My Space is set up for assessment. After seeing the size of the wall I had been given, I decided to display the landscape mark making experiments I produced on hand-made paper using my tools as well as the original plan of the three paintings, the tools and paints. I am very pleased with how the display looks. I have kept it quite minimal and I think it looks clean and proffessional.
Statement about my Display of Work
Natural Landscapes have for a long time, been a subject of artworks. John Piper’s ideas about creating an experience of being in a place within a painting and his work “The Rocky Valley” got me thinking about how some landscape paintings today document landscape visually but don’t really connect with the nature within the place. I started thinking about how I could create connections between art and nature and expose people to nature in a world that is becoming increasingly urbanized and technological. After much experimentation, investigating how to work with the natural world within the art world, I decided to create a final body of work to bring my experimentation together and consolidate my findings. Three Natural Paintings, accompanying hand-made equipment and sixteen tool mark making experiments framed with twigs make up the space. The Colour Palette is dictated by Nature alone. Within this work, the landscape type images themselves have come from nature, the shapes of sticks dictated the form of the mountain shapes (these are displayed below the paintings). Inspired by my Field Modules, I have used elements from nature to both create the paints I have painted with and the tools with which I applied the paint. I have chosen to display the tools and paints that I have made on shelves with the outcomes as I see them as artworks in their own right and give the audience an insight into how the work was produced and visibly show the relationship between art and nature that I am portraying.
I now just need to display the jars of paint on the top shelf and my space for assessment and an exhibition is complete.
Art actually originated from nature which is highly relevant to my project. Cave paintings were the first medium based art dating back to around 18,000 years ago. People used natural materials to grind to make pigments to paint with. Cave painting paints usually consisted of pigments such as earth/soil, clay and charcoals mixed with a binder such as spit or animal fat. It is interesting that painting itself was developed out of nature and created using products from the natural world.
I am exploring a connection between art and nature within my work and attempting to incorporate the natural world and natural materials into my art making in a variety of ways. Grinding my own pigments would definitely make my work more deeply connected to nature because nature itself would be the components of my paints.
For the first time, within this session of Paint Performance we were not making art work with our bodies but with the conventional paintbrush. We were asked to pay particular attention to the feeling and sensation of painting of the brush, and taking notice of this made me realise how much more smooth and flowing the painting process is when applying paint with a brush in comparison to the marks we have been making with our bodies.
Making continuous lines with the brush gently and slowly was both calming and relaxing and I became Immersed, just concentrating on the sensation of the brush and paint gliding across the surface of the paper. However, even though I really enjoyed the process and it allowed me to relax, I did feel as if the outcome was a little impersonal for me. This is a new feeling for me, but because of all the work I have been making in these sessions recently with my body, I felt suddenly quite disconnected from the art work made with a brush after it was finished. I think the brush marks over shadowed the movement of the body. Some of the group preferred painting with a brush rather than with the body and vice versa, but personally I think both body and brush are valid painting tools and can be used to satisfy different concepts, create different marks and apply paint to surface.
There were restrictions put in place to create these paintings. Firstly we could only use our right hand in a continuous motion and then only our left hand and then both hands simultaneously. I found it quite therapeutic drawing one long mark with different conditions. However, making the first piece and drawing with my right hand was really boring because the right hand knows how to paint and so I became disinterested quickly but the marks were quite free. When painting with my left hand, I concentrated far more. Some people said their left hand piece was less controlled but I found that mine was more controlled because I was concentrating more. My left hand was not used to the conditions of painting with a paint brush and so it didn’t know how much pressure to put on it etc. So I guess you could say that in some respects the brush controlled the hand in the marks that were made. The third painting, produced with both hands, had a very harmonious feel about it, both hands were working together to create marks. My hands were making a very smooth motion when producing this piece and as I got further into the piece, my left hand sort of started following and mimicking my right hand.
Concluding this session, setting restrictions on yourself when painting can produced interesting outcomes. Work can be more interesting when not produced with the conventional hand and sometimes it can feel like the paintbrush starts to have control over you. The body is a lot harsher when applying paint in comparison with a brush which has a more soothing and relaxing motion of application. The body is more direct, more child like and more primitive. Throughout this option, we are challenging convention and making movement gestures whilst experimenting with ways in which paint can be applied. Also, there are different senses of emotions created in the way paint is applied. In was interesting to directly compare the different between brush and body within the space and to directly observe the difference in marks made with a brush in alternate hands. Painting with restrictions like only being able to use the left hand could lend itself to aiding my producing of abstract landscapes in my subject work. This session made me think about the connection you have with painting as a process and as an outcome.
I wasn’t really sure how to tackle incorporating abstract elements into paintings of the Brecon Mountain’s in terms of composition. I produced some quick sketches before but the abstraction and shapes seemed to look a little bit like they were just added in rather than part of the drawing. I decided to work on top of photographs and incorporate the abstraction into the shape of the Landscape underneath the paint.
This was definitely a worth while experiment. I haven’t really worked with creating abstract work like this before and John Pipers work is such a balanced composition and I wanted to learn how to do the same. I am investigating the visual elements of his work as well as the technical and the ideas behind it. We have been asked to make a body of work in response to our chosen artwork and for me that means lots of experimenting and trying things out. I also enjoy working lots of different techniques into a body of work that I make, rather than just painting and so working onto photographs is an interesting process.
I have also played about with how much of the original photograph is showing. I quite like the image below where more of the image is showing as it looks like reality is kind of morphing into abstraction. I think this links in well with John Piper’s work as when I look at it, I see a real Landscape through an abstract eye.
FOUNTAIN (AFTER DUCHAMP) BY SHERRIE LEVINE INSPIRED BY MARCEL DUCHAMPS FOUNTAIN
Here is “appropriation artist” Sherrie Levine Fountain. A description by the Walker arts centre explains; “Levine’s sculpture is a contemporary urinal cast in the sculptors traditional precious metal, bronze. Polished to a brilliant shine, this piece is no longer a common, store bought item; it has been transformed by the artist into a unique object.” I do not particularly like this piece, but I think that is down to the fact that I am not a huge fan of the original. I feel that signing a urinal is quite pretentious and i don’t like the fact that an everyday object has been claimed as art without it really being significantly changed. However, in terms of appropriation and work being made in response to other work, I think that this is successful. This work clearly shows the influence of the original outcome and you can see the changes that have been made and the artist has put their own stamp on it in the form of adding polished metal.
ANDY WARHOL’S THE LAST SUPPER, INSPIRED BY LEONARDO DA VINCI’S ORIGINAL
Da vinci’s most famous paintings, like his mural “The Last Supper” have been an endless source of inspiration for artists and pop-culture parodists. But it is Andy Warhol who elevated his depiction of Jesus’ last meal with his disciples to pop art iconography. I think in terms of pop art, this is successful in bringing old masters up to date but it is incredibly similar. In my work, I don’t want to produce something that incorporates the whole artwork copied and slightly adapted. I want to create a body of work inspired by my chosen artwork but the final outcome may not have an obvious direct link. It definitely will not be a copy of the original. I need to use the knowledge I gain from exploring my chosen object to create something professional and interesting.
ROY LICHTENSTEIN’S BEDROOM AT ARLES INFLUENCED BY THE VINCENT VAN GOGH ORIGINAL
Another Pop art appropriation, Lichenstein’s 1992 work is an odd take on the original. Done in the style of a woodcut, it possesses Lichtensteins graphic aesthetic and saturated colours on van Goghs pale painting, replicating the latters anxious lines with the former’s cold, bold, straight ones. Equal Parts parody and tribute between the pieces. It underlines how different two takes on the same subject matter can be. i like this interpretation of the old classic and I think it has been appropriated well. I am intrigued by the fact that he has decided to keep some things the same, with a similar colour palette and bed shape. But then he has selected objects to change or add like the shirts which I feel is a very good example of appropriation and making the work your own under the influence of an existing piece of art. I will be selecting parts of Piper’s work to use as influence and parts that I wont.
GAVIN TURKS PIECE APPROPRIATED FROM THE PAINTING OF MARAT BY JACQUES LOUIS DAVID
In terms of appropriation, Gavin Turk’s work is incredibly interesting. The work is in a sense quite similar to the original piece by Jacques Louis David. He has chosen to include the sheets and the figure’s pose but in wax. I find it intriguing that he has used the image of a four poster bed when there is no connection to that in the original and has chosen not to include things like the sheets of paper. There seems to be more life in the original piece and it is still too much of a copy for me in terms of inspiration for the process in my project.
GAVIN TURKS RESPONSE TO ANDY WARHOL’S ELVIS PRESLEY
This work of Sid Vicious appropriates the stance from Andy Warhol’s Presley Screen Print. This for me is a great example of making work in response to something that you have seen. It is all original work, however the piece has been inspired by the stance of the figure and that is as far as it links in. This is a good example of a successful appropriation where the outcome is loosely based on the original piece.
THE ROSY WEALTH OF JUNE BY HENRY FANTIN LATOUR AND THE WORK OF ORI GERSHT
For me, this is an interesting appropriation, The final outcome does have some initial reference to the original painting, but the medium and idea behind the piece is completely different. There is a conflict between the two pieces, once shows a still life of some flowers and the other portrays a still moment of an explosion/action shot. I think this is a highly successful appropriation. You can see the original connection but it also is a stand alone piece.
EDWARD HOPPER’S HOUSE BY THE RAILROAD AND ALFRED HITCHCOCKS PSYCHO FILM SCENE
It was quite interesting to me to come across this and learn that film scenes can often be inspired by paintings. It encouraged me to research film scene appropriations. This house perfectly fits in with the overall mood of the film but it has been changed from the original in shape to make it more angular and it being filmed in black and white adds to the eeryness.
FRANCISCO GOYA’S SATURN DEVOURING HIS SON AND GUILLERMO DEL TORO’S PAN’S LABYRINTH (FILM)
Toro discussed the art historical influences behind his dark fairy tale: Pan’s Labyrinth in a 2006 interview: “Goya was an obvious influence and reference, specifically with regards to the character, the pale man. There is a scene in which the pale man bites the head off the fairies. That comes from Goya’s painting, Saturn devouring his son. Appropriation is a highly interesting concept and my eyes are being opened to recognising artistic links within artwork or films or sculpture etc. I have watched this film quite a few times but have never thought about the Goya connection. This is a successful appropriation as the original influence does not directly jump out at you.
GLENN BROWNS THEATRE AND THE WORK IT WAS APPROPRIATED FROM: VINCENT VAN GOGH’S A SKELETON WITH A BURNING CIGARETTE
Glenn Brown’s appropriation here reminds me of the veins and arteries and the make up of the human body. You can distinctly tell that this is the work of Glenn Brown but there is an obvious connection with the Van Gogh original. I think I want my work to be influenced by my chosen artwork and then progress to a tangent further away from the original and convey my own personal touch and expression within it.