Part II


Friday 25th January

Today I visited three exhibitions, all of which were inspiring and thought-provoking. Robert Rauschenberg Spreads 1975-83 at Galerie Thaddaeus Ropac showed Rauschenberg’s immense collages. I was inspired by his highly considered use of imagery, and the way in which he highlights how you can find art in the mundane. I was also drawn to his educated use of satisfying colour palettes.

The Ulay exhibition at Richard Saltoun showed the artist’s documentation of his radical performance piece in which he stole Hitler’s favourite painting. In the exhibition, I was especially intrigued by the series of polaroid photographs, Traumatic Fears, which depict a man in bed. I really liked the small scale of the photos as it drew my attention to the details within them. The use of monochrome was also aesthetically pleasing and further drew my attention to the subject matter. My favourite photograph in the series depicts an empty bed. I really like the texture of the crinkled sheets, as well as the satisfying central placement of the bed.

Zoe Leonard Aerials at Hauser and Wirth was my favourite of the exhibitions. Leonard’s photographs of vast landscapes and skies are mysterious and breath-taking. Again, I loved her use of black and white as it led the viewer to focus solely on the details and textures within the images. Her use of perspective is also unusual and reminiscent of surveillance. For me, the photographs allude to the power of the landscape, both rural and urban.

Thursday 24th January

Today I missed the critique as I was unwell. I did, however, ask my Dad to look at my painting. He said that the brushstrokes reminded him of worms, as well as crashing waves. He also appreciated the small scale of the painting.

Tuesday 22nd January

Wanting to produce images that will inspire paintings, I continued to create slides today. Using paint, I experimented with colour and texture. I also used a metal outline to frame a very small painting in a slide. Blurring and focusing the slides was beneficial.  

Monday 21st January


Thursday 17th January

In my tutorial with Kaori, she suggested painting on a larger scale, and comparing a larger painting with my small one. I want to continue working with oil paints, as well as investigating monochrome painting. As suggested in my progress tutorial by Gary, I will look at Tacita Dean’s work.

Tuesday 15th January

The colour theory lecture was thought-provoking, and led me to consider experimenting with monochrome painting further, but with different colours. Today I created an oil painting using imagery from my projection work. It was inspired by a certain image where the sprayed paint echoes a mountainous landscape. The style in which I painted was fluid and intuitive. I really like the composition of the piece.

Monday 14th January

Today I primed multiple surfaces for painting. I also produced some expressive drawings inspired by my projection work.

Thursday 10th January

When painting without paint, I used my found metal corners and old photographs and negatives from my grandma’s albums to create interesting compositions. I was drawn to the way in which the pieces of metal framed certain photographs. The rustication of the metal also complimented the age of the photos. I would like to photograph these compositions using a polaroid camera in order to develop them aesthetically.

Using electrical tape, I made a small animation inspired by Katy Dove’s work. This animation was very short, and I would like to create a longer and more complex one.

Tuesday 8th January

Slide making today was really thought-provoking. I was especially interested in some of Gary’s found slides, as I really appreciated the careful consideration of the people who took them. I particularly loved an image of a man driving before a monumental landscape.

When creating the slides, I enjoyed painting on them, and exploring the way in which projecting light through the images revealed unseen textures.

Using the projector also led to some interesting outcomes. By spraying paint onto a sheet of crumpled fabric, I created an image which is abstractly reminiscent of a mountainous landscape. I would like to use this image to inspire a painting.

Monday 7th January

After being given the starting point, Painting for a Corner, I was drawn to the idea of a corner being a painting in itself. I began collecting metal scraps from the workshop that had corners, and experimented with them by creating and photographing a series of sculptural forms. These experiments weren’t very successful as they appeared quite random and a bit forced. I think that they could have been more interesting had I drilled them into a corner, rather than placing them on a flat surface. I was, however, intrigued by the textures on the surface of the metal scraps, particularly where they had been melted. I was also drawn to the warm rusty tones.  

Thursday December 6th

I was happy with the feedback I’d received in the critique. My group noted the brooding dark forms present in the painting, which they believed strongly conveyed emotion. Matilde thought that my painting could depict a storm, and it reminded her of Turner’s Snow Storm: Steam-Boat off a Harbour’s Mouth (1842). Someone also pointed out that there was a juxtaposition in the painting, and that while some areas convey movement and chaos, others are peaceful and silent. They suggested improving presentation by showing the painting on a completely white wall.

Tuesday December 4th

When spray painting, I applied paper directly to the wet stencils to remove the excess paint. I liked the textures and patterns created by this, and was inspired to create a lino cut exploring them. I isolated an area of one of the prints and created a cut from it. Overall, I am happy with the lino as it echoes natural forms. I particularly like the darker, cleaner prints. Despite being pleased with the lino cut, I am going to present my painting in Thursday’s critique as I believe it is a more successful piece.

Monday December 3rd

I created an oil painting of the landscape image I’ve been exploring. By using an excess of Liquin, I achieved a very textural and thin paint surface. I wanted to give the viewer an impression of the landscape, and did this with thick brushstrokes. Overall, I am very pleased with the image, and am considering presenting it for the critique on Thursday.

Thursday November 28th

In the painting workshop, I explored multiple techniques, including impasto. I particularly enjoyed exploring the drip technique. I did this by placing one of my boards under Lottie’s painting, collecting paint from her expressive brush movements. I also experimented with washing my canvas before reapplying paint, as well as wiping away paint with a cloth. This created an interesting surface that appeared to have a history.

Tuesday November 26th

With spray paints, I used my stencils to create a series of images. I found it difficult to line up the layers correctly, but sometimes this worked in favour of the images as what was being depicted became unclear, challenging the viewer’s attempts to find reality. I experimented with the density of the paint, before layering the stencils in a random order to create more abstract images. Hannah particularly liked a blue print that alluded to a footprint. She suggested converting my images into digital versions to explore the relationship between them and the original photograph.

Monday November 26th

After mapping out the layers of tone in the photograph, I began to cut out each layer on stencil card. This process is very time consuming.

Thursday November 22nd

Within the images I collected, I was especially interested in a series of photographs I’d taken in Edinburgh of the landscape in Holyrood Park. I am drawn to a particular portrait photograph due to the image’s grainy texture, and its lack of tonal contrast. I want to explore realism in the photo, as well as how the picture both subverts and conforms to conventions of landscape painting. To begin, I would like to create stencils of the layers of tone in the image, as I want to investigate how reality can be found in each layer.

Tuesday November 20th

The text discussion of Ways of Seeing was incredibly enriching. It was really interesting to hear other people’s perspectives after reading it myself. I was particularly engaged when we discussed the role of text in art, and how text can often be used as a way for people to claim something about a work of art, which may distract from the importance of the image itself.

Today I explored the use of gold leaf in my work. I used it to embellish some of my monochrome images. When I added some to a tree in a film still, I found that the gold leaf added a new narrative, and a layer of mystery. Like Sebastiaan Bremer, I want to alter images and give them a new narrative.

Monday November 19th

I found the painting, photography, and other technologies seminar very engaging. I was captivated by the different ways in which the artists had explored realism in their work. I was also inspired by how they interrogated and interpreted the imagery that informed the pieces. Following the seminar, I struggled to find inspiration in the images I’d brought in, despite the fact that I connected with them deeply.

Thursday November 15th

The lecture led me to consider the way in which reality can change over time. I was intrigued by the layers of historical context present in Manet’s Olympia (1863). When we began to interrogate and explore our own images, I enjoyed asking questions about them. I wondered why they were taken, and appreciated the thought and consideration of the photographers. I decided to explore the images through drawing and collage.