Summative Post: Contextualisation

5 Key Points – Contextualisation

1. John Piper: An Experience of Place. John Piper’s work “The Rocky Valley, North Wales” was the starting point to my subject work. Romantic Artist’s such as John Piper and Graham Sutherland saw an importance in Nature. They wanted to create an experience of a place and a connection with it. I started working with these ideas and under the influence of these artist’s progressed to exploring the relationship art and nature could have.



2. Anselm Kiefer Exhibition: Works incorporating Natural Materials with Paint. Viewing the Anselm Kiefer Exhibition in the Royal Academy really inspired my ideas. I hadn’t realised that he incorporated natural materials into the paints he uses and onto the surface of the canvas. Experimenting with ways of incorporating nature into art, I decided to explore mixing nature into paint myself which turned out to be unsuccessful as it wasn’t creating a deep enough connection but pushed me to develop my work and encouraged me to think about ways of integrating nature without art materials like man-made paint and aided my progression.


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3.Stuart Cairns: Artist Tool Making The Drawing as experience field module introduced me to Stuart Cairns. He makes drawing tools out of found objects, sometimes natural materials other times not. I am highly influenced by his work and it encouraged me to explore making my own natural tools to paint and draw with which have turned out to be integrated into my final and most recent work. Exploring the marks that each tool makes and considering them as art objects themselves I have discovered a connection to nature by making marks with it.



4. Andy Goldsworthy: Realising the Potential in Nature. Andy Goldworthy gives me confidence in the fact that presenting art and nature together can emit a connection to a more natural environment. His work demonstrates the potential of nature and displays a connection with it. Even though he works out in the surrounding, his work is very inspiring to me and pushed me to use natural materials for Art Making.

Blog Post Link:

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5.Richard Long: Mud Paintings. Richard Long’s work relates to my work and ideas in a variety of ways. He experiences Nature, collaborated with it, brings it into the gallery space as well as producing land art, but the most influential area of his practice for me were his mud paintings. His work inspired me to explore making my own paint’s from nature and more deeply investigate the possibilities that nature has to offer to my art.


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Stuart Cairns: Influential – Tool Making

In my field option: Drawing as experience, we had a go at making tools to draw with. An artist that was mentioned in this session was Stuart Cairns, this session inspired me to make my own drawing and painting tools from natural objects to use within my subject module where the outcomes has a connection to nature because of the tools it is painted with. I decided to look into Cairn’s work further and see the construction of the tools, and research his ideas as his work is now highly influential to my current subject practice.

“Stuart Cairns works as a silversmith combining natural materials and found objects alongside precious metals to create artifacts in the tradition of tableware and domestic objects”

He does incorporate natural materials into his tool making but this is not the only kind of material he uses. Obviously when using natural materials there is an ephemerality to consider, but i have attempted to preserve the tools by covering them in PVA so I can keep them as part of my body of work. He also draws and paints the tools themselves, this is something I could think about doing, but I’m not really sure what I would gain from it apart from documenting them if they were too ephemeral and I couldn’t keep them even after trying to preserve them.

He also documents the finding of the materials and the walks he goes on etc. His work has inspired me to make my own tools but it has also inspired me to think about documentation more deeply and to document the collection process, walking through nature collecting things to make tools with and to document the making process. 

An Introduction to The Materiality of Drawing

Within this session, we were given the opportunity to explore drawing in different ways and were introduced into ways in which are few artists have explored the materiality of drawing in their own practice. The Lense is on the material and materiality exists everywhere.

Materiality – The state or quality of being physical or material/ Substance, Matter

The materiality of drawing focusses mostly on the touch sense – The material we are holding/focussing on the feeling of drawing with the material. “It is touch which informs the artist of the nature of the material and sight which completes the understanding” – Angela Eames

STUART CAIRNS – uses materials to make tools and spends a lot of his time collecting objects. Both the drawings and the tools are outcomes in their own right. He also draws the utensils themselves that he makes, an interesting creative process, hand making something and then hand drawing it. He draws with objects an unconventional art material and the outcomes are very suggestive and impressionate. When being introduced to this artist I was highly inspired by his work. He links his work to place by making tools from found objects and drawing with them, this is something that I could look into doing with natural materials in my subject work.

There is a relationship between tools, materials and 3D objects. There can be fluidity between them and they don’t have to be individual.

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SHARON BLAKELEY – an interesting ceramic artist who uses drawings that inform her ceramic outcomes. Most of the time she doesn’t actually draw in a sense of putting drawing tool to paper. Ink is put on the paper and then it is tipped up so it runs and makes lines and marks. Materials are used that directly link to ceramic materials. Opaque mediums. There is less control over the outcome which can lead to new developments. Drawing on paper is a “process” of convenience for her.  There is a real sense of the fluidity of the ink within the drawing but also the brittle edges are shown. The paper becomes part of the drawing in that it is being pierced and adapted.


KYRA CANE – Works with Landscape, builds up many layers in drawing as well as in clay. She interacts with her drawing tools.

SUSAN HALLS – Draws with Sticks, something I have done within my subject work. The fact that she is unsure what kind of marks different sticks and twigs will make means that new and fresh things can appear.

The materiality of drawing for me, means really thinking about the materials that you use, becoming closer to my materials and thinking about the quality of them and what marks they make. It also means experimenting and using unconventional drawing materials to make untypical marks. I can imagine that this would make for highly interesting drawings and I look forward to experimenting with it.