Bibliography

27/14/2014:

Blog Entry 76:

Blog Bibliography (for all prior Blog entries):

Annenberg, A.(N.d.). The Garden of Eden.

Bellver, R.(1877). The Fountain of the Fallen Angel. [Sculpture, Water feature]. La Plaza del Angel Caido (Fallen Angel Square), Madrid, Spain.

Blake, Q. (1998). Illustration for Matilda. Matilda Dahl, R.

Bloch, C.H. (1870). Christ on the cross. Museum of Natural History, Denmark

Botticelli, S. (1445 – 1510). Birth of Venus. [Tempera on Panel 175.5x278.5cm]. Uffizi Gallery, Florence.

Botticelli, S. (1482). Primevera. [Oil on Panel 203x314cm]. Uffizi Gallery, Florence.

Borges, J. L. (1944). The Library of Babel. Translated from the Spanish (Argentina) by A. Hurley. New York: Penguin, (1998).

Burke, J. (2011). Men with Breasts – Michelangelo’s women 2. 25 February 2011. Jill Burke’s Blog. [Online]. Available at :  http://renresearch.wordpress.com/2011/02/25/men-with-breasts2/ [Accessed 8 January 2014].

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Cousin, J. (1560 – 1589). The Last Judgement. Louvre, Paris.

Coxcie, R. (N.d.). The Last Judgement.[Oil on Panel 300x369cm]. Museum voor Schone Kunsten, Ghent 

Da Vinci. (1472 – 1475).Annunciazione. [Oil on Panel, 98 x 127cm].

Da Vinci, L. (1513 – 1516). John the Baptist. [Oil on Walnut Wood 69x57cm]. Louvre, Paris.

Da Vinci, L. (1494 - 1498). The Last Supper. [egg yolk, vinegar and oil on dry plaster]. Maria delle Grazie, Milan

Da Vinci, L. (1483 – 1486). Madonna of the Rocks (Virgin of the Rocks). [Oil on Panel Transferred to Canvas 199x122cm]. Louvre, Paris.

Da Vinci, L (1495 – 1508). Virgin of the Rocks. [Oil on Panel 189.5x74.6cm]. National Gallery, London.

Dash, M. (2013). How Friedrich Engles’ Radical Lover Helped Him Father Socialism. 1 August 2013. [Online]. Available at: http://www.smithsonianmag.com/history/how-friedrich-engels-radical-lover-helped-him-father-socialism-21415560/ [Accessed 31 January 2014].

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Moving away from obscurity with a set of final responses

14/04/2014

Blog Entry 75:

Although I am aware that I do not necessarily need to create a set of polished final outcomes, I have decided to create a few more finalised images to show how my project has drawn to a close, using: the mediums I have chosen as my preferred in my samples book, the understanding of form developed more in my Life Drawing and Drawing from Life book and the ideas I have developed in my main sketchbook.

This set of paintings are designed from the influence of hand gestures which suggest the human recognition of what may be considered divine or the lack of.

Set of final images:

Divine Hands II Proffessional Acrylic mixed with Retarder on Wooden Panel

Divine Hands III Watercolour on Cartridge Paper

Divine Hands IV Gouache on Card Board

Hand gestures and the little less obscure

10/04/2014

Blog entry 74:

After realising that I was using the idea of creating an image in response to each paragraph of The Library of Babel (blog entry 71) as a comfort blanket, and I decided to more loosely base my final images on the idea of the divine through a human outlook or feeling, I made a number of subsequent decisions on how to end this project. Due to my finishing my samples book, I made a list of preferred materials I intend to use next semester which is as follows (this may change next semester if I feel I need to use something else sampled):

• Professional Acrylic Paint mixed with Retarder
• Watercolour
• Gouache
• Oil Paint mixed with Liquin

Because I have decided I wanted to specifically use these paints (and potentially others this is not set in stone), I have decided to create a final hand gesture response images using these mediums and potentially mixtures of them.

Before I create a set of final responses, I have explored in my Main Sketchbook composition through photographic found images and drawing:

Divine Hands I Cheap Acrylic on Acrylic Paper

How to hand in and present wet oil paintings

10/04/2014


Blog entry 73:

As aforementioned in earlier blog entries, a prominent problem for me this semester when dealing with and learining about paint, has been drying time and wet oil paints. When coming across this problem, I found that that using specialist mediums mixed with specfic paints affected the speeding up or slowing down drying time. Althoug I found the mediums helpful for work not yet started, the work I had already painted in oil will remain wet until the natural going off process of the oil has taken place which can take years: years which I do not have to hand in my work.

I have had to work to find ways around presenting my wet oil paints without ruining them or other pieces of work through smudging.

Oil Painting I:

The first oil painting I did is the thickest paint, and thus the painting drying the slowest, to present the work without smudging it I have fastened it with stick tags into a deep portfolio box (as shown above).


Oil Painting samples II:

The two sample oil paintings I did on small canvas, have dried to a point, but to ensure that they do not smudge I have presented them in a clear plastic folder.


Oil paintings III and IV have dried mocu more and I have not needed to take precautions to ensure they do not smudge.

Postgraduate-ness

02/04/2014

Blog entry 72:

Food for thought…

A test of ‘postgraduate-ness’; what potential for new learning and new knowledge lies in my research question?



Now that I am reaching the end of this semester, I feel that I understand better the difference between working on a Ba(hons) and a Masters. Due to my course being intergrated, I found that it felt like I moved very fast from one to the other and it felt like a shock to my system. I now understand that to work as a post graduate student (even though I have not technically graduated) I am working as I intend to as a practitioner and I need to find far more than my personal voice: I need to find myself and fully comprehend how my practice works, what makes it unique and how it suits me.

I have found that by having physical seperate entities to explore seperate areas in my practice (samples book, main sketchbook, life drawing and drawing from life book) has helped me to fully experiment and understand how my practice is broken down similarly to building blocks. 
 

Life Drawing and Drawing from Life

31/03/2014

Blog entry 71:

Due to my dealing with the human form so prominently in my work, I have used some of my time to keep my hand trained in depicting it. Although I have been unable to find a organised life drawing class, and having no time to run one myself, I decided to undertake my study through drawing from life on my own. I have dedicated a separate book called Life Drawing and Drawing from life, for this practice of keeping myself trained in quickly drawing the human form. I have used friends and smily members for this study.

I feel that not only are, idea generation to form a strong basis for my project and samples to understand the practical nature of the materials I am using important, but I feel that practically studying form through drawing is an imperative part of my personal practice. Without being able to practice in this basic way, I feel that my work dealing with form would not be as successful in its execution.

Now that I have decided to look at hand gestures through my idea generation process in my main sketchbook, this has informed my focus for the rest of the work which will be done in my drawing from life book, I will use this book to study the hand as a specific area of interest as part of the human form.