Final Piece Update – 10th May

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I have been continuing with my final Piece and as I mentioned in the last post, I have been making good progress. 

As you can see, the images above show my previous development, which continues to the images below. I feel that the tones to the painting are merging well together and I recently decided to add the colour green, which I personally think adds definition to the subject.

Throughout my work, I have been constantly thinking about the different Artists, which I have recently been studying such as Elly Smallwood, and I have been making sure that my work is in some ways conjunctive with their styles without echoing their work too much. Furthermore, I feel that it has been important for me to keep other Artist’s in mind as it encourages me to be more open with my palette and brush movements. 

As you can see in the image below, you may be able to see that there is are some lines from where the paint had ran down the board, which seems to add interest to the painting on a bigger scale.

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I was also faced with the problem of the sun shining onto my board, however I think the image below works well as the light is only highlighting certain aspects of the painting, which I think creates a visually interesting photograph. Overall, I feel that this piece still has a long way to go before it reaches it’s completion, but I want to carry on with the direction, which I have so far taken. 

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Artist Research/ Scale of Work – 14th April

As we draw nearer the final stages of creating our final pieces, I have been thinking about the sizing of my work and the costings, which will be involved with buying all of the tools, which are necessary for completing my piece.

I began by thinking about the kind of impact, which I want to create, when people look at my final piece and so I began by looking into the idea of “How Scale in Art Influences the Viewing Experience”. I discovered from my research, that scale does not actually represent the size of something, but it is more about the size of an object in relation to another.

After recently getting the chance to visit The Tate Modern in London, I got the chance the witness the use of Scale and the impact it personally has on me. Firstly, I cam across the piece of artwork, which is pictured below by Magdalena Abakanowicz, a Polish sculptor, who just recently passed away. I felt that her work held an organic sort of feel, and I am aware that she was very much into the study of biological systems and regeneration. In response to receiving a commission in 1979, for the Venice Benalle, Abakanowicz began to create lots of these soft shapes, which were compared to ‘rounded like bellies, or elongated like mummies”.

I feel that the picture below does not justify the grand scale of the piece as a whole, however when I walked into this exhibit, the concept of the sublime immediately came to mind; I felt overwhelmed and insignificant. When I create my final piece, I want the onlooker to feel dwarfed by the scale of my work.

Contrarily, I would agree that small- scale work can also be just as effective as bigger -scale work, however I have personally never got the chance to go above A1, and so I feel that the Foundation provides me with the perfect opportunity to be brave with size.

After deciding upon my size, I have begun to look at the different types of board, which would be suitable for painting onto and a primer, which would make my painting application easier.

Below, I have created a list of things, which I need to purchase in preparation for my final piece and the estimated cost of the different materials.

  • Winsor & Newton Artists’ Acrylic White Gesso – £8.40
  • Board- £15
  • Paintbrush- £2.59
  • White Oil Paint-2.00

Total approximate cost=27.99

 

Distorting Identity- 3rd April

As you can see in the images below, I have been distorting the face of the subject in some of my 35mm film photographs, as I want to try and challenge what other aspects of a character might also represent; it gives the onlooker more of a chance to focus on other areas of the person.

In the first image, I drew a black, circle onto the whole of the face. I’m not sure if it has quite worked, as I feel that it might have been more interesting if I was to have left the eyes, mouth and nose uncovered, so that it draws one more into the whole of the picture. Personally, I feel that eyes can create a sense of intimacy between two people and so, I feel that it wold be interesting to think about that in my development.

In the second image, you can see that I have attempted to paint a face onto the black, circle overlay. I like this effect, as it makes one wonder whether the man in the picture resembles the face, which I have painted and so, this adds a sense of intrigue.

 

 

 

Feedback from Peter- 28th March

I recently spoke to Peter about my current work, and he advised me with a few different things. Peter began by looking through my work, and he liked the collages, which I have recently been working on. After looking at my work, he came up with some artists, which I could have a look at to influence me. He then showed me some photo- realistic work by Chuck Close, which I have recently been studying after watching an interesting documentary about his career after he suffered from prosopagnosia.

I found the documentary to be insightful and it definitely made me feel motivated to try painting in a different way. I have recently been experimenting with acetate and over- laying drawings onto it, as you can see below. I like this concept and would like to develop it onto incorporating colours.

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Furthermore, after taking the idea of partially covering portraits, to create a dramatic effect, I recently tried experimenting with acrylic paints and photographs, as you can see below. I purposely created smudges, to create subtle gestures of facial features, which I feel has worked really effectively. I also like the array of colours against the black and white photograph.

Personally, when I look at this piece, I feel eager to learn more about the character in the photograph i.e. age, skin tone etc. Additionally, I am intrigued by the prospect of vandalism and distorting and manipulating an idea into something else. I am an avid reader of certain types of poetry, and the poem “Sunny Prestatyn’ by Philip Larkin strongly brought to mind an idea, which is similar to the concept of corrupting photographs.

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The poem expresses the idea of a poster advertisement for a holiday resort, which was once “sunny” and great, however over time, the place becomes distorted from the ideals of what one might expect, when one visualises a seaside, tourist attraction. But if the reader reads between the lines, the poster of the girl, was “slapped up” and the poem takes a dark turn as we think of abuse and women being degraded in society.

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In my own work, I want people to “read between the lines” and gather a deeper meaning from what is just straight in front of them.