This is my second class of life drawing this year. I don’t see any drastic changes in my ability compared to my first class, but will carry on attending life drawing in the hope to improve. I also think I need to scale up my drawings as it is hard to get all the details in at the size I am working at now.
As a separate side project I have been looking solely at the colours blue and orange. When I visited London for the Jasper Johns exhibition, I also went to the Saatchi and saw the ‘Calder on Paper’ exhibition. Although I liked the artwork I didn’t find it inspiring. Instead, on the title wall for the exhibition, the whole wall was painted a deep blue with bright orange writing on top. I know that the two colours are complimentary but there was something that I especially loved about this combination unlike other complimentary colour sets. Since London I have been keeping a sketchbook of various ways I have worked with blue and orange. The responses I have been doing are fairly quick and aren’t serious at all, but this is what I love about them. I don’t feel any pressure in this sketchbook, I just play around with the colours and don’t care if the outcome is a success and failure. Blue and orange are two colours together I want to carry on working with throughout the year. I’m not sure yet whether I will be able to combine them in with the work I am creating in response to Teresa Lancets’s ‘Rosas Blancas’ but either way I will carry on using them.
After producing lots of trial work in my sketchbook, I decided to scale up and produce a bigger response painting using blue and orange. I used one of the painting collages I had done in my sketchbook. I am quite happy with this response as it is solely focused around blue and orange. It is quite simple in design but I think it is effective. Visually it seems I have taken inspiration from Jasper Johns’ line paintings. I stuck in a large section of blue paper as I wanted to create this idea of disturbing the pattern. I don’t know if this was entirely successful however. I think this is a concept I need to play around with more.
As my chosen topic this year is creating responses to places I have visited, I decided to create some work of my life in Cardiff. This response is of my walk to uni. It takes me half an hour to walk through Cathays and the park and I always see a lot of rubbish. I decided to collect some of the rubbish I saw on the path of my walk and collage them together. I think the items I collected really show uni culture and the unhealthy consumerism of university students. Within my collage I also incorporated fabrics that most reminded me of Cardiff and embroidered on certain areas. The embroidery was about playing with patterns. Overall I am happy with the visual appearance of my response, but feel there is no real strong connection between it and the rest of my work. My idea for further development is to embroider over the whole of the collage so the viewer has to fight to see what is underneath.
After my first small initial responses to Venice, I wanted to scale up and create a bigger piece inspired by it. Whilst in Venice I collected heaps paper and leaflets from all of the exhibitions I visited. Instead of throwing them away after I finished reading them I decided to incorporate them into my response, as they were Venice for me.
The background of my painting is collaged with the leaflets from different pavilions in the biennale. On top I have painted my own repeat pattern inspired by Venice, particularly the window architecture of many of the buildings. I painted two layers of this pattern over the collage in colours I associate with Venice. The yellow of many of the buildings and the green-blue of the canal.
I like the concept I was aiming for as I think it is a fairly personal response as there is nothing there that anyone else would directly associate with Venice. However I am not completely happy with the colours I have chosen. They are colours straight from a paint tube. I think my painting would be more personally elevated if I mixed my own colours inspired by Venice.
This painting is a good start point for the development of my work this year though, it has opened up this idea of repeat patterns and colour, and is free for wider development. My next idea is to take some of the photos I took in Venice and keep layering repeat patterns over the top until the image underneath is nearly completely lost.
Initial responses to Teresa Lanceta’s ‘Rosas Blancas’
These are some initial responses to ‘Rosas Blancas’ where I have played around with patterns, colour and material. I used the technique from the ideas lab and created quick simple responses directly from the artwork, focusing on specific areas and concepts. My initial responses have worked a lot with square patchwork, similar to ‘Rosas Blancas’ and the layering of different patterns next to each other. Initially I have also chosen to work with a similar colour palette. I have begun trialling with a variety of materials to get a grasp on what materials work well and which don’t work quite as well. The responses including embroidery, I think are the most successful and interesting.
Responses to Venice drawing inspiration from the work of Teresa Lanceta
I have started making some simple responses to Venice by taking some of the paper I collected from Venice and laying repeat patterns over the top inspired by Venice. In particular, the window shapes of many Venice buildings.
This is the second life drawing class I’ve ever done. I’ve decided that I am going to try to go to each week’s life drawing class as I’ve never really worked with the whole human form before and want to strengthen my skills in this area as I think it is a crucial skill to have. Although my drawings are not fantastic and I haven’t got the proportions entirely correct I think my drawings are a good start and I hope to improve with each week I attend.
Each drawing was a five minute pose.
After seeing Teresa Lanceta’s ‘Rosas Blancas’ in the Venice Biennale I have started to think about how I could portray across the sense of place through materials. I like the idea of using patterns taken from the locations to convey across different places, in colours appropriate to the landscape. I’ve also started to think about different materials I could use to do such. I don’t want to limit myself through material this year and want to work with a broad range including, ceramics, textiles and embroidery. I may use screen printing as a way to create repeat patterns quickly. Textiles and embroidery are materials I definitely want to incorporate into my work this year. I’ve been thinking about creating my own tapestries but incorporating embroidery of patterns inspired by the places I visit into them quite heavily. My first term of Field is Home Truths which looks at surface design on ceramics. Once I have learned the skills to be able to do this, I plan on using ceramic surface design quite heavily in my practice.
This week we had to chose an image that we found inspiring for our own practice and then swap it with someone else. Responding to the other person’s chosen image, we then had to create a drawing, painting, sculpture, performative action and photograph inspired by their image.
My image was ‘Achrome’ by Piero Manzoni:
I was given ‘Self-Portrait 2004-5’ by Chuck Close:
My responses to ‘Self-Portrait 2004-5’:
Written piece on ‘Self-Portrait 2004-5’:
Chuck Close uses an arrangement of abstract shapes to create a comprehensive illusion of his face in ‘Self-Portrait 2004-5’. Following a grid within his self-portrait, Close paints each square individually with a different arrangement of colours and shapes. Although the use of a grid would seem to create problems in representation, the combination with organic forms counteracts the geometric inaccuracies. The choice of marks means that perspective is key in ‘Self-Portrait 2004-5’, close up to the painting and to the eye all you see are a mass of shapes and hues of contrasting colours. It is only when you step away that the colours blend and oppose each other simultaneously to create an illusion that becomes comprehendible as a face. ‘Self-Portrait 2004-5’ rebels against Close’s earlier photo-realistic paintings and instead aims to achieve an informal accuracy, concerning himself with the importance of material in “perceptual and psychological effects”.
Alex’s responses to my chosen artwork:
Taking the work made by our partner, we then had to create a response to their responses in each medium. Doing so made me realise that my chosen artwork was actually quite hard to branch away from as it is so simple in design and it is more about the material used and the manipulation of it rather than the aesthetical design. I played around with patterns and manipulating paper and in some pieces, found it quite inspiring.
I was asked overall if I found my responses for both Close and Manzoni’s work a success or failure. In my opinion I don’t think they were either. The task was more about creating quick responses without thinking of the outcome. None of my responses were finished pieces, they were unconscious responses to focused areas of the artworks. I found the task more of an experimentation, pulling me out of my comfort zone. Having such small time frames to create my responses meant that I couldn’t be precious like I normally am with my art and consequently has inspired me to want to do more quick responses to artworks, as I think this is where I am best going to draw ideas for my level 5 work.
Chuck Close 1940- Richard Shiff, Pace Wildenstein, ‘Chuck Close: Recent Paintings’, New York: Pace Wildenstein, 2000
All of the summer work I created was inspired by the places I visited. I did mostly paintings of close up scenes from photos I had taken. I enjoyed painting close up sections as they are not so recognisable as actual places and are more personal to my experience.
For my final summer piece, I was asked to create an artwork combining what I experienced in each place. I found this a hard concept to grasp as each place I visited was completely different and had a completely different personal meaning and significance to me. That’s why I decided to do a painting cut into three sections, each section one of the different places, because they couldn’t be compared for me. I chose to paint Eastnor (a small village where I work where I spent the majority of my summer), Lake Louise in Canada and rooftops in Prague. Each a complete contrast to each other.