Assessment is looming and we have been asked to display work that showcases our subject work and displays links from the field modules undertaken within it. Supporting work and sketchbooks will be placed on a table below. I have drawn a proposed plan of my wall space.
I have decided to display three outcomes. Each image will be of a landscape taken from the shape of twigs I have found out in the environment. I will display the twig shapes underneath the paintings. The paintings will be produced from natural paints that I have ground and made myself and the paint will have been applied with tools that I have made from natural materials, inspired by my field modules. I will also display the paints I make in jars with labels on them on a shelf and another shelf below will display the tools I have made as I believe both these elements can be considered as artworks in their own right. The whole display will showcase a connection and relationship between art and nature. I have been exploring how I can link the two through a variety of ways within my subject work and I believe this display will portray that connection.
After analysing and commenting on the artworks within the Sensory Object Exhibition, it was asked of us to pick one sense and one artwork and think about and plan how we would make a drawing that would represent the sensory experience. We chose Elaine Sheldon’s “Atelier” and the sense chosen is HEARING as I felt this to be the most descriptive and interesting sensory analysis. In planning out a drawing/sensory piece we are unpicking the artwork and bringing it right back to a sensory experience.
PLAN/NOTES – Producing a Sensory Drawing Representation
– Abstract Drawing/Mark Making
– Soft Marks to start with: Circular marks, Curves, Rippling marks – lightly pressed charcoal, rubbing charcoal on its side, smudging, soft pencil, rubber, delicate thin fine liner
– Harder Marks – Jagged, more pressure, sharp, graphite, paint, thick marker pen, dark pencils
Juxtaposition between soft marks and light marks building into more direct harsher marks which are darker in colour and more pressure is applied. Everything in our hearing sense description starts of soft and becomes louder or builds or ends in some way and so as a group we felt that the drawing should build and as it became more intense it would become less controlled.
Some Marks will be constant, echoing the rhythm of the body working/blood pumping. This mark would possibly be drawing with string dipped in ink/paint. It could be pinged to echo the line on a heart monitor.
To end the sensory representation we thought about filling a balloon with paint or ink and popping it, ending the drawing and relating to the original artwork as if the bubble like structure has burst.
We now need to make the drawing itself, as it is sensory we thought we could video the process and then record the sounds we mentioned in our hearing sensory description like popping bubblegum and a rhythmic beat etc and overlay them onto the video. I am intrigued to see the outcome and whether you can see which artworks the piece relates to in the exhibition from the marks made and sensory sounds etc. Capturing the senses in a drawing is a challenge that I look forward to facing in this outcome.