Undirtied Paulin

Sunday 30th July, 2017

 

Undirtied Paulin, Side 2 (2)

 Undirtied Paulin, 2017, Paulin, Dirt, Sand, Paraffin wax, Microcrystalline wax, Gloss, Acrylic paint –    Side 2

  • Undirtied Paulin – Side 2 – A time duration of 2 weeks, the exact amount of time I gave myself for the completion of Side 1

– Working with the same method I used for Side 1 of this piece. However I was interested in keeping an essence of the foundation surface, forming a contrast between the the event of process and the artist at work. I wanted to display both transformative aspects.

  • The converted nature and structure of the paulin when first put through the process, this collaborated materialization between the paulin and other elements.
  • The highlighted documented capture of shift and change within the surface.

-The work is not separate, it is all one configuration.

Recent Tutorials with Ilona Sagar and Amanda Couch

  • Thoughts / opinions and concepts which were brought up during both tutorials

*Artists, books and films to focus on due to certain similarities in practice 

  • Frank Ammerlaan – (Painter) – His work does not try to provoke emotions, instead it draws upon the thought of demonstrating a shift . This then documents  perceptible changes. He has created a series of colorful paintings which are embroidered with thin, shiny, sometimes fluorescent threads, which frame and structure the surface. – Although I do not work with thread in a literal sense, my work has been attached to the technique of tapestry and textiles, this intense and painstaking connection between art, craft and labour.

Steven Connor – (Professor / Writer) – ( The book of skin) – I have made more and more comparisons with the structure of my work and the subject of the skin. This book by Connor seems very relevant as it engages with points and questions of the skin. Something not to be overlooked as it can become a substance, vehicle and metaphor for explanation and creation. I am fascinated with including the topic of the skin in my work within a new fashion, taking it out of its usual context and portraying a new meaning or connected language through an art background.

  • The Pillow Book – (Film) – ( Director – Peter Greenaway) – The film associates an account into the object of the skin, and how it can be reconfigured through the use of body painting, linking suggestions to new cultural themes and settings.

The next area I want to explore is how best to curate my work within space. I want to display a conjoined attachment between work, space and audience.

Undirtied Paulin, Side 2, Close up 1Undirtied Paulin, Side 2, Close up 4Undirtied Paulin, Side 2, Close up 3

   Undirtied Paulin, 2017 (Close Up) – Side 2

 

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Undirtied Paulin

 

Monday 17th July, 2017

Undirtied Paulin - Side 1

 Undirtied Paulin, 2017, Paulin, Dirt, Sand, Paraffin wax, Microcrystalline wax, Gloss, Acrylic paint –    Side 1

  • Undirtied Paulin – Side 1 – A duration of 2 weeks shows the finished look of the first side of the surface.

-The formation of the work shows a similar approach to previous works. The suggestions are built on a performative gestural event, which indicates this intensive relationship being built between artist and surface.

-However I have worked with slightly different properties for this work, this includes:

  • examining and highlighting only the projected shifts / transformative conversions which have been made on the surface.
  • Playing with colour – A direct decision made to include more colour. The foundation surface holds this intense blue, which has become discoloured in areas. Possibly making on think that it has already had some kind of existence. The work interestingly carries different colour shades and tonal ranges, which have been made up through process.
  • White acrylic –  I chose white acrylic as the agent because I wanted a more florescent look. I was aware that my past two works in this series Unbandaged Paulin and Unslicked Paulin obtain a monochrome appearance which could be seen as implying the mundane or ordinary access of documenting and recording.

– I saw this as an added element of chance. Will the work expose the same intensive outcome? Will the white acrylic attract the same form of recording, I did not want the paint to get lost within the make up of the surface and process.

  • Luckily I feel the work possess this rich, attractive style of research!   

The Skin

  • Most recently I have been focusing on the subject of the skin. the reason for this is because I see it becoming more and more present within my work.

-I have called it layering, I have called it applying but in essence I see this process of application a mass build up of substance, similar to that of a skin.

  • Every object has a skin whether it is:
  • Thick
  • Thin
  • Smooth
  • Rough

– The skin is the line between the interior and exterior we can all experience. This can be a natural or artificial artifact.

  • The reason why I am analyzing into the subject of the skin is because,  I feel my work displays similar connotations, firstly my work always holds a natural existence, never loosing its original identity which has been exhibited to the world. It holds a history of life, which is then encouraged to become engrossed within a transformative process. It then starts to morph into an artificial model. It starts to  convert and change into a new object, whilst still importing recognizable traits.

We are all made up from one skin! However we all do have the ability to change the way we look. We have the power to make ourselves more presentable and unique, contextualizing a new beginning to what was seen previous, almost reforming and remolding our inner selves. 

Undirtied Paulin Side 1 - Close Up 8

Undirtied Paulin - Side 1 - Close Up 4

 

Undirtied Paulin, 2017 (Close Up) – Side 1