Category Archives: Assignment 4

Part 4 Review against Assessment Criteria

  • Demonstration of technical and visual skills – Materials, techniques, observational skills, visual awareness, design and compositional skills. 

In this section i experienced a lot of emotional connections with the places and materials used. I tried to interact physically as well as intuitively to the surroundings.  I feel that I’ve opened up to new possibilities and learned how place of being in can become  part of the work produced. I’ve tried to use unconventional ways of creating a “drawing” through feelings, interaction and direct contact with media through chosen concept/idea.  Overall composition for the final piece worked within the space it is located, but i believe it also will fit in a centre of a room.

  • Quality of Outcome – Content, application of knowledge, presentation of work in a coherent manner, with discernment, conceptualisation of thoughts, communication of ideas.

Whole part helped to arrive at the final idea – starting by looking, then connecting with nature, using research and expanding the idea of drawing beyond flat picture frame. Quality of outcome – i tried to use found materials and recycle/reuse media in order to follow up with the research undertaken as well as implementing personal feeling about environmental conservation, animal issues and general over consumption. More practice will allow to use materials in a more finished manner, but personally i feel that they worked in this particular project.

  • Demonstration of creativity – Imagination, experimentation, invention, development of a personal voice.

Overall I feel that my creativity is evolving as i start to use more of my imagination and let it out through the process and use of materials. My voice is starting to come through more , and i do feel it is time to let it out more and think less about what others might think ( this was an issue with some of the projects ) .

  • Context – Reflection, research (evidenced in learning logs) critical thinking (evidenced in critical review).

I have documented my process in the blog, i feel it explains how i arrived to the final project even though i have changed my mind a few times. Staying critical is important as this helps to see “mistakes” or what could be changed later, hence plays part in the development of ideas. I have visited a few galleries where experiencing material world of installation helped to be a bit more brave and take a few risks for this project. Artist research is definitely finding it’s way into the process , i find myself using found information a lot more often than i was before.

Assignment 4 Installation

Assignment 4. Installation

Da Vinci’s drawings out for a walk.

Part one: starting point

There are some places in the “wild” – not in my home, that I thought of using for the installation but at this moment it did not work out. Also a few “found images” on the walls (the cow on the building for example ( project 1 found images”) would require physical interaction i.e. painting/drawing over the wall of the house , I do not have the owner’s permission and not prepared to do it undercover . )) maybe one day I can find the owner and see what happens.

Different ideas run through my mind, one in particular – to do an installation relating to the Leonardo’s drawings. Sort of like letting them out for a walk in to the wild. Now I’m not sure if it is OK to use images from https://www.rct.uk/collection/themes/exhibitions/leonardo-da-vinci-a-life-in-drawing/birmingham-museum-art-gallery-birmingham/a-horse-divided-by-lines

for this project, but I’m hoping as a study model it is not a problem if source is mentioned. Also using example of Marcel Duchamp works – he used someone else products or works and created a new one; he called them “found objects” as an example, he used a reproduction of Leonardo’s Mona Lisa as a starting point to produce a work called “LHOOQ” in 1919. The reproduction is a copy partly modelled on his own face where he added moustache and a goatee.

image source https://en.wikipedia.org/wiki/Marcel_Duchamp#/media/File:Marcel_Duchamp,_1919,_L.H.O.O.Q.jpg

The place for installation for the moment is going to be my garden, one reason is because I have no other places to do it and other is that I probably just shy of using other places. The final piece can be installed anywhere but for now I’m going to use my own place.
The actual idea is larger than I can possibly do, therefore I’ll try scale it down and use one – two drawings to work with. If it works – it would be great to imagine how this piece (or other) could be scaled up and placed/installed in the woods between trees – depending on a time a year visibility of the figure/drawing will change. Most visible this would be by late autumn, winter and up to late spring – emerging as a guardian over sleeping surroundings.

Ideas: using Leonardo’s drawing create pieces: using hessian as background/canvass, sticks/branches/ other natural elements to follow the lines; perhaps use wire and make a “skeleton” for the subject that can either stay as it is or get wrapped in hessian.
Use of hessian – because a lot of the drawings that remain are either on a tinted paper or paper aged and has the brown-ish colour. Also, it is natural material and will not damage the environment when places on site or left there for longer period if needed.
Sticks – I think they may help to create broken line and natural markings.
At this moment the largest I could do the drawing is up to A1 – it is mall but hopefully it will work as an example.
The drawing could be built using sticks that are attached to the material and then this would be attached to a frame as a “flag” of moving canvass. The reason for the frame is so if there is a strong wind/rain etc. the work will stay in place at least for a while.
I have attempted to build a horse, using Leonardo’s drawing as a guide but encountered a problem during the process – dried grasses/flowers are too fragile and kept braking off before I could finish the figure. below is what I have managed to do. If I can get more materials, I will try to finish this later.

I also used plastic and acrylic paint to follow the lines of enlarged original drawing and created a mono-print over hessian. I have placed a sheet of A1 paper behind, so the print is more visible. I like this print, what got transferred from plastic in a way mimics natural material and dried grasses that were used for the previous project.  For the moment I have not decided how this could be taken forward, perhaps time will help to figure it out.

Sources for pics:

http://www.drawingsofleonardo.org/

https://en.wikipedia.org/wiki/Leonardo_da_Vinci

https://www.rct.uk/collection/themes/exhibitions/leonardo-da-vinci-a-life-in-drawing/birmingham-museum-art-gallery

Part two – Installation

Taking a drawing of a horse and through thinking process arriving at this idea: I want this horse to see some sun… This drawing has been “hidden” from public and outside world for so many years that I feel it needs some fresh air. As well as that I would like to highlight the problem of how animals treated, particularly large (horses, donkeys etc.) that are kept for pleasure by people who have no means or experience. Sometimes they kept in back gardens where space is limited, food is limited (one large animal like that needs to have at least a field to graze upon) and supplied by the “caring” owners in a form of dried grass/vegetation/pellets. Unfortunately, sometimes even this limited menu is restricted by the time that owners manage to find. As a result, animals get malnutrition, develop muscle atrophy or other problems with their feet, and live in the space they share between their “kitchen” and “bathroom”…
I used a flat white plywood panel ( one of the pieces i had left over from my fitted shelving) and enlarged image of Leonardo’s Horse divided by lines ( image is taken from Birmingham museum website) to represent one of these lonely, thin (flesh and bones – board and line) , pale ( as if kept away from sun) animal.

Nails were used to follow the lines of the face – originally, I was planning to go over most of the lines but decided to stop here. I believe it has more impact and leaves the line drawing more visible. If I had the nails that are used for the horse shoes I would have used them instead, but in this case I feel the oval head nails do the trick – they linear, when the light hits them really interesting drawn lines are thrown out on to the board adding to the whole , perhaps as if horses hair is being blown in the wind. Also, they mimic the hatching marks that were used for shading.
Using green garden string I “drew” over some of the contour lines of the head. Here, I had a “happy” accident with the following decision – I had to leave the work for a few days obviously leaving the string still attached but next to the panel. When I returned, I found that it just looks as a “rein”. I’m going to use it as a tie to ground the horse while it is in its place.
Installation idea, before assembling, stand my “horse” tied to a piece of wood/stake in the garden. My garden in this case plays role of the concept behind the installation and a refuge/nice place for this animal to be in after rescue. Below are a few photos at the starting point and outside while working out the placement.

I’m not sure how to make it stand yet, but I will probably use a wood slice and make a groove in it.
I’m planning to put “food” in front of the horse and something that resembles the manure (I do not have the real thing) at the back. To highlight the enclosed/limited space I will make a pen around it. Just need to get it all ready and wait for a nice dry day.
After i have gathered materials (for the manure – cones and moss; cut out piece of hollow wood for a stand in the ground; metal fencing to make a pen , dried grass and an apple as food, and bowl of water) taking advantage of sunny dry day I have put the whole concept into an installation in my garden.

view from the front, without the fencefrom the sidefrom the sidethe “manure”from the sideabove with the fence installedfrom the side

Couple of videos below:

installation project for the assignment, combination of famous drawing that was hidden from view and highlighting idea of large animals being kept in unsuitable areas

In this video the sun helps to produce shadows , but also my shadow got slightly in a way

in this video the sun has gone down a bit and creates longer shadows.

 

Reflection:

 

Overall i feel that the idea and concept for this installation has a larger potential and worked within the space i have. I personally like the idea and what the message carries beyond the use of materials here.

Some changes that could have been done or used to make a different view:

1.the panel I used here is a flat white board, as an idea it represents the surface that drawings/paintings are usually made on. Perhaps I could cut the shape of the horse out of the board in advance – so the figure is more “readable”. This might work if this piece was installed in a field. Also, the dimensions would need to be larger (at the moment the drawing was enlarged to A1) so the work creates bigger impact and becomes more visible in a large space. The format I used here would also work in a room – it would fit with the flat walls that have drawings hanging in a usual manner.

2. Installing in a field, for example – i would clear the area within the fenced lines as if the animal been there for a prolonged period and has eaten all the grass around it while the rest of the field is still full of food which is out of reach.

3. Possibly audio of the animal sound grazing or in distress could be played on a loop adding realistic experience of live animal upon viewing the work up close.

Overall this part of the course was quite challenging, I enjoyed working on projects but found some of them quite restrictive due to personal shyness and idea of other people judging. Mainly because i feel that not a lot of people around me understand or have an interest in modern art and unusual installations. But this for me to conquer and improve upon.

The great part about this experience is that i have opened up and found more connection with the surroundings, use of materials and explored places to a deeper degree on a personal level.

Also, this project helped me to start looking more and i hope to incorporate “found images” theme into the parallel project.

 

 

 

 

 

 

Contextual focus point: Emily Kame Kngwarreye

 

“Whole lot, that’s whole lot, Awelye (my Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (Dreamtime pup), Ankerre (emu), Intekwe (favourite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). That’s what I paint, whole lot. ” 1990  when asked to explain about her work and what she paints; Emily Kame Kngwarreye (b. about 1910 -d. 1996)

Watching her work I had a feeling of how much she connected to each piece and the meaning that was put into it. She is quite a remarkable person – starting to paint in her later years she managed to reach across her lands into the world and touch many with her art.

She grew up  in a remote desert area known as Utopia, hundreds of kilometres away from the modern world and had no formal art education.  She drew inspiration from the surrounding environment and local history, holy places/objects and ancestral history. It is possible to say she captured the air and life around her in the paintings she produced. Her work has it’s roots in traditional ceremonial art and also works that were produced for everyday purposes such as decorations, clothing patterns, body painting setc.

While watching some of the YouTube clips I’ve noticed how immersed she was in her work and totally connected to the earth, air and the story she was portraying. She used canvass, wood, silk and anything available . A lot of her work has quite a large size , which is quite impressive, providing that she was quite prolific and during 8 years has painted almost 3000 works sometimes producing on a daily basis.

It is possible to find similarities in her work and works of impressionists, expressionists and contemporary abstractions – of course she had no visual interactions with those movements during her upbringing. This is one of the reasons she took the art world by storm almost overnight – raw talent, visual euphoria and so in line with the time.

In 1977 Emily was introduced to the Batik-making through a government funded educational program this is where the materials she used later entered her life.
Batik-making is introduced to women in Utopia as part of an extended government-funded education program. This is the beginning of Emily’s use of introduced materials in her art. In 1988-89 she started using acrylics on canvass while working with  Utopian women’s Batic group on a project for a CAAMA shop. This is when her first Painting on canvass was completed and instantly attracted attention, from here  demand and success of her work escalates.

Emu woman, 1988-89, 92x61cm, synthetic polymer on canvass

Image source:  https://www.nma.gov.au/exhibitions/utopia_the_genius_of_emily_kame_kngwarreye/origins

In a lot of her she uses repetitive lines, dots, designs that “mimic” ceremonial body paintings – but in a innovative and free style. She used gesture and whole body movement , as if dancing, or sat on the ground literally connected to the work that was painted. She captured the movement, traditions, dreams and life she knew and shared it with the world.

Alalgura – my country in bloom,1992; 122x303x5cm; synthetic polymer paint on canvas

Image source: https://www.mca.com.au/artists-works/works/2015.5/

Above work, she uses dotted patterns and colours to represent the fertility of her country and how it spring into life after hot summer storms, when seeds swirl in the air and begin a new life in a new place.

She celebrated and expressed nature through her paintings where she tried to portray her Aboriginal Dreaming – traditional stories, spiritual beliefs of her ancestors and relationship her people have with the land they live in.

I found it quite remarkable how Her style of working have changed,  – she explored colour, pattern, line, drawing and application. From minute dots representing seeds, yams to expressive body painting pattern that women have for the ceremonies and later going towards lines or just  pure colour patterns, small dots to large dots, straight lines to curved patterns and vise versa.  Below is a small video showing some of her works and story about her career/life

 

 

 

Thinking about the importance of  place and belonging in terms of my own work I feel that inevitably my life experience adds to the direction i take.  We have moved a few times and lived in different countries – this has some advantages , as it opens the horizon and allowed me to experience variety of cultures, religions and environments. The sense of place play a significant part in my life – at the moment most of my inspiration comes directly from where i live, but i do find myself digging into my past more often than i realised.

References:

https://www.nma.gov.au/exhibitions/utopia_the_genius_of_emily_kame_kngwarreye/emily_kame_kngwarreye

https://www.mca.com.au/artists-works/artists/emily-kame-kngwarreye/

https://www.wsws.org/en/articles/1999/05/kng-m07.html

https://nga.gov.au/exhibitions/kngwarreye/teachers.htm

https://nga.gov.au/exhibitions/kngwarreye/teachers.htm