inside another (only have them in groups of 2, i.e. 6 signatures of 2).
Measure the width of the paper, mark 1cm from either edge of the width on the folded edge (mark it right on the fold so that it doesn’t show up within the finished sketchbook). Then mark two more dots, even distances between the two previous dots marked (to find the even distance mark the space between the 2 first dots by 3).
Take a piece of thread (arm’s length) and pierce the first signature from outside so that it knots from the outside. Go in and out with the needle and thread along the holes, making sure to keep the thread as tight as possible as you go.
Put the next signature up to first one you’ve sewn. Do a small stitch connecting the two together by putting the needle into the parallel mark on the 2nd signature. Work your way up the second signature like you did with the first signature, but as you go do small joining stitches to the first signature.
Repeat this with the third, but when you get to the end of the row, knot up the previous 2 signatures together by pushing the needle upwards through the joining stitch.
Repeat this with the 4th, 5th and 6th signature. On the last signature double knot the pages.
cut scrim to the size of the spine of the joined signatures, with 5mm distance from both ends of the spine. Cut it two a 2cm width.
Cover the spine generously with PVA glue and stick the scrim to the spine.
Cut the greyboard to size for the cover of your book. Work out the size to cut the greyboard to by adding 2mm to either edge of the width of your pages (so add 4mm, unless you want the overlap to be larger), and taking away 1mm from the length (i.e. if the page length is 15mm cut the greyboard to 14.9). Do this twice for both covers. Also cut out a piece of greyboard for the spine of the book, the same length as the width as the the width of the pieces cut for the cover, and as wide as the spine of your book.
PVA glue the greyboard you’ve cut to the bookcloth. Leave a generous width of bookcloth when sticking (so it will wrap around). Stick first cover down and firmly attach using the palm of your hand. There needs to be a distance between each piece of greyboard that you tick down so that the cover curves round the book and dots properly. You work out the distances between the cover greyboard and spine greyboard by doing 3x the excess of the cover overlap of the book (so the cover is 2mm longer either side of the book, so 2×3=6mm). Mark these lines on the back of the bookcloth with a ruler.
Stick the other cover greyboard down before the spine greyboard. You get it at the perfect angle by lining a ruler up along the edge of the first stuck down greyboard and matching it up against the edge of the ruler. Make sure it’s properly stuck down using the palm of you hand. Then stick down the spine greyboard. Flip it over to the good side and run your finger along all the edges of the greyboard pieces, especially between the spine and covers to create a ridge.
Cut the ruler width around the greyboard on the bookcloth using the scalpel.
Measure 1cm at a 45 degree angle from the 4 edges of what will be the cover and cut the corners of the bookcloth of (so that there won’t be as much cloth to fold over and hide within the book).
Using PVA, stick down the long edges of the bookcloth to the greyboard first, applying pressure to make sure its properly attached.
Next glue down the shorter edges, and use the bone folder to push in the corners of the bookcloth and properly flatten it.
Using PVA, stick the 2 outer pages of the sketchbook down to cover the bookcloth.
After my 1st trip to Southdown this year and the inspiration it has begun to have on my work in terms of shape, I decided to visit again to try and capture some of the textures of the landscape, that I may try and incorporate into my own work. I am unsure on how I will do this yet but I decided to take prints anyway so I have an all around documentation of the landscape. I used white St Thomas clay as I wanted a softer clay that would really mould to the textures I pressed it into to. Also I chose a clay that fires white incase I want to paint the prints at a later date. I am going to put the prints in for a bisque firing once they have dried out.