Fritz Glarner

Fritz Glarner

Glarner is one of the many artists who were inspired by the Bauhaus and followed many of the rules and styles created by the Bauhaus. As you can see in the work has also had a very strong influence of Piet Mondrian, in use of colour and lines. However unlike Mondrian Glarner introduced diagonal lines into the work, which created a symmetrical and structured composition.

The composition is very architectural and structured, but is clearly very abstract from the actual object that it is supposed to be based on. Like Mondrian there is a very limited colour pallet, using only the three primary colours, white and black. However changing Mondrian's black into a range of greys which helped create space within the painting as well as depth into the work. Glarner wanted to take Mondrian's work a step further; he wanted it to achieve more spacial depth.

I wanted to look at his work because I want to introduce lines into my work because I think it will add another dimension into my work and like Glarner hope it will create space and depth to my work. This is where I will progress this week with my work introducing more lines.

http://en.wikipedia.org/wiki/Fritz_Glarner

My Third Body of Work

Acrylic and biro on pre-printed fabric both 40 X 120 Cm

I have started several bigger pieces which I have been painting before the ink. I have also chosen to use material that is absorbent, but also already has patterns on which I plan to work with and around. I have been painting larger circles so a larger planes are covered in paint as I think as the size of the canvas increases the paint needs to grow in proportion to stay balanced when I add the circles. This is something that again I'm feeling the need to control.

Ink, Acrylic and Biro on Canvas 81 X 101 Cm

I have decided that the background patterns are enough on some of the pieces and in isn't needed, but I'm not convinced that it works as well as the plain material, I think that the contrast between stripes and circles was too much for this and I think that I will only stick to one at a time in the future. Whereas the spotty material which I did add ink to blend the material pattern into my work which works a lot better because it all bounces off each other. I think that looking at similar colour combinations makes the works all work together as a series.

Acrylic and Biro on material 213 X 122 Cm

 I have been looking at Fauvism and the key artists in that movement this week and I think that next week I will experiment with the thickness of my paint and the way that I apply it. Also I think that it would be interesting if I didn't use any ink and layered the paint circles up and because of their interesting shapes because the material is creased up when they are painted they might look really interesting.

Fauvism and Henry Matisse

Fauvism

An example of Fauvism

This is a twentieth century art movement which had many similarities with impressionism, the movement didn't last long it was over before the first world war and only had three major exhibitions in the time where it was popular. The forms are often simplified and the colours unrealistic. This was because it was painted in the way that the painters pictured the objects, they painted things how they saw it.

The Fauvist movement started from France and some of the key artists where Henry Matisse and André Derain who I will look at in more depth later. This movement even though it was linked with expressionism it was the first to break away from it. The work is very spontaneous it's something that isn't really thought about before doing it. The colours that are used like I've said before are very unrealistic, but they are also very vibrant and usually came straight out of the tube.

The movement was a group of artists but they had no set rules or meetings they simply had similar aims of what they wanted to create with their work. They were all seeking a new way to create space and they found this in the use of the colour. I think like what I said before that I need to look at specific artists that followed this movement, but this research has provided me with a better colour understanding and given me the idea of creating space through colour something that I hope to bring to my work.

http://www.metmuseum.org/toah/hd/fauv/hd_fauv.htm

Henry Matisse

les toits de collioure 1905

Matisse was one of the most famous and well remembered Fauvist artists; he is thought to have changed the path of modern art. He worked in multi disciplines which he is most famous for his paint and sculpture. He created work on many subjects which included landscapes and figurative works as well as still life. As the Fauvist movement progressed Matisse's style developed and changed; the brushwork became more expressive and the light changed.

The composition also changes allowing him to create his own pictorial language through the composition. His early work showed more traditional values before the Fauvist movement really took off, but was then clearly influenced by the new age of modern art. Matisse also played with texture, he varied it throughout the pieces; there are some areas created with impasto others which are flat planes of colour. These lead to shadows being created on the work making a new dimension and the work more interesting.

The sculptures that Matisse produced where commonly of figures and of the human form, they lacked colour they tended to be simply black with a varnish or sheen to them. I think from looking at Matisse's work and specifically the way that the paint is applied is something that I will take on board and try the different textures and thicknesses to the paint in the week.

http://www.metmuseum.org/toah/hd/mati/hd_mati.htm

André Derain

Henry Matisse 1905 76 X 35 Cm

Derain like Matisse was considered one of the cofounders of the Fauvist movement, again he worked in a large amount of disciplines, but I am most interested in the paintings that he created. In his time as a Fauvist painter he mainly focused on landscapes and portraits, one he even did one of his good friend Henry Matisse. However he moved away from Fauvism in 1911 to cubism something that developed out of Fauvism.

He then joined the military, but when he came out he started painting with a duller pallet maybe due to the things that he saw and experienced as a result of the war. Going back to his Fauvist stage and the way he used colour, he applied the paint in quite a thick painterly way. He also made sure that the brushstrokes appeared separately making a texture which helped create the illusion of light and shade. To help this there was often two different shades of colour used to create a contrast between the two.

Derain and Matisse are two very similar artists and they obviously had quite a strong friendship that made them influence each other easily which is why there work is so similar. I'm going to take both the artists methods on board to influence my work and there use of thickness in paint.

http://www.tate.org.uk/art/artworks/derain-henri-matisse-t00165

Continuing to Develop my third Body of work

Ink, acrylic and biro on Canvas all 55 X 55 Cm

Like I said I would last week I have continued to experiment with ink and paint on more absorbency materials to create situations that provoke me to try and control them. I have made small series' of paintings that where ally created at the same time using the same amount of ink and water. Even thought the outcomes of the ink are out of my control by me monitoring the amount of ink that is used it my way of controlling it.

Ink and Biro on Canvas 76 X 61 Cm

the circles that I have then layered on top are my response to the unpredictable fall and like in my other work I have added enough circles until I feel that I have controlled the situation enough to make it almost stable is the word I use, I don't feel comfortable looking at it until I have finished the circles. I think that next week I need to start working on a larger scale and paint on the canvas before I add the ink to see if the ink will fall onto the paint.

I have been looking at the futurism and Dadaism movements and also the artist Gillian Ayres looking at how I can develop my work. I have been wanting to introduce more paint into my work and I think that by looking at the movement and the artist I have some idea on how I can move my project forward.

Futurisn and Dadaism and Gillian Ayres

Futurism and Dadaism

Example of Dadaism

Futurism is something that started in Italy in the twentieth century and is something that developed into many things including expressionism. This movement set out to show items of the future and to glorify them and make them be seen in a way that they've never been seen before; this was the start of abstraction. This style was used in all disciplines including printmaking and sculpture. Futurism was a key part in modern art development and remained popular until the start of world war two where expressionism started to develop.

Something that this celebrated was the age of machine, where cars, planes and all sorts of new engineering became popular. The work was very engendered and architectural, the use of line and shape within the work. The work is very subjective; it is very focused on man made things people where very proud of these inventions and of going to war. I was seemed as a good thing to the artists something that they hadn't really experienced before.

However Dadaism was a protest movement that happened at the same time as futurism, but it protested against the changes that where happening, but I quite like the changes in shape that were used in the work. I wanted to look at these movements because of their use of shape line and colour attracted me to them. I think that I'm going take into consideration the shapes and the way that they sit next to each other when creating my work next week.

http://en.wikipedia.org/wiki/Futurism

Gillian Ayres

Distillation 1957 213 X 150 Cm

Ayres is an English painter who studied in London and continues to work in the UK. I wanted to look at the work because of her use of colour and the way that the paint is applied. In my own work I have been using similar colours and shapes. Ayres uses oil paints and often paints with her hands she believes that this gives her more control over the paint.

The works have very simple forms within it usually in the form of circles and squares. The work is very decorative; the main focus of the work is on the mark making and rhythm of the colour changes. She is inspired by Jackson Pollock and Monet's late work, the scale of the mark making is a way of showing her emotions she wanted to feel a sense of being sublime through making her work.

Ayres believes that the paintings have each have a character to them and often makes her work when it is flat on the floor, just like Pollock. She uses the paint thinner to manipulate the paint and make the colours balanced throughout the painting. I think that I will try manipulating the paint in the same way that Ayres does and also applying it in the same way to see if that brings the painterly texture that I want to achieve to my work in a better way.

http://www.tate.org.uk/art/artworks/ayres-distillation-t01714

Developing My work Further

Ink, acrylic and pen on netting both 40 X 51 CM

Ink, acrylic and biro on netting 40 X 40 Cm

This week I have started where I left off last week with starting to experiment with folding materials before I would stretch them onto canvas. I wanted to try and use a range of materials not just canvas the conventional material because I didn't know whether there would be another material that might offer more to it or make the circles that I create on there first more interesting. I have been looking at artists such as Ivan Morley because of his use of layering, Agnes Martin because of her repetitive marks and Josh smith because of his use of paint. I think that these artists have helped me develop my work, but i think to take it further I need to look at more that will influence my work in a stronger direction.

I started by working with a light silky material that creased quite easily, however the ink and paint when applied spread a lot more and because of the way that the material is made in a very square form which just wasn't what I quite wanted it to do. It goes back to the fact that I like to have control over what I do even if it isn't always completely under control I have a good idea on what it's going to do, where as with this I don't and I find it harder to except.

I have then gone on to using the same method on calico and wetting the material before I drop ink on it, this created a very spread out effect that blurs into the background. I did this because it goes back to my original ideas about OCD and controlling things, having them the way that you want them and feeling uncomfortable if they aren't in the right way that they should be. This material works a lot better than the silky material because of its absorbency and I think that in the following weeks I shall continue to develop this and see how I can improve it.

Agnes Martin, Ivan Morley and Josh Smith

Agnes Martin

Morning 1965 20 X 20 Cm

I have looked at Martins work because of her use of repetitive lines and shape. She was a portrait painter until Abstract expressionism influenced her and she started creating these very pale paintings. From a distance you can barely see the detail that is on the canvas, but it is actually loads of small lines. She worked with many geometric shapes, but mainly stuck to horizontal and vertical lines because she wanted the work to be quite minimal. She said that too many shapes over complicated it.

After she discovered this style of working this is what she stuck to it didn't particularly try any other styles. The work itself looks very delicate like something you wouldn't dare to touch. Most of the work does have subjects which are usually places, but this isn't usually told, it's usually about how she feels at these specific places. For example "morning" she says "I was painting about happiness and bliss" rather than the place it was set, this information or anything that might link it to a place is left out.

Martin is also inspired by geographical things such as coordinates; these are inspirations so some of the grid paintings. I really like the fact that a lot of her work is only based on happy things which is very unusual when looking at a whole artist portfolio, it's like she doesn't want to dwell on the bad. This is something that I would like to put across in my work I want people to feel happiness when looking and walking away from my work. This is what I will be keeping in mind when I create my work this week.

https://www.tate.org.uk/art/artworks/martin-morning-t01866

Ivan Morley

Tehachapel 2006 240 X 117 Cm

I wanted to look at Morley's work because the repetitive shapes that are used in the work. The work is made up of loads of small round shapes which are something very similar to my work. Morley is inspired by the history of his hometown in Americas Wild West, the works are both of stories that have been passed down and images of the landscapes that are around him.

The stories that inspire him are old Folk stories which have a very mythical air to them; he says that he wants his work to be "Poetic myth objects". So he doesn't actually believe in the stories, but it's like he wants them to be real and creating the work about them makes it more of a reality. He uses unorthodox materials such as thread, plastic, KY jelly and soap to create the work it seems that he is challenging himself, but also because of the use of material he is making them seem as if he is upset about the fact that the stories are myths.

 I find his work very visually pleasing, it is very decorative and the palette that he uses also all complement each other, but are also relevant to the culture that he is painting about. I think that I will experiment with layering the shapes in my work because that seems to give a really good idea of space and this is something that I want to introduce into my work.

http://www.saatchigallery.com/artists/ivan_morley.htm

Josh Smith

Untitled 2010 24 X 18 Inches

I wanted to look at Smiths work because of his paintings, I am thinking about introducing more paint back into my work and when I saw Smith's work I really liked the painterly quality it had to it. Smith works in a great range of disciplines and media, and working in a very abstract expressionist way, which is why in his paintings they are in such a painterly way. The look as if they have been created in a very quick way as if he knew exactly how to create what he wanted and he didn't thing about it too much.

His work is very playful and aggressive at the same time, to me it's very exact the scale, marks and colours because of the way he makes the work. He is inspired by natural things such as skeletons, leaves and insects, but there has to be a process from getting from one to the final outcome. All his inspirations are natural like many artists.

Smith wants people to look beyond what they normally see when looking at an object he wants them to look at a process and focus on looking at things that they don't normally see, this is what his works are. I think that I want to bring some of his painterly qualities into my work and maybe the process in which he makes them because I think that I am being too precious in the way that I'm making my paintings.

http://www.luhringaugustine.com/artists/josh-smith/

Reflecting before Developing my Final works

On reflecting on last week I have decided to go back to the simple figures that I was drawing a couple of weeks ago with the ink and the ones that I liked the most or worked the best where the drawings with only one figure on. I think that the proportions to the size of the paper work better than loads of little ones on the same sheet.

After looking at these ink drawings I decided that I wanted to focus on what goes inside the figure rather than the outline, like when you look at a person you are supposed to "not judge a book by its cover" this is something that I'm going to focus on from now on and play around with the idea. This week I have been looking at different ways that I could fill the centre using different materials learning what works and what doesn't.

Next week I'm going to take what works and develop them in line with my concept.

Seminar Presentation Evaluation

I did my Seminar Presentation on the artist Yayoi Kusama because of her clear connection between mine and her work. I'm going to evaluate my presentation and the things I did well and can improve on and then create a new and improved presentation.

Original Presentation 

Feedback Forms

These are the feedback forms that I received about my presentation.

Analysing the feedback

I have just grouped together all the information that was included on the feedback sheets to make it easier to understand and evaluate.

From the feedback forms I found that I did these things well:

• ·         I had a good use of videos from different sources and also a variety of images.
• ·         The presentation is well laid out and organised.
• ·         I showed a good relationship between my work and the artists.
• ·         clear presentation
• ·         good presentation length about 10minutes

Issues that I bought up and discussed:

• ·         The artist doesn't mind making bad work, she's in isolation she doesn't know what other artists are making
• ·         shapes and marks that are made
• ·         how she doesn't know how to explain her work
• ·         Her mental health/ state
• ·         Explained why the work was important
• ·         Explained why female artists weren't well known
• ·         Use of space and vanishing points
• ·         How the artist uses her work as a platform for people to understand her work.

Artists that where suggested to me:

·         Damien Hirst- Spot Paintings

·         Jackson Pollock

·         Colour Blind tests

·         Andy Warhol

Improvements that I was suggested to make:

• ·         Talk louder and more clearly
• ·         Ask more questions about her process in depth
• ·         How does it relate to other artists
• ·         Could talk more about childhood influence.

What I thought of the presentation

I thought the presentation went well, but I may have rushed and skimmed over some points that I planned to go in more depth. I felt that my voice was and ok volume, but obviously it didn't project to the back of the room as well as I thought and obviously if I was to do it again or in my future Art History Seminar presentation I will make sure that I speak louder and project my voice more; maybe I should have practiced a little more in my room beforehand to see how my voice was projecting. I felt I conveyed many ideas about the artist and her work, and also gave enough basic information to understand the artist's influences and why Kusama creates the work that she does. However it was suggested that I should have conducted more research into her process's to make it clearer how the work is created which I do agree with this and when I make my new and improved presentation this will defiantly be one of the improvements.

 I touched on her childhood briefly, but I didn't want to bog everyone down with information so I kept the information about the artists early life to a minimum, but it has been suggested that maybe I need to include more to help people put the work into context better; this is something that I will again include more about on the new presentation.

 I felt that I agreed with the points that people thought that I did well as they were the ones that I was hoping to achieve when doing my presentation. I thought that my presentation was professionally constructed and it wasn't too overloaded by text as I only put a very few key points on the slide and I expanded them when taking about the artist. I tried to make links between the relationship of mine and her work whenever I could so people could see how she was influencing my work both visually and through her concepts. I didn't want the presentation to drag on and on so I made sure that it only lasted about ten minutes by practising it before and by looking at the feedback people seemed to pick up on this.

I wanted to bring up a good amount off issues and controversial statements to get people talking about the work after the presentation and I'm really glad that people picked up on so many throughout the presentation and it lead to a interesting discussion after, particularly the issue of her being in isolation and the fact that she never really sees any other forms of art anymore; people where discussing how it effects her work without any other key influences other than her home and studio. It was decided as her work came from inspiration from her hallucinations the fact that she didn't see any other work didn't really make any difference as she wasn't trying to conform to any style she was doing the work for her own benefit. Which lead onto another interesting discussion that she uses her work as a platform to try and get people to understand how she sees things, she is trying to educate people with her work and get them to see the world from her point of view. It's like trying to persuade us that she's not mentally ill. 

New and Improved Presentation

Putting my work into context

Since playing with the inks and then adding the circles I have realised that my work is very much about trying to control a situation. I am creating these large splash marks and then adding the circles subconsciously until i feel that I've controlled the situation enough, until I am personally happy with it. I think that i have been doing this through out the project. I have taken inspiration from artists that suffer from mental illness, but I have come to realise that I am working in a very similar way to these artists. 

Even the drips will never be completely uncontrolled I place them and I give them a sense of direction, I to get the paper to balance evenly. This reminds me of my research about OCD, it appears that I have been working in a very similar way. I think that this is something that I should continue to do and research, but as I continue to make my work I need to pay more attention to how I'm making the work and this might give me a indircation to why i'm doing it.

Gerhard Richter and Kara Walker

Gerhard Richter

Express- graphite on paper- 1965- 53 X 45 Cm

Richter is a painter, sculptor and drawer and is also a very productive artist; he produces so much work every year. However he is now facing criticism for the fact that it is now becoming to look a bit factory base creating work for the sake of it, a problem that many modern painters art trying to overcome and avoid doing. For each different media his work is very different the painting very abstract, the sculptors very architectural, but then on the side you have photorealist paintings and drawings that are very sketchy.

Richter is an artist who likes to explore colour this is what most of his painting are about loads of different colour combinations, however at the same time his work seems to have this emptiness there doesn't seem to be any other form of emotion or anything like that behind it. It's just colour on a canvas and that's what it is. This isn't as easy in a drawing when you only have black and greys to play with, they drawings seem to try harder to provoke an emotion but they just seem a little lost, Richter says that he just wants to create something that pleases the eye, but then how is his work any different to wallpaper.

I wanted to looks at some of Richter's drawings to look at the way that he uses figures and shapes in the work. The drawings are simple and look as if they have been very quick to do they look carefree, but as I said earlier lost. They are smudged over the top to almost create a distraction from the figure its self. Most of the drawings are there to develop his ideas for his later works. However they don't look anything like any of his final pieces there is almost a missing link in the work.

Gerhard Richter: Panorama 2011

http://www.gerhard-richter.com/

Kara Walker

His story never dies

I wanted to look at Walkers work because of the atheistic connection between mine and her work. However Walker work deals with very serious issues to do with race, power and sexuality. These are quite controversial subjects they bring up issues people don't really want to talk about. She wanted to follow in the footsteps of her father in becoming an artist it was always what she wanted to do from a very young age. She became very interested in these controversial themes when she was at university and when she experienced racism first hand; he work is very personal to her.

Her work is made our of paper that has been cut out then placed on a white wall, the scale of these are huge and there is a surprising amount of detail in these cut-outs. The images that are depicted in the work are often representational of fairytales, but of a fair more mature type. The contrast of the black and white against each other isn't just a stab at racism but it makes the story so much clearer to understand.

Walker wanted the work to provoke an outrage or some sort of shock she wants to get people thinking, to almost get them on her side. I personally really like the work and think it's something that you could look at time and time again and come away from it feeling different. I think that it is important in my work that I will find something like Walker to drive it forward.

http://learn.walkerart.org/karawalker/Main/RepresentingRace

Tony Cruz Pabon, Kira Lynn Harria

Dove Allouche

diptych part 1, lead and ink 70 X 100 CM

When you look at Allouche's work you feel like you are looking into the dark, you struggle to see what are about and what's in them. He uses in and pencils to create these images and obviously the palette is much muted which also suggests that the subject matter is of a dark nature as well. Allouche says that he wants to try and give as much information as possible with the smallest contrast in tones.

The forms in the drawings are almost unrecognisable, but they are of natural wonders created by the weather or space phenomena. Allouche uses these because they are unique events where nature is in complete control. However Allouche doesn't just conscribe the images in the way they look he completely regenerates the picture using what critics call "a syntax of reproductively", it's Allouche's worst fear to be caller a copyist.

The image is both flattened and intensified when using this process, and layer upon layer of pencil are built up in areas until you can't see through parts before the ink is applied. These drawings are made over a period of several months because Allouche insists that they mustn't be rushed, he also wants the lines of the pencil to be completely invisible "as if it was a tattoo onto the paper". The work is very perfectionist and almost OCD, the work is very rich and intense because of the materials used. I think that the artist wanted the process to be the most important part of the work, it is more of a process art piece and maybe viewing this process would allow me to understand it more.

Tony Cruz Pabon

I wanted to look at this artist because in my drawings there is a specific use and play on space which is the same as in Pabon's work. His drawings are mainly made up of lines which represent the distance between two different points. These can be two different locations, a literal space or anything, but the idea is that they show a journey in-between the two lines. The drawings are very literal, the lines clearly show space and distance and I think that the artist does this to show the simplicity of what his art is about.

The work is obviously very abstract and is very far away from its literal form and it must be quite a process to get to the final outcomes, one of the drawing is a representation of the groves on a vinyl record which when you know what it is it becomes obvious, but it's something that you would have never have guessed. As well as drawings Pabon is also a printmaker making large intaglio prints, which look very much like his drawings as you can see from the picture. "Distance Drawing" is described as an attempt at drawing the distance between San Juan and London, which makes you thing that it wasn't successful.

Pabon wants there to be a feel of distance in his drawings and perspective, as if something is a long way off and they aren't sure how to get it, he says he wants people to feel despair because they can't get what they want and they can't do anything about it. I personally like the work because of the ideas behind it, but also because of the muted colours.

http://cargocollective.com/tonycruz-portafolio/C-V

 Kira Lynn Harris

City room, Chalk and emulsion

I wanted to look at Harris's work because of here use of perspective and monochrome colouring.  Harris wants to unpin the viewer's sense of space by using multipoint perspective to create the illusion of indoor and outdoor space. This causes you to question perception of what is actually in the room. Harris uses black paint and white chalk to create the drawings so they resemble chalk on a black board which give you the impression that she is trying to teach us something but also questioning the mental age of the audience. She can erase them at any time and start again which makes her work quite playful.

She has been influenced by many things as there is such a large variety of forms in the work; however some of the most key influences are space and light architecture, renaissance art and even Rothko. Sci-fi has been a major influence because it embodies her idea of movement, space and time, but you can't see any particular influence of sci-fi in the work it all looks very real and realistic. You can see that in some of her work there are figure that each of their own little story and this is where the influence of sci-fi comes in you have to read into the work description to really figure out what's going on.

Harris likes to tell a story in her work, the work is more illustrative than it comes across and it is encrypted in the work, it is a challenge to figure it out. Harris says that simply writing her stories aren't enough and she needs to draw her ideas to make them come alive. I like the work because of the perception and perspective that is in there, but also because of the space and depth in the drawing this is something that I would like to create in my work.

http://www.re-title.com/artists/KiraLynn-Harris.asp

Tauba Auerbach

Tauba Auerbach

Untitled fold- 2011- 162 X 122 Cm

Auerbach isn't afraid to use several disciplines in her work like many of us in this generation of modern artists. She clearly has an influence of graphic design in her work as you can see; there is a clear structure and geometry to her work.  There is a refined sense of detail and perfection in her work. Auerbach has always been a painter even though even her earliest works have been influenced by graphic design. She says that art doesn't restrict her in the way that graphic design does, and allows her to play on things in particular words and letters. Such as in her "the Holy Bible" project where she placed all the letters in the Bible in alphabetical order, when asked what inspired her to do this she said it was to see the unordered letters together in something that was sacred and untouchable. It's like she is rebelling against being conventional like many artists.

Her most recent work is now more playing with visual illusions and the way people see things, where she has created bodies of work called "folds" and "Crumple" paintings that are meant to look as if the canvas has been manipulated which it has, it has been spray painted while folded and then stretched out. One of the things that are really effective about these paintings is the fact that you have to stand about 25 meters back to get the full effect on what they are trying to show you. There are creates using both painting and printing and the method that is used is called the half-tone process. I find these abstract paintings quite beautiful, they have a gentle feel to them even though the shape black and white should make them really fierce and the size of them rather intimidating.

I think that Auerbach's work is really interesting and I think that I would like to experiment with folding up the canvas and then maybe applying the ink to see what shapes and effects I get to develop my work.

Vitamin P2
http://www.taubaauerbach.com/bibliography.php

Second Body of work final piece

ink, acrylic, marker and biro large development
 350 X 150 Cm

While working on my large scale piece I continued my development and small pieces experimenting with dropping the ink onto different materials such as canvas, cotton and silk to see the different effects and how they work. I think that it would be interesting to work on different materials than paper, and the effects that the ink gives on each material is very interesting. Because of this I decided to do some artist research into artists that experiment with materials and how they use them one of the artists that I looked at was Tauba Auerbach who folds and spray paints her canvas before stretching it.

Example of Tauba Auerbach's work

This gave me the idea of folding and ironing the fabric then painting the circles on the folds before opening it out and stretching it. I did a few of these on paper to test out the idea and it seemed to work really well, it created some really interesting patterns which I could then draw my circle patterns onto. For the rest of the week I decided to continue finishing my last piece before moving onto this next body of work.

Developing Second Body of work Further

I have started the week by creating a very large scale drippy painting with the inks which to capture the process I created a film of me creating it, this will help me develop my work and the process behind it to create some more successful outcomes. The shapes that have been created in the work are really interesting, but I really like the way that it has dried in the middle the patterns reflect the stages in which it dried which also show the process. 

Because of the scale of it I decided to do it in different sections which again to me makes it more interesting because while working on one you cannot see the others so you can't tell if you process has slightly changed or if it looks the same, which is something that I really like because you will probably became to see the progress of my refining process by the end of my piece.

This is what I have been focusing on this week so I have been continuing to look at process art to help me think of how I can now take my work further. I have been looking at process art this week Ignacio Uriarte and Chris Drury. From my research and my videos I have come up with an idea to place the water down before applying the ink to maybe control the splash area more. 

my video on process art

http://www.youtube.com/watch?v=Lf-0P9RIAlU

Ignacio Uriarte, Process art, Chris Drury and Niki de sant Phalle

Ignacio Uriarte

Bic Cycle- 2010- each 65X65cm

Uriarte's work is of a very minimalist style and the work is all about music and noise this is the biggest inspiration to him. This has been done so many times before, but Uriarte does this in such a way that has never been done before. The pieces like my work are done in simple different coloured biro pens. He says that in his work also he is looking at the way that office work is "dematerialised labour" that we have to put ourselves through.

He says that most people will doodle at work and he has taken this to a whole new level, but has kept it in such a controlled way that it becomes something else. He argues that most artists actually will spend most of their day at a computer the same as someone who works in an office.  You can see that there is a clear influence between Uriarte's work and Frank Stella even Reinhardt.

He uses normal biro colours that are produced, but you can see that there is a pastel pallet that is deliberately chosen to keep his work as minimal as he can, but to also give it a very gentle feel to it. From a distance you can barely see what it actually is made up of this is something that I would really like to include in my work.


http://www.ignaciouriarte.com/

Process art

This week I have decided to look at process art because it ties in so well with my project. This is an art movement where the actual finished article of work isn't the most important part of the work it is the concept behind it. I is what the actual craft of it behind it is important, this can be from the patterning to the gathering of the materials to make it.

This movement happened in the 1960's and has been popular in Europe and America; it is thought to have come from performance art because the two have very similar concepts. However it is also very similar to aboriginal art for an example, which predates any modern art in a long way. Some people argue that any art could be classed as process art, but in my opinion I think that there is a fair reasoning to this because anything has a process to getting to the final outcome, but this form of art does have more of a story it provokes the viewer to think more about it if they want to appreciate it.

http://en.wikipedia.org/wiki/Process_art

Chris Drury

Rhine Mosel Slate Whirlpool- 14 X 14M- 2010

Chris Drury is a progress artist who is inspired by nature and its forms, most of his work is very organic and at one with nature. His work comes in many forms them being paintings, land art and sculpture. He says that his work is about the connections between culture and nature and how they can work in unison or clash. He is very serious about his work and doesn't want to get anything wrong so he works with technicians and scientists to make sure that the work is scientifically correct. It is also an interest to him he likes to understand science, it's all part of the process.

Drury often collaborates with institutions, he wants people to know and understand his work, and he doesn't just want them to see the finished articles of work. This is one of the reasons he creates videos of his work. He is obviously inspired by nature, but there are other key inspirations such as Henry Moore, Andy Goldsworthy and there is a clear connection with aboriginal and cave art in the work. The link with the Aboriginal work is very clear in the land art it is created in the same circumstances as the aboriginal art; outside on the ground looking up to the gods.

I like the work because of the link in with history and the patterns that are involved with the work, I also like the way that is fits right into the landscape and a lot of them aren't permanent. I think that like Drury I need to start taking videos of the process in my work for people to see how it is made.

http://chrisdrury.co.uk/about/artist-statement/

Niki de sant Phalle

shooting picture Tirage-1961

1430 x 780 x 81 mm

I was looking specifically at her shooting painting as the way that the paint has moved is very similar to the way in which I have been conducting my ink to move. This is a form of process art and the process is very important to Phalle as it was just after the war. She actually stopped creating these works in 1963 as she felt that she was now getting addicted to shooting, she said it was like a drug to her.

The paintings were created just after the second world war, which is quite significant considering that there was a gun used to create the work, this suggests some sort of nod towards the war effort, it wasn't until the 1960's that she started to make this work up until then she worked in collages and oil paints, before moving into sculpture briefly before these works started being created.

This shift in her work happened when she visited Paris and saw an American exhibition that included the likes of Jackson Pollock and De Kooning. She had a good friendship with Jasper Johns who is famous for his "Target" paintings which undoubtedly is a key influence of Phalle's work. Phalle said that she found these works exciting because of the way that the ink might or might not fall; you never know quite what's going to happen. In time you are bound to learn what might happen, but the fact that different people are shooting each shot makes impossible to know, but also gives Phalle no control over her work it is more of a performance.

http://en.wikipedia.org/wiki/Niki_de_Saint_Phalle