Y3T3 Moodboard

I think throughout this Easter break period and what may bring beyond I would like to use this post space to keep record of all the things that inspire me, or I believe have some relevance to my thinking at the moment.

[THIS IS A CONSTANT WORK IN PROGRESS]

So to start off we have a quote by Franz Kafka (19.III.2020):

kafka quote

  • This just gave me strong imagery of people walking by each other, all within their own rooms or internal landcapes, one step in this physical realm and the other within their own concealed reality
  • Great to think about when considering the internal landscape and how everyone lives on the verge of both simultaneously – hence one feeds into the other and the image becomes distorted, making us unable to see objectively
  • This is how I see it (mock-up):

20.III.2020: I just found this:

Znalezione obrazy dla zapytania: Giuseppe Enrie art
Giuseppe Enrie, “Shroud of Turin”, 1931, gelatin silver print

30.III.2020: Border image from an online course I have just started:

  • layers and layers of lines and connections which build up a network
  • a larger accumulation of information which then finds a way to extend and communicate with other parts of the brain – reaching upwards
  • automatically creates depth
  • these lines almost seem like contour lines of a landscape – makes the inner landscape slightly more visual and comprehensive
  • itself almost looks like a familiar consept of a landscape that we have – trees reaching outwards and upwards, the ‘ground’ sculpted like waves or textures of the land, underneath which we have roots reaching downwards

31.III.2020: HUGO WILSON

No photo description available.

A bit of self-reflection and notes for the future

SELF-REFLECTION:

  • Although I have only scratched the surface of the elongated format – this is something I would like to continue with in the future – as the brief time I was able to try it out (along with the massive wall piece), worked really well for my intentions, in my opinion – this will not only reflect the natural shape and movement of the plant, but also allow for a better emphasis on the water/fluid flow aspect of my drawings – it also can be seen as a doorway to some extent and I would really like the viewer to be able to look both up and down and see this drawing as part of their environment – it certainly felt like that when I was drawing
  • Don’t be afraid of compressed charcoal! Use it more often to develop stronger depth and density of the dark tones!
  • Need to make more rough composition drawings – like sculptors do to prepare and plan for their future sculptures (?)
  • Make smaller scale drawings more often – perhaps like quick 3 drawings before every studio session – keep them on your wall, like you have seen artists from the Royal Drawing School do – this will help to not only develop your skill and composition, but also help you keep on track and constantly evaluate your progress – curate this wall of drawings so that it is tailored to the needs of my practice at that particular time
  • created more distance with the background layers, so that it improves the effect of slowing down time more – and then on top of that I can erase and build up foreground layers which would be much closer to me and the viewer to further develop and distinguish that sense of immersive depth, slowly moving before our eyes
  • Need to spend more time on individual drawings, like I did in Y2T2; around 5 weeks after a period of rapid mark-making for a day or two
    • that’s how I found that I managed to develop most depth!

NOTES FOR THE FUTURE:

  • Try out water-soluble graphite!
  • During the Easter break try experimenting with alluminium panels behind your work – apparently that can intensify the depth of darker tones within the drawing (?)
  • Note on smaller scale drawings – refer to the above section for that

DILIP SUR

I recently read an essay by Sur in the Ways of Drawing book published by the Royal Drawing School and immediately needed to make some sort of a note of this artist, whose ideas I strongly identified with.

20200317_062133
A snippet of the essay I found particularly inspiring and thought-provoking, source: Bell, J., 2019. Ways Of Drawing : Studio Space, Open Space, Inner Space. Thames & Hudson.

 

 

This has then led me on to reading a bit more about him and having my mind blown by how similar my ideas were to his, so I looked a bit into his work for clarification and a further development of my own ideas.

“LET GO, LET FLOW”

The Royal Drawing School. n.d. Dilip Sur | The Royal Drawing School. [online] Available at: <https://www.royaldrawingschool.org/artists/faculty/dilip-sur/&gt; [Accessed 13 March 2020].

‘His paintings capture a psychological state of human beings and the constant flux they undergo or the reverie the human mind is absorbed in. Sur’s recent work employs a literal vastness in the way space is unfolded and then released to extend meaning […] representing a vast phenomenon within a restrained language.’

  • and this was the first description of his work that I’ve read
  • psychological state of human beings
  • constant flux we undergo
  • the reverie that our human mind is absorbed in
    • mind as an internal landscape
    • from what it also seems is that the artist promotes tactics and techniques of implementing his teachings into practice, especially through the act of reverie developed and enhanced through the act of drawing
    • need to find more information about him in the future

 

 

UNA’s “PILOT” exhibition: reflective notes

20200228_192948

Just needed to make a quick note about what I’ve learned and gathered from the experience of curating and exhibiting my work at Kanteena on the 28th February 2020.

One of the main things I noticed was the impact of exhibiting my drawings on a surface that wasn’t just a white wall.

The transparent fence lifted the drawings, allowing them to gain more independence and autonomy.

The relationship between the work and its surroundings also changed immediately as a result.

Therefore, in the future it will be important to consider how hanging the drawings and lifting them off the wall can have an impact on the way it is perceived by others.

And how this could potentially emphasise its message better.

MATTA and ROTHKO: Tate Modern visit

20200224_171513
MATTA, Black Virtue, 1943, oil paint on canvas, Tate Modern.

“His paintings appear abstract but they are based on drawings of erotic and violent scenes. In the two side panels of this triptych the imagery has a mechanistic, science fiction quality. But in the centre the forms are organic, suggesting references to sexual parts. Matta was concerned with capturing the inner world of the mind. Black Virtue evokes a mental landscape in an extreme combination of eroticism and violence.”

  • although the mental images of eroticism and violence don’t exactly suit the purpose and intentions of my own personal work, in hindsight this was one of the first artworks that I saw, which really connected with what I was trying to do in my own work – to develop, shape and depict this inner landscape of our minds – the relationships between its elements and depth of the place
  • it was incredible to see an artist succeed in achieving a real sense of space and multi-dimensionality within the inner world – which turns out is harder to depict than I initially thought, considering their are no rules or laws of physics to guide it, and hence allowing a whole plephora of metaphors and symbolisms to guide its way
  • it was really inspiring to see and learn from, and it definitely shaped the way I thought about abstract space, time and place within the mental landscape from then onwards
20200224_175505
MARK ROTHKO

“Mark Rothko saw these paintings as objects of contemplation, demanding the viewer’s complete absorption.”

His darker colour scale was influenced by Michelangelo’s Laurentian Library in Florence “with it’s blind windows and deliberately oppressive atmosphere.”

“Rothko reportedly commented that Michelangelo ‘achieved just the kind of feeling I’m after – he makes the viewers feel that they are trapped in a room where all the doors and windows are bricked up, so that all they can do it butt their heads forever against the wall.'”

“Perceived, as the artist intended, in reduced light and in a compact space, the subtlety of the layered surfaces slowly emerges, revealing their solemn and meditative character.”

  • Looking at Rothko’s installation of paintings allowed me to think about how I want my work displayed in the future – inspired by the meditative state that the dim room puts its viewers in
  • It also allowed me to learn and re-evaluate the layering of tone in my work – looking at the most effective ways of layering and the impact that the order has on our perception of depth. From then onwards I was more knowledgeable and conscious about the balance and order of tone in my own work.

 

HENRY MOORE

Searching through the shelves of the university library art books I once stumbled upon a section on Henry Moore; it appeared that some of them seemed to cover the topic of memory that was associated with his sculptures, and what I did not know at the time, his drawings.

After an open office hour coversation I had with one of my tutors I have found out that Moore would have produced hundreds of memory drawings and sketches of what he has seen and experienced of the London Underground during the WWII period. They were powerful and dark depictions of people huddling and escaping for shelter; full of emotional depth, visible through the artist’s use of materials and mark-making.

This had led me on to look a bit more into them.

Foundation, H., 2019. Henry Moore Drawings: The Art Of Seeing. [online] Henry Moore Foundation. Available at: <https://www.henry-moore.org/whats-on/2019/04/03/henry-moore-drawings-the-art-of-seeing&gt; [Accessed 14 February 2020].

  • “for Moore drawing was not merely a means to an end, but also a medium for finished artwork in its own right – so much so that he was sometimes referred to as a ‘sculptor and painter’”
https://www.tate.org.uk/art/artworks/moore-grey-tube-shelter-n05706

Perhaps, the darkness in some ways aided his memory and recall, allowing him to focus on the essence of the people there – surrounded by darkness, desperate for safety.

The figures are therefore allowed to dramatically emerge from the depths and darkness of the London Underground and other shelters – their lives like the figures in Moore’s drawings are uncertain – their fragility and faintness really shows through here.

Laying the figures next to each other in this a narrative, also allows there to be a contrast between autonomy and collectiveness of the people – this again creates a sense of uncertainty and ambiguity – our eyes are guided along the drawing stopping by each shape, uncertain of what they are seeing – Moore guides us through this allowing us to trace the ghosts’ outlines giving us the opportunity to judge and conclude what we are seeing – the recognition of the figures as people can take up to a few seconds, and isn’t always the most obvious task

YouTube. 2018. Henry Moore’s Vision. [online] Available at: <https://www.youtube.com/watch?v=oWIB_rPtTvM&gt; [Accessed 14 February 2020].

“Shows you how to see”

  • which now seems very true considering what I just said about the above drawing
  • guides your eye, carefully taking you step by step, only then for you to make a conclusion on what lays before you

“The more you look at his forms the more understanding you gain about the world around you”

Group Crit Notes

Big thanks to Núria for taking these notes down in the group crit!

PRESENTATION:

– focus on memory but this time more personal

– identity built into a collective well of memory, knowledge that is being passed on

– collective memory from Diaspora context, growing an identity away from the context

– female focus.. portraiture and nature.. abstraction of form and shapes of memory…

– the plant dying and special, intimate, subtle, fragility , profound impact.

– future… going larger scale, lose control over mark-making

 

COMMENTS:

– m, sexual implications of the plant… with the female body

-k, more focused on a different kind of intimacy, more subtle… fragility and uncertainty of its life span

– m- it is hard to keep them alive… otherwise they dye. That fragility must be an intentional link

– liv— communication with mum and that is strong but then when you came back the idea was dying…. How does it link with your mum?

– k, idea of decay interesting… network being fragile and dying over time. want To depict the orchid death aesthetics? Like the creases..?

– liv, extremely fragile.. this uncertain dead no dead point

– k, my mum has her own tips on how to keep them alive…

– Mia, I really like the really smooth movement (water) along with really intricate details

– k, it was an experiment with oil anD, water, paint—— trying to see how it reacts. Cool depths. The patterns made reminded me of the orchids aesthetics too

 

– N ….

– k, torn in between using the alive one… my colour scheme kind of work for that… depressive

 

– H, excellent self reflection.. it’s common it happens and you have turned it into a positIve

– k, a shame I didn’t document when I was struggling with recall, sad about that because I realised that forgetting is also relevant.

– k, still not sure about what scale to do work on… small scale is also quite intimate

 

– N, in a small scale, intimacy and subtleness comes across better… but then again the “network” makes you think big scale….

 

– H, you should try both scales

 

– M, pale white orchids… what jumps out.. do both scales and use colours to draw it back to a specific memory.. bright fleshy colour to draw people. (???)

 

SOME NOTES MADE BY HELEN:

  • Birthright – choices [made by our ancestor, which have created the people we are today]
  • Control over mark-making – larger scale – drawing with extension stick and left/right hand
  • Georgia O’Keefe’s work – symbolism and intimacy
  • Delicacy of plants and nurturing – great comparison to human life
  • Death of the orchid – profound – find a way of expressing the intimacy of this – documenting the plant’s death
  • Scale – larger – power of work is subtle – small scale might be good

Further Reflections on Term I Work


Conversation with Gerry:

don’t think just do!

draw!

draw everyday!

move on from doing just experiments, with materials which are in the end unrelated to my practice

get orchids for the studio?

need to find a different better way to investigate composition in my drawings

 


Conversation with Hira (the Royal Drawing School alumini):

very static

terrifying because my block really comes though in the carefulness and preciousness of my process

need to loosen up

set myself a time of 1 or 3 hours and try to produce as many drawings in that time as possible – don’t think about anything else during that time and be prepared to make mistakes, because only by making these will i be able to tell what works and what does not – be able to point to surprising elements of the drawings that do work

15 works in 3 hours

it makes so much sense

don’t erase or brush off – let the marks be as they are on the page – if something’s not working – write it down and move on

learn from your mistakes and failures

get a massive wall-sized piece of paper – or even more to cover more of the wall – and just create marks on it – don’t over-think it

stop being so precious about putting down marks

have the confidence to stand up for the aspects of my work that DO work and which I do enjoy making

but also have the confidence to say that some works just don’t work

the marks i am making at the moment are too static – there is no actual palpable movement to them and the same feeling transfers to the experience of watching the work – which is very ironic considering all my work is about movement – to achieve this movement i need to stop being so precious with my marks and not worry about making mistakes – because these will inevitably happen – and I will learn from them and create better work from it

perhaps sometimes try to take myself out of the equation of the drawing process – not focus on the emotions but rather on the composition and visual elements of the drawing – I agree with this to some extent and it could be something i try out in the experiments but in the end i will want to incorporate emotion into them since all of them are very personal and intimate to me

Look at traditional paintings and artists – observe and learn from their composition techniques – they are the masters of directing the eye – drawing the eye into their compositions and into their spaces

Don’t rule out the use of colour in my work!

 

SUSAN DERGES and further notes on fluidity

As recommended by Chris Cook I decided to look into Susan Derges’ work for more inspiration with regards to my work. The similarity he found between mine and her works was the cyanotype technique as well as the need for fluidity in our works; he mentioned that she created these cyanotypes which she made in the river; placing a piece of paper to document the river current and light bouncing off.

Derges, S., 2018. Interconnecting Water – Interalia Magazine. [online] Interalia Magazine. Available at: <https://www.interaliamag.org/articles/susan-derges/&gt; [Accessed 4 February 2020].

I found this article written by Derges herself that relates to what I have previously worked with and discussed in terms of fluidity.

  • “Her art comprises an ongoing enquiry into the relationship of the self to the observed.”
  • “It behaves like a separate living entity and yet is an integral part of us (75%) as much as we are embedded in it, along with all of creation, affecting the great hydrological cycle that feeds and sustains life on this planet”
  • “These qualities are living metaphors for the thing we intuit about ourselves – that we are not merely bodies but a streaming consciousness that is shared with all sentient life and behaves in similar ways to waters external gross forms”
    • images of fluidity and their dynamics as a living metaphor for what I would want to communicate, or even better for what I would want to experience myself, how can these living metaphors and images impact my own being and my emotions?
    • going back to the notes I’ve made at a curator’s tour at The Ruskin Library earlier in January – it’s about what drawing CAN do, and not what it IS
  • “Equally, we cannot thrive where we have lost the inner connection to our imaginative life and the ability to sense the living mystery of our liquid selves.”
    • making the connection between the mind and the body – the mind and its state of constant fluidity
Full Moon Hawthorn, refer to citation for reference

What this also made me realise is that everything I’ve been thinking of, in terms of aesthetics and movement within my image, all eventually comes down to water/fluids in all their shapes and forms, whether clouds, mists, fogs, streams etc.

Derges, S., 2014. Hermetica – Interalia Magazine. [online] Interalia Magazine. Available at: <https://www.interaliamag.org/audiovisual/hermetica/&gt; [Accessed 5 February 2020].

This video was so so interesting to watch, observe and learn from!

It essentially demonstrates how a mercury droplet reacts to different sound wavelenghts and amplitudes.

It shows how it behaves – sees it as a living entity.

Shows how it’s state is subject to its surroundings, and how it can change rapidly!

And it will not be the same ever again.

Produces very unique patterns.

Derges, S., 2015. Smoke – Interalia Magazine. [online] Interalia Magazine. Available at: <https://www.interaliamag.org/audiovisual/smoke/&gt; [Accessed 5 February 2020].

  • very soft and yet dynamic movement – shows that I don’t need harsh lines to define stronger and more powerful movement

Annotation 2020-03-16 144038