Mixed Media, Paint and My Practice

12/03/2014

Blog entry 64:

As a practitioner, I describe myself as a Painter, but I have found that I enjoy using many different materials, so whilst I have time to experiment this semester I am going to list which materials I enjoy using and how they might be combined with each other:
Please note all imagery in this blog entry is my own

Paint:

• Acrylic - Acrylic paint was the first paint I used to develop my personal voice in my second year at university. I found that painting with acrylics very difficult, which for me made it more enthralling as a medium to use

The Beautiful Congo Woman
Acrylic on Acrylic paper (for project Heart of Darkness
by Joseph Conrad Third Year First Semester)

• Oil - As aforementioned in blog entry 51 (and others), I had never tried oil paint before but found it to be my new favourite medium to work with, although I have been worried about drying time and how this might affect how I present my work.

Man Praying in the Dark
Oil on Primed Canvass (first attempt at oil painting first semester Mdes)

• Watercolour - I find that using watercolour allows me to get very small accurate marks that the aforementioned paints cannot.

Angry Birds 6th Birthday Present Watercolour on mount board

• Reduction ink - Reduction in although similar to watercolour can create a very different feel to an image. Unlike watercolour, which I can control how wet I am using the paint, ink is already in liquid form, which can make it harder to control.

Although I do use other processes, I do not want to loose sight of my identity as a painter and intend to ensure that most work I do has some kind of painted quality, as this is my personal practice.



Drawing:

• Biro/ Ball Point Pen - I very much enjoy using biro due to the multitude of marks and thickness of mark that can be accomplished

Biro on Printer Paper
(from project Time - Blink and You'll Miss It First Semester of Second Year)

Printmaking:

• Intaglio (Reduction Ink) Collograph - This method of Printmaking gives me a very different result than what I am used to with expressive and painted processes, I feel that this method combined with others would feel much more like my style.

The Book Man's Aureola Raw Umber Etching Ink
 Collograph on Cartridge Paper
(First Semester of Mdes)

• Intaglio (Reduction Ink) Drypoint - I find drypoint to give a similar result to drawing in biro, however, this print process allows the imagery to have a more painted feel, and an array of etching inks allow a much larger colour selection to choose from.

Damnation Burnt Umber Etching Ink  Drypoint
on Seawhite 300gsm paper
(First Semester of Mdes)

• Emulsion Print - Emulsion printing allows me to basically print an image on any surface (within reason), this process is often imperfect as parts of the image inevitably rub away, this is interesting because it can make an image look different due to loss of some details, or look worn/ old. As I have Listed in my Samples Book, Emulsion Printing can not only be done with printed out imager, but with biro too. 

• Monoprint - Although I have no visual examples of my mono printing experience, I am very familiar with a number of methods of mono printing, which I intend to explain in a later blog entry along with examples of this process that I have created.

Combinations I have already tried:

• Biro over acrylic - This process is difficult due to the texture of many acrylic friendly surfaces being textured, which means that the pen lines are not as crisp as they could be, so if I am going to use this combination, I can paintings in and use biro on the printouts. The result is interesting and I am fond of the contrast in marks.

Hanging Feet Biro (Ball Point Pen) on Printout
of Scanned Acrylic on Acrylic Paper
(For Project Fading Clarity First Semester of Second Year)

• Watercolour and Acrylic - As I have mentioned watercolour allows me to make small details which are more difficult to achieve with thicker paints. This combination of acrylic and watercolour paint allows me the best of both worlds. I paint most of the composition or closer, more detailed areas in acrylic and paint the smaller more intricate details over the dried acrylic.

The Boiler Room Acrylic and Watercolour on Acrylic Paper
(For Project Heart of Darkness by Joseph Conrad
First Semester of Third Year)

• Reduction Ink and Biro - This process is interesting due to the contrast in the way in which tone is built up through the two mediums: reduction ink builds up tone subtly through gradually diluting the ink with water, and biro is built up by adding more or less directional lines and cross hatching.

My Inky Pony Reduction Ink and Brio (Ball Point Pen)
on Watercolour Paper (Personal Work)

Although I have combined a number of these processes in the past, I feel there is a much more to experiment with, so I intend to list possible combinations of the above processes that I can give an educated guess that they will work and processes I have not tried, and sample them in my Samples Book.

• drypoint over collograph
• drypoint over acrylic
• oil paint onto collograph plate printed through press
• oil paint mono print
• biro mono print
• Watercolour emulsion printed

Now that I have explored different materials that I enjoy working with I feel much better in defining my practice as Paint/ Mixed media, and intend to work on finding a number of ways to sombine them, and where/ how I might use them for different commissions/ work.

Considering Audience and Impact: Session 6 Personal Practice and Methodologies

10/03/2014

Blog Entry 63:

Today in Personal Practice and Methodologies, the class was asked to consider their potential audience and what aspects of this might be takin into consideration. As we are to difine a research topic at the end of this semester (four weeks time) to inform the next Concept stage semester, we must also consider audience.

During the presentation on Audience and Impact, it was suggested that having a specific idea about the ideal target audience for my work. This is something that I have not fully considered as of yet, I am aware that I want my work to have an adult target audience, inspired by the work I have created in my Ba(hons), but what is an adult audience? Who exactly do I intend to speak to through my work?

Part of the presentation outlined how many commercially made magazines and other such items thrive on advertisements which are aimed at a similar, sterotyped audience to that of the publication. This made me consider who and what might advertise to me through social network or the internet. As is well known Facebook often takes into account through the use of an algoryth, my information of things I have put on my profile that I am interested in and streems adverts to you most notably down the right hand side of the home page, so what is being advertised to me?

Screen shot of the advertisements on the right hand side of my home page on Facebook

These advertisements tell me that as a young woman with many friends of the same culture and age I am constantly shown imagery that advertises clothing and jewellery websites. This is probably due to a much deeper connotation shown through the media as a means of making people, in this case specifically young women feel venerable due to their emotional desire to be/ feel attractive. Imagery of an unrealistic perfection in this society is everywhere and many people find themselves being emotionally affected because they do not look this way; clothing companies latch on to that self loathing and advertise using this device to suggest to their target audience that they will be more attractive if they have what the company is advertising. As a practitioner I have no intention of adhering to this type of manipulative advertisement and intend to ensure my work either avoids this or fights against it.

Another aspect mentioned in todays talk given by tutors was that sometimes visual stimuli will if successful not only be looked at and enjoyed by the specific target audience, but will also be adopted to interpret new or different meaning (not always drastically different) in the visual. In the case of this advertisement (above) these adverts are adopted or adhere to not only young women, but men buying for women, transgender or transexual men, older women, and many many more.

A point raised was the question as to how to be both commercially viable and stick to my personal style and research proposition, this can be done by considering audience. An image with no audience or made selfishly on the part of the practitioner can fail to be commercially viable due to a wider audience not being considered or catered for.

Audiences are often stereotyped by commercial companies in order to apply to a generalised version or the public or area of which can be manipulated or advertised to, shown above. As a practitioner, I do not intend to adhere to a stereotypical version of an audience, which in itself will be a challenge.

When considering in this country alone (United Kingdom), there is a multitude of people of all different cultures and languages, when thinking how to reach more people with my work, I consider how through a visual representation, language barriers are less of an issue (assuming imagery has no text).

Multimodality is also something I must consider when looking at how and where to situate or advertise my work: Many commercial enterprises such as web pages and magazines carry adverts. With this in mind, I must consider how an audiece might draw intertexual connections or be destracted by multimodal aspects that I might not have envisaged being in context with my imagey.

When considering audience, it was suggested that each of us should strive to create in our minds an ideal reader or viewer, this will help to underpin, who I am talking to and how I need to underpin my practice. This is a good way of looking to what I want to achieve with my project for next semester; however it must also be mentioned that the 'perfect' viewer might not exist and I should aim to apply this to people who might fit the catagory or the work might apply to. When thinking about who my ideal reader might be, it is possibly good practice to humanise this person through more simple human qualities, subtle traits and preferences.

So far I have a vague idea that I might like to either look towards asking the question what depicts the divine or how to raise awareness or speak to people who have autism on a more adult level, this I will consider in later blog entries.

Influences and Inspiration X: Obscure shapes for obscure paintings: Vesica Piscis

10/03/2014


Blog entry 62:

The Vesica Piscis is an unusual shape for an image often found in a church, this shape has connotations which relate to the idea that the shape might represent the shape of a vagina - could this be something else I use as a device to suggest androgyny:

Although I have for now disregarded the idea of androgyny to depict the divine for this project based on The Library of Babel, I feel that it is something I intend to consider further next semester, so as I find inspiration that may inform my practice at a later date I will record it for future consideration.

Vesica Piscis simple mapping diagram

As is aparent from the above diagram, the Vesica Piscis shows the interesect of two identical circles (the white area), which admittedly does look a little like a basic shape form of the female genitalia; however if turned to be horizontal this shape couls as easily represent the shape of an eye or a fish.

For more information on the origins and ideas behind one idea relating to the Vesica Piscis follow the link below:
http://www.holyblasphemy.net/marys-vulva-jesus-christ-vesica-pisces-and-the-christian-fish-symbol/
(Murphy, 2012)


Vesica Piscis in art:

Mandorle: West Facade, Central Tympanum Western Gate of Chartres Cathedral

For more information on this particular releif image and the Vesica Piscis follow the link below:
http://en.chartressecrets.org/cathedral/mandorle.htm
(Chratres Secrets, 2008)

Mary and Christ mural, Santa Maria Church (unknown artist) 12th Century

For more information on the Vesica Piscis relating to tarot and Pagan beleif please follow the link below:
http://www.toniallen.co.uk/vesica-pisces-continued.html
(Allen, 2000 - 2006)

(Please note all websites linked have been read by myself as information on the topic.)

If I decide to look further into the idea of Androgyny next semester, I feel this information here will be helpful when researching themes and ideas. The Vesica Piscis could also make an interesting shape on which to paint - instead of using a typical rectangle or square canvas of paper on which to paint, I could use this shape.

Influences and Inspiration IX: 3Dimensional imagery

09/03/2014

Blog entry 61:

When studying Art & Design at college, I was required to study all areas of this field, including 3D and sculpture. As someone who was always used to working in 2D I found working in 3D very difficult and decided not to carry on with it; however I did learn that by looking at 3 dimensional work, I was able to understand how to use colour and tone in such a way that suggested a 3D shape; I decided to use this influence to apply to my practice here. If I see something inspirational, I often keep a copy on my phone or laptop and I foiund a number of images that I have accumilated, to be paticularly influential to me and my practice.

Unknown by unknown artist (N.d.)

Unknown by unknown artist (N.d.)

Unknown by unknown artist (N.d.)

Unknown by unknown artist (N.d.)

Sculpture such as this allows me to study form in such a way that is inspired not only by the 3D form but the artistic style of the work. I will continue to use inspiration form 3D artwork to inform my practice and drawing style.

Influences and Inspiration VIII: Backgrounds and South of France

09/03/2014

Blog entry 60:

Something that I have always found difficult when creating imagery, is that I often focus too much on the human form or portrait and my background is an afterthought. In my last semester, I was looking into how I could ensure my imagery was more illustrative than simply a fine art piece, to tell a story. I am enjoying experimething with new but I do not want to loose sight of what I was working toward during my Ba(hons) to inform my practice, old and new combined, similarly to my influences.

When considering The Library of Babel and my theme of the divine (or opposite of), I think of the building (if it is a physical entity) being somewhat similar to a church - ornate and beautiful. When on holiday in the South of France, I took a number of photographs, in Bayuex as visual influences which I feel apply here for inspiration.

Photographs taken by myself on my Holiday to South of France Bayeux (Summer 2013):

The above photographs are taken outside and within the Cathedral Cathédrale Notre-Dame de Bayeux. I have found that this Cathedral, like many other Catholic churches and buildings is heavily decorated which is how I imagine the library to look, and it also goes with my illustrative/ art style.

I found this idea of the female form on a pedestal in these two photographs, this is interesting to my idea of Androgynous forms, which I may look into more in my Concept stage semester. It is also an interesting idea to consider the situ of my artwork and where it can possibly be put in context and the shape it might be dicatated by if it was to be a piece for installation.

I am particularly fond of the first of the two above photographs, due to it being in an unexpected place - taking artwork out of context to get a different reaction or affect the gaze of a potential audience.

statue of st Michael defeating the Drageon

Statue of chirst

European artwork especially of the Renessiance era is of high interest to me, so it makes sense to not only look at painting, but at all areas of art and visual that surround these times, including statues and architecture.

I now intend to consider background and architectural imagery through a set of perspective drawings as quick sketches, I want to do this because I feel that I have only focussed on the figure in my experimentationand not what could potentially acompany my characters as a background.


The Bayeux Tapestry (photographs taken by myself):

When visiting Bayeux, I found the Bayeux Tappestry particularly enthrawling not only due to the amazing detail, but the sheer size and long horizontal shape of the tappestry. I would love to work on a huge scale like this, the only reason I have mnot is due to the time it would take; however I may look at drawing a basic design at a much larger scale to show how i might intend to work in this way if I had the time.

Obscure Limbo (Cricle one) and The Library of Babel

01/03/2014

Blog entry 59:

"In Limbo reside the unbaptized and the virtuous pagans, who, though not sinful, did not accept Christ. Limbo shares many characteristics with the Asphodel Meadows; thus the guiltless damned are punished by living in a deficient form of Heaven. Without baptism ("the portal of the faith that you embrace") they lacked the hope for something greater than rational minds can conceive. Limbo includes green fields and a castle with seven gates to represent the seven virtues. The castle is the dwelling place of the wisest men of antiquity, including Virgil himself, as well as the Persian polymath Avicenna. In the castle Dante meets the poets Homer, Horace, Ovid, and Lucan; the Amazon queen Penthesilea; the mathematician Euclid; the scientist Pedanius Dioscorides; the statesman Cicero; the first doctorHippocrates; the philosophers Socrates, Plato, Aristotle, and Averroes; the historical figures Lucretia, Lucius Junius Brutus, and Julius Caesar in his role as Roman general ("in his armor, falcon-eyed"); mythological characters Hector, Electra, Camilla, Latinus, andOrpheus; and many others. Interestingly, he also sees Saladin in Limbo (Canto IV). Dante implies that all virtuous non-Christians find themselves here, although he later encounters two (Cato of Utica and Statius) in Purgatory and two (Trajan and Ripheus) in Heaven."
(Wikimedia foundation, 2014)

To read this full text follow the link below:
http://en.wikipedia.org/wiki/Inferno_(Dante)
(Wikimedia foundation, 2014)

Limbo is the circle of Hell described in Dante's Inferno, which I find is most closely linked to The Library of Babel due to the lack of physical pain, but the mental suffering described by the Narrator in The Library of Babel seemingly relates to that of Limbo. The feeling of wistful longing for the divine or Heaven, but this being only just further than arms reach or only slightly tangible is seemingly a prominent factor in both of these fictitious situations: In Limbo the inhabitants are aware that heaven exists and they are closest to it, but they are fully aware that they have no chance of reaching there; In The Library of Babel the inhabitants (at least the Narrator) can only speculate that the divine exists and constantly search for this in a futile attempt. The correlation between the feeling of hopelessness is strong with the longing for the divine.

Another similarity between Limbo and the Borges story is that the characters that reside in Limbo consist of Philosophers, Scientists, Theorists, and many more including intelligent men who are similar to those I imagine to inhabit the Library. When a number of those who reside in Limbo are listed very few are women, which is similar to how in Borges' story only men are mentioned (although the term "man" could possibly refer to mankind rather than male).

Intagilo Reduction Ink Printmaking II Drypoint Printing: Obscure Damnation

28/02/2014

Blog entry 58:

After realising that I wanted to focus more on depicting "Hell" or "Damnation" rather than "Heaven" or the "Divine"and after creating a set of collograph prints from the plates I had made when still considering the divine, I wanted to use my favourite method of printmaking, Drypoint Intaglio reduction ink.

(The term intaglio is Italian for incise)

This process is similar to Collograph, but instead of card (which layers are added to or cut into similarly to collage) the print plate is aluminium and is scratched into using a dry pint needle by hand or computer aided photographic machinery.

My Drypoint Plate is 500 x 500mm which is much larger than the collograph plates I have been working with (to get myself used to reduction ink printmaking again), which means I can add much more detail: This is also aided by the marks that can be scratched in to print also can be made very small with a good amount of control (my insatiable need for control with media and materials explained in blog entry 45). Working at this larger size however meant that it took a much longer amount of time to apply ink and rub off: I had to also add areas of ink back into the scratches which were very thin or that I had rubbed the ink out of to ensure the large multitude of lines I created would print.

I often liken the drypoint print to the work that can be achieved by using biro or fine liner, as makes can be made thinner and with less pressure to suggest a lighter area of tone, but essentially with one print (assuming that only one colour ink has been used and the print has not been printed on a bicolour or multicolour surface) only the colour of the ink and the surface will be present (e.g. black ink on white paper will equal a black and white print).



Drypoint Plate Damnation inked up with Raw Umber etching ink (Photograph) Plate 500 x 500mm:

Test print on A1 Cartridge Paper:

Test print on cartridge paper

Test print on cartridge paper

When taking prints from this drypoint plate, I realised that the quality of the paper which is being printed on is of paramount importance: The test print above is printed on cheap cartridge paper, whereas the print shown below is printed on a specialist printmaking paper which is much thinker, but unfortunately more expensive. It is apparent from looking at the two sets of photographs that the quality of line is extensively different, above it is inconsistent both in quality of line and thickness of ink, where as below the print is of much better, crisper quality.  Throughout this project, I have been exploring the mediums and materials I have been using to get the best possible results, mainly in my samples book, I intend to come to a decision by the end of this semester about which materials I will use next semester and how is best to apply them.


Drypoint Print Damnation Raw umber etching ink 500 x 500mm on Seawhite 300gsm specialised print paper UP (unique print) (Photographs):

I am very happy with how this print has come out (although I had to pay a lot of money for the specialised paper) and now wish I had added in more hands to show a larger multitude of people in this Damnation; however the fact that there are only a number of hands ensures that the image is not too overcrowded and is suggestive of the inhabitants of The Library of Babel being close to extintion.

I have noticed from this image that the hand gestures and composition are working quite well for me and I now intend to look into this in more detail.