Mon 26th – Fri 30th Sep
Canvas set to fire – Hung work in studio – looks OK – not yet completely sure if it is in correct position? Just wanted to see what it looked like on the wall. I do like the natural clean white colour from the background wall merging through the burnt area on the canvas and becoming part of the composition. It sets a tone almost re enacting the original, the primed canvas. The action from the fire is evident, this destruction to surface, but leaving something quite wonderful, the shape and form produced has come from a very destructive way of working, but the different range of colours, tones, surface patterns and shapes creates a new entity.
– A work which looks planned and thought out but completely done through chance, just throwing the canvas into the fire allowing for it to take its cause.
Blank canvas added to the outside ( Reflection on day 5)
– Is the canvas the vocal part of the work? Is the foreground and the background just as important? Why not all 3? Can all 3 be included in the work?
– Very subtle changes – maybe just the inclusion of a leaf or a strand of glass flattened. * Each photo represents a whole new work each time.
– Is anything really happening in the work ? Does it show a context towards art or nothing going on?
– Environment and space
-Negative space which can actually become an artists tool.
– Art or paintings are compositions made from a build up of marks, tones, shapes and colours. Can this only just be an impression?
Traditional art supplies used – charcoal, paint, oil pastels – why not look more at marks included from mud, rain, leaves, wildlife? An inclusion become the invent for the work. – This then leads on to the idea of an equal industrial ( myself) and organic ( nature) process.
– Thomas De Quincey – ( There is no such thing as forgetting possible to the mind)
– Photography by Idris Khan – Overlaid images
– Honore De Balzac ( story) – ( ‘ The unknown masterpiece’ )
-Essay writing ( ‘A note upon the mystic writing pad’) By Sigmund Freud
– Meyer Schapiro ‘Style’ Anthropology Today (Chicago, 1953) p 287 – 312
– Context of drawing perceived in a different way – Instead of approaching drawing with traditional methods, I make up my drawings through set rules, in the hope of producing ambiguous finishes towards abstraction.
- – Drawing from constructed (wax) sculptures. Using a HB pencil I draw from the image, difference is I can not take my pencil off the page. If I want t o draw another section I have to guide the pencil across.
- – When I feel the drawing is complete I use a B pencil, No pencil, 4B pencil & 5B pencil all in turn to build colour and tone into the outlined form. Working section by section. Pencil grades can override each other, but it is up to me as the artist to try and remember where a blank space has been given.
– Why drawing like this?
– Connotations towards order and chaos
– New technique adventure towards drawing allowing no boundaries a more freer expression to occur.
– Testing the mind of the artist, having to remember the rules.
– A more abstracted finish. – elements of chance in the drawing – showing a passage through time – Construction of drawing – Order of pencil grades – Appearance of form.
– A change from the original – Although working from an image I am changing and modifying the original foundation. Becomes a new existence the previous has become altered. I find working in this way a relief – Rules allow for me to follow but then through progression work evolves. Once practice takes shape rules become less strict and instead more of a guidance towards transformation.
- Tues – Crit with Amanda Couch
- Artists too look at – Georgez Perez – Interesting scripts to look at regarding notions towards nothing.
– Jessica Warboys – Surface taken out into nature ( Performative)
– Gustaz Metzger
– Looked at each peers studio at development in practice thus far. Good feedback and interesting ideas to push forward with.
-( The haptic) – Reflection towards film & visual art in relation to touch
– Decay – Still life – 15th century painting – Time – Commitment
– What is it about 6pm?
– David Attenbourgh – Video work – Adam and Eve ( Evolution & Apple being apart of my work?)
– Keep going with timed based piece ignore time limit, just included time . Keep bits of rubber, to show this performance, the tool I have used and how this tool for all its worth has become nothing.
canvas covered with layer of charcoal & Oil pastel rubbed out
– Thinking about carrying on with this process. Not working with a set time limit but instead just allowing time to be seen as part of the work. – Endurance test ( On the body and on the surface). – A physical and emotive matter being transferred to the surface.
– Thinking about creating a short video caption of me rubbing away at the surface.
Blank canvas added to the outside
– Still recording development through photography. Creating an ordered journey of discovery not just about what is happening to the canvas but also changes to the foreground and background. – Reminiscent towards Still life!
– Work has been dictated around the time 6pm, just because this was the time I took the first photo at. Process all at random. I can only think at this stage that a good finishing point for this work is when for what ever reason I can not document the canvas at 6pm. The process has failed.
– New working ideas – Possibly new surfaces – Setting – time
Canvas set to fire
– To think about working larger in scale. – Large lose bits of canvas and cloth not to be stretched or attached. Most interested in the after effects of the transformed surface. Don’t want reminders towards a canvas in relation to painting.
– Researched into interesting theories by Thomas de Quincey regarding possibilities of the mind. How the mind works when it comes to forgetting.
– Gave me a different insight into how it may or may not work. The overall thought was that the term forgetting can never be proved. The only aspect which can be thought of as proven is if there is something which we do not want to remember we have the ability to push this to the back of our minds allowing us to forget.
– I still believe that if there is something we really do not want to forget we can prevent this at all costs. An imbalance in the brain I believe is a major factor towards regular forgetfulness.
– I found reading and researching into this engaging and certainly made me think and question my own interactions with forgetting. I believe it is something which is never thought about but when the question is raised, it takes you into all new possibilities of the mind.
– Approaching drawing with expression and no boundaries. – Working from an original but changing it further to allow for a more abstract element and a character to grow within the surface. A surreal connotation attachment linked as well.
– Made up through rules but also given a sense of freedom – This allows for an opportunity of systems to become broken and all networks to become chaotic.
– Traces are only left from the make up of the original – But the essence has been banished – allowing for a new reign of existence.