This is once again my response to the rules and restrictions whilst working on the FMP. The consideration of lines assists with defining areas, creating light and shadows, frustrations and solutions. Although I find this to be an interesting piece I feel I could have released a deeper vision, there is simply not enough going on. I will reconsider this piece and somewhere, in the near future, attempt to perfect, whilst using medium against the right media.
As I travel through my creative journey I am always keen to step out of my comfort zone and just have a go, interested in pastel colour I took to creating some sketches, examples of which are shown beneath.
This was to experiment with both colour and texture and generally learn outcomes of media to material.
‘To the light’, created using pastel colour on water paper. I find this scene to be a little eerie, it’s the colours used, they are drained out, diluted. There is however a sense of movement, but the paper is inadequate for the media used, whilst creating future pastel pieces I need to consider the use of correct paper in order to allow maximum impact of colour.
Playing with Crystal Colours, by using UPVC glue rather than water the piments react much more slowly, The brown and orange do not enjoy a pleasant colour mix however the green with orange have produced a pleasing aesthetic, this is a process I will consider within final work.
Interested in the idea of artwork that could be reflected onto mirror and seen from the opposite angle resulted in the creation of 5 gold rings. I took to gluing rings onto a pin head using Gorilla Glue then stuck them to a tile mirror. This took around 10 hours as each pin needed at least an hour to dry each end. Fleur my cat then took to destroying the piece in less than 30 seconds….
I re-attach the rings, they produce an interesting finish, they appear to have a bigger impact when viewed from the side or below and are providing an optical illusion, rings appear to float. Choosing to photograph has resulted in further confusion where it takes a moment to work it out. I feel this work could be manipulated to produce a creative piece within its own right.
Wanting to achieve a similar finish to that of Garth Weiser I took to experimenting with materials in the hope of creating some sort of back drop that I could embellish with metallic, a piece that would give a sense of interest and beauty. I painted a rough piece of hardboard with white emulsion then covered the whole piece with plasterer’s adhesive hoping to create a roughness, a texture. Once this has started to turn quite tacky I began to cut symmetrical lines and squares using a brick layers trowel, however the colour was very dull, so whilst it was still at this tacky stage I added some oil paint to brighten up random areas. This did start to look aesthetically pleasing however some of the colours had started to mix which compromised their performance. I decided to wait for it to dry to see the overall effect, once dry and displeased with the result I sprayed the whole piece red, then black and once dry sanded it back which exposed a new alternative display to the colours. Still not happy I took to spraying the whole piece black once more and then attempted to sand back to create something of interest. As I was keen to achieve some kind of result after spending time developing I took it through a further process. I added lines of cork in the hope that gold leaf would somehow adhere to it and create metallic strips within the piece. However, the lines weren’t straight enough, the leaf didn’t stick entirely although I was surprised at just how much had adhered. However, this piece was by far a disaster and I knew that I would have to think again, of a way to achieve symmetry within my work that could too offer this Linear effect I was searching for. Upon reflection I actually prefer this piece at the onset of its life, the use of the plaster adhesive does give some depth and created a kind of wicker pattern, I will consider its use for future work.
Always keen to use a vast array of different surfaces and materials and following research into the work of installation artist Lee Bul I took to attempting a glass piece. I chewed the glass using the back end of a glass cutter which gave this crystallised glass effect. Using a square tile mirror I tried to place glass in a similar order to how it fell when I was cutting through it. This gave a semi explosion feel to its composition. Using PVC glue, I stuck down glass with gloves and tweezers, a time-consuming task. However, once the glue was dry, it was not transparent and in parts you could see it through the glass as a white paste. This gave the piece a plastic aesthetic which was not in line with my original vision. I therefore removed most of the glass and took to starting again, this time using Gorilla glue as it would be clear upon final fusion. This provided a much-improved finish, however some of the glass still had remnants of the PVC glue which changed the overall appearance of the glass, therefore although it has been a useful experiment, it is not a piece I will be using as my FMP.
My work takes a critical view of the sensitive political and cultural issues currently upon us. As the ricochet scars our brickwork, a place we once felt so safe, now jeopardised by violent acts of terror. On our streets, in our homes, the unfortunate truth is that it’s now engrained within us as a possible outcome to the day.
While I have used a variety of materials and processes to create Ricochet my methodology remains consistent. Concerned with the constant threat upon us I have attempted to show this through the repetition of scarred bricks which links the recurring concern. Ricochet on the very bricks of our society.
Danger hidden yet in plain sight, whilst extreme, I have found that the histories of our cultures along with a minimal approach to assist me greatly in the arranging of these received ideas within my work.
Block print with polystyrene and mixtures of oil and acrylic paints, cut and laid in traditional stretcherbond style, ricochet is added by use of silver leaf.
Following the creation of Warm Waters I felt I wanted to continue experimenting with metal leaf, which has become my signature through the current assignment and supported my final exhibition work. Golden Steps was created with the ‘right’ steps to take in mind. The concept of staying on the right track in order to enjoy life without too many obstacles. I am a true believer in making your own destiny and also that we have our tuition allowing us to at times see the right path. This would always be the route to take…
I created this piece using embossed paper and applying gold leaf to depict a pathway of stepping stones.
My journey through the history of art has impacted me greatly and influenced the decision to make my final pieces in the abstract modern art style. Artist Gerhard Richter being my biggest influence whilst considering ‘Warm Falls’. I felt I wanted to recreate a waterfall effect as in some of the work of Richter. I used a black acrylic laid upon a white canvas, once this was dry I gently applied oil paint in thick layers then dragged it down the canvas which gave this waterfall effect. The colours were chosen to promote warmth within the scene, the colours that I associate with feelings of happiness, safety and warmth. Size and gold leaf was carefully applied then loosely wiped off again in the same direction as that of the oil. The picture provides some pleasing aesthetics which were achieved quite quickly, therefore I did not need to spend hours perfecting. The markings have fallen as I would have liked.
Chinese art is visual art that, whether ancient or modern, originated in or is practiced in China or by Chinese artists. The Chinese art in the Republic of China (Taiwan) and that of overseas Chinese can also be considered part of Chinese art where it is based in or draws on Chinese heritage and Chinese culture. Early ”stone age art’ dates back to 10,000 BC, mostly consisting of simple pottery and sculptures. After this early period Chinese art, like Chinese history, is typically classified by the succession of ruling dynasties of Chinese emporors, most of which lasted several hundred years.
The Chinese seem to deliver art with a skip and a hop, it’s so light and simplistic. The bare scenes draw the eye in and question where and why we have feelings with the absence of any life form. Commonly nature is the essence of the work, Artist Xia Chang composed Bamboo under Spring Rain in 1460 during the Tianshun Period (1457–1464).
This style of painting is very popular today with many modern interpretations available for purchase on the internet. I enjoy the basic representation of nature in this raw form and felt compelled to give it a go myself. My version is developed once again using the Berol felt pen broken down with the addition of water. The picture does seem to show some elements of this style, however in comparison to the art currently on the market appears quite basic. Pleased to have given it a go in order to feel the piece and know that this could be implemented amongst other styles in any future works I may undertake.