Wednesday 16th August, 2017
Installation Set up 1 – Inclusion of works Unbandaged Paulin, Unslicked Paulin, Undirtied Paulin
Initial plan for the construction of the space
- I aimed to construct a space which brought and featured character and presence. I intended to do this by inserting and positioning my works in a way which enlighten them, giving a feeling to the viewer that this is an already inhabited space. I was interested to think how the viewer would react when confronting the work.
- The space for me was going to become just as important as the physical forms of work. I wanted to construct the contexts of the history of process within the work, and the contrast of this original negative space within the room. How the two aspects could conjoin together in order to perform and illustrate an event. For me this would not just be a feature between work and space, but also the participation of the viewer.
- The unfamiliarity of this space was to link with the configuration of form. I was not trying to unsettle an audience but instead ignite the imagination of the mind. A mix of both familiar and foreign visual senses would captivate and conceal one self.
Positioning and Presenting of works included in Installation Set up 1
- Unbandaged Paulin – To be positioned on a flat surface – MDF wood or Plywood – supported on a plinth. The wood panel will be varnished with a gloss. I was trying to integrate both the mundane and the ordinary appearances with the durable and treasured. The work will be situated in such away it allows the audience to travel around, encountering each side and angle.
- Unslicked Paulin – To be suspended from the flatness of the wall, with this characteristic of the piece supporting itself away. I used 10 cm nails as an attachment for the wall, and large bulldog clips to clamp the surface of the work. Immediately I felt the work excelled within structure when up against the backdrop of the wall, drawing out this slick and shinny textural property.
- Undirtied Paulin – to be hung in the same context of a painting. One theme which connects to the construction of my work, is this comparable link and infusion between aspects of painting and sculpture. Using 10 cm nails as a wall attachment I was able to feed the nails through the already given ring holes which were within the surface. I was pleased with the striking opposition of colour between the work and the back drop of the wall.
Close Up photo’s of work in installation set up 1
Tutorial and Crit chats with Greig Burgoyne, Ilona Sagar, Andrea Gregson & Louise Ashcroft (Discussions about the 1st Installation set up)
- Below gives a description of themes and aspects which were considered regarding installation set up 1. This encouraged me to manipulate what I had already composed, enabling me to formulate a new installation enhancing my own outlook. A richer connection would be made in order to consider the make up of my practice in terms of how the work materializes, through an activation of processes contextually, pragmatically and theoretically.
- Perform more of a connection with an experimentation with space. How the work could display a growth within the space theatrically through a gestural performance.
- Exposure of materialization. A description documenting the history of how the work has evolved.
- Thinking about how best to illustrate an ordered chaos through the set up of an installation.
- Allow an enlargement within the scale of the work, by turning the negative space into positive.
- To infuse the application of building appliances into the presenting of my work. Showing this cross over between the object of material through the form in work and the attachment of displaying.
Photos of the set up of Installation 2
Monday 14th August, 2017
Untrialed Paulin, 2017, Paulin, Microcrystalline wax, Varnish, Gloss, Pigment ink, Indian ink, Acrylic
This work demonstrates an entrance of artist and material in an intense participation of new ways of functioning.
- A build up of mixed media styles of recording through marks. An attempt to depict different modes of recording. Reactions will differ hopefully creating more insight into combined styles of painting, sculpture and drawing.
- Each mark will highlight direct evidence of uniqueness in terms of a gestural imprint. – An expressive association becomes more apparent, as there holds more attachment in terms of tool & surface, Artist & tool and Artist and surface working together.
- To signify a more open connection of sculpture – Contourt, Trans-formative & converted prints in surface. Linking – Topology & Chance.
- To represent a more forward connection to painting and drawing – Expressive, Gestural, Unique marks inserted into and onto the surface. Linking – Mapping & Imagination to foreign aspects.
Elements of Media
- Acrylic – Demonstrates less restricted active marks. Enhanced expression documented through the colour of Cadmium red.
- Pigment ink – Displays structural lined marks. Almost exhibiting scored liked marks, embedded onto the surface. Referencing the idea of drawing.
- Indian ink – Fluent, loose composed with solid and figured. Portraying a vision into a captured moment through painting and drawing.
Untrialed Paulin, 2017 – Close Up
Sunday 6th August, 2017
Ungreened Paulin, 2017, Paulin, Microcrystalline wax, Varnish, Gloss, Acrylic
New Approach To Practice
To focus more about integrating selected themes into my art practice
- More of a connected impact to something viewed as a painting, drawing and sculpture.
- A performative gesture which connects building, craft, art, labour and imagination
- The skin – with reference to a textural artistic quality as well as a humanistic form.
– I want to combine more of a direct collaboration between a painting form and a sculptural form, how a painting does not just have to be read 2 Dimensional. Working with the structural frame of the stretcher by converting all points. Raising the surface away from the flatness, to express less about the norm and more about curiosity. To not just bring an illustrative viewpoint to the work, but something which can be engaged through a performative meaning. Working around the space of the venue, the work can consistently change and become different.
-The performative gesture does not just come from the image or the dramatic nature of line, but the journey of adventure through process. How elements have configured not just through their own properties, but by impacting on one another. A new mixture materializes through an active formation, a new beginning from what was seen previous starts to emerge. For me this includes all components Building and craft infusing with art and imagination. Structural regulations impacting with the less obvious – the foreign. This is where the richness of excitement happens – Where I can start to insert my own imprint, where a language expands through documentation.
-Everything has a skin – I am fascinated about constructing this layering / Veil which is comparable to a living skin. What I mean by this is something which has a personality, which looks living and alive – like a growth. This imprint which is produced from artist and element for me holds this action, this gestural movement which uniforms itself from beneath the surface.
- ‘In turning the object………..from something ordinary familiar, immediately accessible, into something peculiar, striking and unexpected.’ – Nicholas Royle – The Uncanny
- ‘Imagination can animate the canvas, and it is imagination that must guide the painter’s hand. Although imagination is invisible, it can become visible in every brushstroke. If only for those with eyes to see, only for those who can sense and feel its presence.’ Max Libermann – Art In Theory 1900 – 2000
Ungreened Paulin, 2017 – Close Up