Monday, 28 April 2014
Drawing
"Untitled"
Watercolour on Cartridge paper, 29.5 x 21 cm , 2014.
"Untitled"
Watercolour on cartridge paper, 29.5 x 21 cm, 2014
"Untitled"
Watercolour on Cartridge paper, 29.5 x 21 cm , 2014.
"Untitled"
Pen ,washed down with water and tape on brown paper 2014, 95 x 36cm, 2014.
Wednesday, 23 April 2014
Tim Shaw; Black smoke rising
This exhibition was at the MAC in Birmingham. The sculptures were presented in a large room that was detailed to the artists ideas. The sculptures were human forms they were large and intimidating as you walked in it was dark, and smoke was covering the room.
The ideas around 'black smoke rising was about torture. Tim Shaw was born in Belfast, and as he was brought up there he was surrounded by political issues which has influenced his sculptures greatly.
I normally am not that compelled by sculpture but because of the way Shaw set out his I found it really interesting. It was almost like a theatre stage or film stage, which would either put you off or make you really enjoy the atmosphere it created. I felt intimidated by it, in a film that I had watched whilst I was their Shaw mentioned that he would like his viewers to feel something as they came in, perhaps not a joyful feeling but fear, or intimidation. One aspect I thought was too much on this particular setting was the writing on the walls, I thought that it was too obvious. However I did think that the walls should not have been white, but Shaw could have made the walls like in the smaller installation that was part of the exhibition as well; which is the one that intimidated me the most.
This was a piece called 'Man on fire' which is based of real images Shaw had seen in newspapers. When I saw this sculpture it appeared more atmospheric than this, the room was darker and the shadows were much more prominent. As I walked around the room the shadows were an interesting factor, as you saw your own shadows you almost felt apart of the sculptures.
'Soul Snatcher Possession'
This made me feel really intimidated , the figures were bigger than life-size again and you could walk around them, however I didn't. The room that the figures was in was tiny; which added to the height of them. In the film Shaw explained that the materials used for these figures were clothes from charity shops.
The faces appear deformed I am not sure if that is on purpose but I will find out.
Thursday, 17 April 2014
Wednesday, 16 April 2014
Term 2 drawing
"Untitled" , A4, 2014
"Untitled" , A4 ,Watercolour on paper, 2014
Here I started layering up images, to make the painting all about shapes and colours. Using colours that would compliment each other in thin washes.
"Untitled" , A4 ,Watercolour on paper, 2014
"Untitled", A4 ,Watercolour on paper, 2014
"Untitled", A4 , Watercolour on paper, 2014
"Untitled" , A4, Pen with water washes on paper, 2014
"Untitled" A4, Watercolour on paper, 2014
"Untitled", A4, Watercolour on paper, 2014
"Untitled", A4, Watercolour on paper, 2014
"Untitled", A4, Watercolour on paper, 2014
"Untitled", A4, Watercolour on paper, 2014
"Untitled", A4, Watercolour on paper, 2014
Luke Fowler
Luke Fowler produces experimental films that eschew linear narrative and other hallmarks of documentary filmmaking in favour of a collaged aesthetic.
'Pilgrimage between scattered points'. (2006) takes an ambivalent position towards it's subject. "The film tries to engage in a conversation with the audience," Fowler says. "It is for people who are prepared to enter a deeper relationship with the film and it's subject."
His film 'The nine monads of David Bell (2006)' delves into the psyche of David Bell includes re-enchantments of dreams, as well as audio and imagery, that conjure psychological states.
"My multi-room 16mm film installations explore the historical complexities of location sound and film, questioning if it is possible to create a meaningful dialogue between looking and listening. MY past work has often explored the limits of documentary filmmaking combining new and archival footage, interviews and photography . Paying close attention to sound and it's vocal significance.
I am currently working on a film series entitled 'grammar for listening', made in collaboration with several ex
'Pilgrimage between scattered points'. (2006) takes an ambivalent position towards it's subject. "The film tries to engage in a conversation with the audience," Fowler says. "It is for people who are prepared to enter a deeper relationship with the film and it's subject."
His film 'The nine monads of David Bell (2006)' delves into the psyche of David Bell includes re-enchantments of dreams, as well as audio and imagery, that conjure psychological states.
"My multi-room 16mm film installations explore the historical complexities of location sound and film, questioning if it is possible to create a meaningful dialogue between looking and listening. MY past work has often explored the limits of documentary filmmaking combining new and archival footage, interviews and photography . Paying close attention to sound and it's vocal significance.
I am currently working on a film series entitled 'grammar for listening', made in collaboration with several ex
Ansel Krut
Quotes from https://www.saatchigallery.com/artists/ansel_krut.htm
"I was thinking about portraiture and power and wanted to paint something in response to that. Therew as something about the paintings title, and the paleness of Napoleon that made me think of toilet paper. Rendering him as stacked loo rolls is a reflection of the absurdity of official portraits, I worked from a model I set up in my studio: I had to buy cheap toilet paper to get the right tactile quality, and I made the turds from plasticine. The muted tones relate to the density of materiality of the paint itself , which looks slightly digested as if it has run through some sort of system. I want the paint to carry the same kind of messages as the image."
"I try to create strange juxtapositions in my work, to build a kind of contradiction in pictures. Head with bottles is about having a hangover. I don't drink but on the odd occasion I do it goes straight to my head, so here I've painted alcohol being poured directly into someones brain. The colourful strands are the hair, but also the contents of the bottles and brain leaking out.. They look like fingers running along the bottom of the canvas. I like these because they introduce a strange possibility of movement. All of my works create a series of conflicting or paradoxical expectations."
"I was thinking about portraiture and power and wanted to paint something in response to that. Therew as something about the paintings title, and the paleness of Napoleon that made me think of toilet paper. Rendering him as stacked loo rolls is a reflection of the absurdity of official portraits, I worked from a model I set up in my studio: I had to buy cheap toilet paper to get the right tactile quality, and I made the turds from plasticine. The muted tones relate to the density of materiality of the paint itself , which looks slightly digested as if it has run through some sort of system. I want the paint to carry the same kind of messages as the image."
Napoleon On Elba 2008
Oil on canvas
100 x 100 cm
Oil on canvas
100 x 100 cm
"I try to create strange juxtapositions in my work, to build a kind of contradiction in pictures. Head with bottles is about having a hangover. I don't drink but on the odd occasion I do it goes straight to my head, so here I've painted alcohol being poured directly into someones brain. The colourful strands are the hair, but also the contents of the bottles and brain leaking out.. They look like fingers running along the bottom of the canvas. I like these because they introduce a strange possibility of movement. All of my works create a series of conflicting or paradoxical expectations."
Head With Bottles 2008
Oil on canvas, 76 x 61 cm
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