Emma Stibbon

Drawing is the main focus of Emma Stibbon's work. She travels recording her responses to the physical appearance and psychological impact of natural and built environments. She works from photographic sources and sketches to create monochrome large scale drawings on paper. 

ink and volcanic dust 130 x 183 cm

Sea III by Emma Stibbon

polymer photogravure

Emma Stibbon statement:

I see my work fitting somewhere within a North European Romantic tradition – landscape has a peculiar hold over the British psyche and the rich literary and visual legacy of Romanticism in British art is defining in terms of my own values and beliefs. However I am aware of a tension here, in a contemporary context, our perception of landscape is always contingent. What may have been considered wilderness or pristine in nature we now have to recognize is often fragile or under threat. Our perception of place is refocused through a changing environment. I am interested in whether drawing or print can connect the viewer with the urgencies of our relationship with environment  and an experience of place.Landscape holds a complex document of memory and histories. Whether in the change over geological time evident in a rockface, or the transformation of topography in a built space we can recognize a certain mutability of place, a passage of time. I find this both an attractive and perplexing question, and it is often the reading of a place, my efforts to understand how it has come about that provokes me to draw. For me the act of drawing has almost magical qualities, allowing me to connect the physical with memory.

Much of my work takes me on location. My interest in landscape has taken me to diverse sites; from local places to the remote regions of Antarctica. I am interested in environments that are in a condition of flux or change. Landscape is a central concern – whether that’s man-made such as buildings in a state of demolition or abandon, quarried landscape or thru the forces of nature such as geologically changing or glacially eroded landscape. I am interested in how the apparently monumental or permanent can be so fragile.The work is located in an ambiguous timescale, it is not about a historical place any more than the present. I believe place can be read as a palimpsest, a sort of layering of historical traces. And of course this cycle of decay and regeneration in nature is inevitable and relentless. There is always that humbling thought that nature will of course, eventually take everything back.

Baddesley Clinton

For my drawing project I have been looking at buildings some that I see everyday and some I see whilst travelling. I have looked at how the lines are placed to create the building. Looking specifically at architecture drawings.

I have gone two different ways with this project. The more realist way which is what I really enjoy doing as it takes time to create the layers and then the more abstract way which is bold. I also like exploring buildings as I can create different brush marks to create different textures. For instance bricks as they fade into the distance.

I think that the ones that are most successful are the ones that has a vanishing point a focus to the image that draws the viewer in.

I have been looking at George Shaw.

George Shaw

I have started to look at Michael Craig Martin- The way in which he creates large bold shapes with tape. This is something that I want to explore within my work as I think it would make it stronger. Especially using tape as I can create bolder lines. When I use watercolour it is quite washed out. Although I do like that effect. I think it would be interesting to see the two mixed, creating a dynamic contrast. 

In my next few posts I will explore Michael Craig Martin's work in much further depth to understand his techniques and meanings behind his works. To help influence my own work. I hope to explore my drawing in this minimal way to take away the distraction of details and look purely at shapes and lines. I will start off with plain black tape and then may move to using coloured tape to see what different effects I would get. 

Video editing.

This is my first attempt at editing the video. I wanted to focus on the objects and interior. I think I may try and turn the colours just into black and white to see what different effect it would have. I still have yet to explore the sounds I collected whilst recording the house. I want to explore layering the sounds to see if that builds up the atmosphere of the images that are being presented.

Some extra clips from the film. I am focusing on personal items.

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Michael Craig Martin - Drawing

Michael Craig Martin was born in Dublin Ireland in 1941. He grew up and was educated in the United States, studying fine art at the Yale university school of art. He came to Britain on completion of his studies in 1966, and has lived and worked there ever since. He is a key figure in the emergence of the young british artists in the early 90s.

Throughout his career, he explored many different media's, exploring the expressive potential of commonplace objects and images. 

The drawings I am particularly looking at is the tape drawings. 

A quote from Michael Craig Martin-
'I see my paintings as being informed by my years of making sculpture. I think of my paintings as flat sculptures. The thing that has the greatest impact only work has been the computer- I got my first Mac in the early 90s for word processing. Using the cut and paste tool was a dream for me!

When I started to do word processing I discovered the same way I constructed my work. I could scan all the separate images that I wanted to assemble on to the computer which was unbelievably liberating for me. My work process was tediously slow in the past, and the implications of making even the smallest change ware immense, but now I can make 1000 changes and think nothing of doing 100 drawings. 

Ironically the paintings I do are extremely hand-crafted. I do certain things with digital printing, but the kind of quality you get from painting- the layering- has a physical characteristic I like. All the planning is digital, and this is what liberates the making. I plan all the colour , but when it comes to actually doing it, I have to adjust to ongoing circumstances.

All of the painting with four inch rollers- we have almost eliminated the brush. 

The drawing is done with tape, or the removal of tape, so the paper is like a stencil and the painting is done in flat areas. Rolling gives you a very even colour, and can take many layers.'


I found reading this very interesting to find out the process in which he creates his works. 

Lottie Jackson Eeles Drawing

Lottie Jackson Eeles studied both her art foundation and Fine art degree at university of creative arts (Farnham) 2006-2010.

Artist statement:

As a result of my interaction and personal experience of urban spaces I aim to create 'other worldly environments to which the viewer can escape. Through the image of suggestive elements I invite the viewer to immerse themselves within the framing of a narrative structure, to be involved and enticed by the visual imagery.
Through using books it allows me to negotiate and understand the energetic information i'm bombarded with in London and translate it into drawing.

'Imagery Imaginary - volume 4, pages 1-2'

Mixed media concertina book

2012

Imagery Imaginary - Volume 1, Lottie Jackson-Eeles

Zarina Bhimji Presentation Evaluation

I thought that my presentation could have gone better for a number of reasons: background information on Zarina Bhimji's personal life could have been stronger. Since my presentation I have found out this about Bhimji's personal life- Bhimji was born in Mbarara , Uganda , 1963. She was nominated for the turner price in 2007 for her photographs of Uganda. She attended Goldsmiths college (1983-1986) and Slade school of fine art (1987-1989). 

 Another thing that I think I could have made stronger in my presentation is the historical context behind her work, I know that her films are a lot based on her family. Exploring the empty spaces that was left behind in Uganda where she was born. Particularly finding out about Ugandan Asians being made to flee to the United Kingdom. As that had a massive impact upon her artwork. 

As well as the historical context another thing that let me down was not having her film to show. I had the link prepared in the presentation but because of the internet connection in the room it would not let me show the film. I should have made sure that the internet would work. I did previously tried to find a way to attach the video to the presentation but learnt that it could not be done. I think that because I only had screenshots of her film it was possibly not received in the same way that I know her work. Because sound is very prominent in her work and is a key element to building up the atmosphere and the screenshots do not do the film justice. 

In my feedback form Jamie had mentioned about making sure the link worked and I agree with him that it would have made my presentation stronger. 

Jamies feedback on presentation. 2014.

I also felt that I could have been much more confident in my presentation and looked at the audience more. I was nervous presenting as I am not used to doing it. I hope that in the future I will become more confident and project my voice. I think that I was confident in what I was saying, I knew my information was right but think that I could practice much more on the actual presentation and the way I stand and look out and not constantly look down at my notes. 

Below is feedback from other students that heard my presentation. I think that what they said was correct. I think that some of the artists mentioned maybe really useful for my self directed work as well as relating Zarina Bhimji to other film makers as I do not know of many film makers as it is a new subject for me.

They also mention about how it would have been good to have seen a video clip. This is something that must be thought of in the future and taken seriously for the presentation. Two artists that have been mentioned to look at are Sam Taylor Wood who I have started to look into and Tony Hill. Whom I have yet to research.

Overall I think I needed to go into much more depth about Zarina Bhimji and contextualise her work even more to relate to other artists as well. Also I think I should have looked into her personal life a bit more to understand a deeper connection to her artwork. Also to know what sort of age she is and how long she has been making films. 

Photos for drawing project.

I went around campus at took images of the buildings I found captivating. I tried to take them in a way that I would find the shapes interesting to draw. An idea that has recently come up is layering the drawings. I want to do this to find out what interesting compositions may occur. 

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Laura Oldfield Ford - Drawing

Laura Oldfield Ford works in ballpoint pen ,acrylic paint and spray paint. Exploring the urban landscape.

"Focuses on areas haunted by an urban dispossessed , which regeneration seeks to concrete over; city wastelands where fortress-like old tower- blocks rise, with their Escher-like walkways and bleak 'recreational' open spaces."

I find this explanation of Ford's work to be useful as it is what her work is and it is clear. She publishes a blog called "Savage Messiah."
She was influenced by Raymond Pettibon, Linder Sterling and Jon Savage.

She uses locations such as East End of London, the new towns of Harlow , Hatifield and Stevenage.

"She describes her practise as centring around walks through London and the creation of "emotional maps". Oldfield Ford said "I regard my work as diaristic; the city can be read as a palimpsest , of layers of erasure and overwriting. The need to document the transient and ephemeral nature of the city is becoming increasingly urgent as the process of enclosure and privatisation continues apace."

"Psychogeographer whose photorealist urban snapshots in pen, acrylic and spray paint satirise the empty promises of capitalism." Alumni of Royal College of Art, Laura is mostly famous for her zine called "Savage Messiah" Her practice incorporates drawing , painting, photography, staging events, writing and self- publishing."

John Monks artist study for self directed.

John Monks creates his paintings on large canvases. He focuses on interiors and everyday objects depicted in a way that they challenge the viewer to look anew at the familiar and common places.

Monks creates his textures by pouring the paint, glazing the surface in layers and scraping with a palette knife. He weaves and layers surfaces to imbue his subjects with a  built in history, implying atmosphere ,life and change in the seemingly inanimate and immutable objects and scenes. 

                                               Scardon2013, oil on canvas, 237 x 244 cm

                               Corridor2013, oil on canvas, 122 x 92 cm

                       Shaft of Light2013, oil on canvas, 47 x 56 cm

                             The Bed2013, oil on canvas, 166 x 227 cm

Because these paintings are life size it makes you feel as if you are in the space you are being presented with. He creates something intriguing out of something rather ordinary. I think this is because of the scale and the colour palette. There is an eery feeling to these paintings as it is a house but it is empty. No personal items, it appears to be abandoned.  It think this is an interesting approach as it appears very theatrical which is something I like , as it has a lot of atmosphere. 

Although they do appear very dark , the hints of colour keep it alive. This is something that I would like to do in my work. I would like to create paintings from my film of Baddesley Clinton making something more dramatic. Life sized paintings. 

Monks plays with light and shadow in his paintings which invites the viewer in to find the light source. 

He explores space.