Westminster 2017

In honour of recent events at Westminster Bridge, carnage as an attacker ploughs through crowds in a 4×4.  I felt compelled to convey my reaction to this in the form of visual communication.  The choice of colour speaks for itself, something irreplaceable was lost that day, once again….  human life, trust, respect, attempting once more to instill fear, for what, so we can all carry the same beliefs, what a dull world it would then be…

No matter where a terror attack occurs in the world, the feelings it elicits when one hears of it are universal – revulsion, shock, dread and uncertainty.  Uncertainty reigns supreme in the immediate aftermath of a terrorist attack.

This picture was created using the same rules as ‘Linear Equations’ choosing to use an army muted mixed green and crimson red as a base for work which was applied through the screen print process.  Adhering gold tape in parallel lines gave structure to the piece.  Once complete the use of both sides of red tape were positioned to give the overall appearance of a bridge.  Using the metallic side of the red tape has provided a subtle delicacy to the overall finish where at times the tape appears liquid in its appearance.  This is resonant to the destruction that day.

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We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface.”  Theo Van Doesburg.

Linear Equations

Taking time to look forward, look beyond, look into… Creating a connection of control and order, a shield from the chaos lurking beneath.

My work has attempted to tackle the unpredictable journey of life and all we endure through our ventures.  Lines and grids provide boundaries, barriers, stops and starts whilst quietly portraying patience, an order, a hope, that we all have the power to ‘pull it back’ from time to time. An optical confrontation between the imaginary expanse and the tangible truth.

In order to create this work I took it through a series of processes.  An initial screen print was created using yellow, green, blue, red and black acrylic paint which has provided an abstract base for my work.  Tape was adhered to create an optical confrontation between the imagery expanse and the truth, whilst a careful consideration of colour has also been applied – for its power of response.

“The object of art is not to reproduce reality, but to create a reality of the same intensity.”

Alberto Giacometti.

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Branding

Whilst considering my FMP it has also been important to understand my connection to the world of interior design and my place within it as an interior designer.  Therefore I have toyed with branding my work with a view to creating home pieces which extend beyond art and offer a functionality.  With this in mind examples are set below of concepts for branding:

exh - 7 (3)Black swallow, set in a white square, a small tag, an identity:

I consider this to be a fabric design and am keen to print onto fabric in order to create soft furnishings.  I am in love with this particular colour along with ultra marine and feel it could inject an easy colour strike into any environment.  I am unsure whether I should however brand my artwork in the same way, I will consider this further once I have consulted with peers.

De Stijl Influence

The Dutch De Stijl movement embraced an abstract pared down aesthetic using basic visual elements such as geometric forms and primary colours.  It is understood that this was partly a reaction against the decorative excess of Art Deco and the horrors of World War 1 where artists wished to remake society in its aftermath, viewing art as a spiritual redemption.  The De Stijl movement, which simply means ‘the style’ in Dutch, was led by painters Theo Van Doesburg and Piet Mondrian who applied their style in a host of media in fine and applied arts and beyond.  An exciting visual language emerged consisting of precise geometric forms, usually straight lines, squares and rectangles, in primary colours.  Strongly influenced by this style has given rise to experimentation in a similar form.  This geometric pattern was created using crystal colour where once dry, bleach was applied to encourage a distortion between colour.

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Salt and Bleach

Experiments into the use of bleach and salt with water colour:

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In an attempt to discover the results of mixed medias I took to marking out my design in pencil, then applying a scarlet water colour I added plenty of water then salt and bleach.   This has resulted in a fluid finish, once again showing light and dark with definition between boxes despite using only one colour.  I continue to experiment.

Work of David Smith 1964, whose spray enamel on canvas adopts a playful approach whilst capturing a moment.

Lead Gradients

Taking a rule and applying light pencil lines in gradients 8B through to B has given a gentle texture to this piece, Its subtle finish provides some interest and light.  This seems to be the theme throughout my work a constant struggle between light and dark.  Keen to experiment further I took to applying some colour in further experimentations.

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Applying pastel to create some depth within work.

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Applying crystal colour and pastel to create further depth, this outcome is too messy and needs to be perfected.