Category Archives: Project 1 Space, depth and volume

Part 2 Projects 1: Space, depth and volume. Research point

 

The artists below all make work which both creates and denies three dimensions at the same time. Take a look at their websites then make notes in your learning log about these artists, your response to their work and how their work relates to what you’ve been attempting in this project.

Angela Eames: http://www.angelaeames.com/

Michael Borremans: http://www.zeno-x.com/artists/michael_borremans.htm

Jim Shaw: http://www.simonleegallery.com/Artists/Jim_Shaw/Selected_Works

 

Angela Eames – Interesting how the perception/expirience/relevance of works change, i mean my personal experience. I have come across her work before, i think it was at the beginning of my first course – and i must admit even though i found the imagery intriguing i was not taken by them. Now, after experiencing and learning new ways of expressing individual perception through media i found her work a lot closer, more appealing and enchanting. Use of technology and physical drawing together to create space and objects that flow and interconnect is visually captivating. I love the layering she uses to create volume in her work – lines become shapes, take over the space and create depth. Portrayed object merges with the background and becomes a different entity in a way. Repetitive patterns and curves on some level remind me of some Pop Art work – the movement and blurriness of juxtaposed marks vibrate and transform flat surface into a moving surface ( sort of a wave); Similarity also could be drawn with her use of bright colours and use of printing technology.

The only negative (in relation to physical drawing itself) is that the actual process of working is not revealed so most of the images do look as if the completely “computer made” photographs generated using technology.  I have nothing against use of technology , but personally relate more to hand made ( physical process of making) methods – saying that i am so much more open to possibilities and variations of self expression and methods of working now, so who knows where the experimentation takes me in the future.

I can see how this  Artist’s work could be related to my work so far – in the part one i have tried printing same/different image over itself/another using same or different colour to discover “accidental” marks and textures. But in my case i wound stir towards more natural, softer objects rather than geometric patterns and straight mechanical lines.

Michaël Borremans – personally the experience upon viewing his works cannot really be put straight to one side. Yes, I found them unnerving, somehow disturbing and maybe even haunting but also, strangely enough, could not take my eyes of them. I think artist definitely manages to captivate the viewer by creating atmosphere of emotional reaction upon encounter with the image. If the figures were manikin, we would not react the same to just half of the body or a piece of it, painted with great mastery. But because his subject is real people – real flesh, the experience is just nerve pulling somehow – because we do not want to experience the lifelessness or perishability of our bodies I suppose. The depiction of “dead like” expression creates the feeling of vulnerability, highlighting idea that we are also objects among our surrounding. He depicts his figures as objects that belong in the space but makes the work scream – why? What is going on here?..  – Hence creating the connection and emotional response with the viewer. Of course it is just my personal opinion.

How could his work relate to mine?  It would be interesting to use this idea of immediate reaction – no matter pleasant of disturbing – in order to generate response to my work. I would be interested to look more into his use of colour/techniques and application to interpret the skin tones and life-like appearance of flesh.

Jim Shaw – Personally, I found very interesting the combination of drawing and painting in his works. Meticulously rendered areas of detail flow into an array of marks, curves and lines – this creates a very interesting surface to look at.   The eye is wondering around the picture plain and in a way as – ”reading” – the exploring surface. Combination of textures and marks creates movement and story of its own. I think the large scale helps with the impact on the viewer.

The space used very creatively – objects/figures and background work as one, complement each other or create vibration due to difference in texture/marks and forms created.

He seems to use a variety of media and supports for his series/paintings/drawings as well as using materials to create installations.

How his work relates to this project – his use of materials, surfaces, methods of application etc.; He also follows a narrative through the series of works – all this could be helpful in upcoming exercises.

Part 2: Material properties Project 1: Space, depth and volume

Part 2: Material properties

 

 

Part Two is about discovering properties of materials used to make a drawing, how it affects the application and outcome. We need to experiment in order to build a sensitivity to the properties of used materials on the chosen support.  By experimenting using new methods we should aim to allow materials to take control.

 

Project 1: Space, depth and volume

Aim: Using two tools – charcoal and rubber – aim to discover relationship between drawing on surfaces and drawing of surfaces. Explore how light operates on objects and creates volume, depth and space without using an outline as the starting point.

Method: Cover a page with charcoal, use selection of rubbers to make a drawing of selected object.

 

Reflection:

This was a new experience – in terms of using charcoal and rubbers. I’m not really sure if I connected well enough with the process – I was dealing with cleaning the rubbers more than “feeling” the object. I’ve used the technique of scraping off before by using pallet knife or tools to reveal the under layer (oil pastels, oils, acrylic paint etc.)   But this experiment was different as we were looking to find the light on the surface to show its volume.

  1. I’ve used a porcelain scull as my object – light kept changing due to wind moving clouds – and it felt more like catch – and – grab experience. While interesting as a process I feel that the surface of material (porcelain) was not really captured here it probably resembles the real bone – matt and porous. Also interestingly, in my opinion, due to change of lighting conditions the resulted drawing and marks make the image appear “moving” rather than static, which I think is not a bad result. (Half of an A1 cartridge sheet)

 

2. A3 sketchbook, page 14. – willow charcoal is quite soft and application here was easier than on the cartridge paper, I think because the paper is more porous. I’ve used a small manikin and a dried up lime, placed over a water container – to start with I’ve used hard rubber to mark main areas of light and find the objects. To add lightest lights I’ve used an electric eraser – I found this much easier to work with as a tool. Then I’ve added darker areas using more charcoal. I think if I were to use a larger paper for this it would be more interesting in regards of the composition.

 

 

3. A4 watercolour sheet, attached to page 14, A3 sketchbook – I think this is most successful result of the exercise – I like the texture of the paper it helped to achieve effect of light and reflection on metal surface. Here I’ve used putty eraser and it worked much better. Also the illumination and reflective surface of the mug helped to see light/dark areas much better.

 

 

4. Using the scull as before (on a half of A1 cartridge paper) I used white chalk to find the lightest areas, instead of eraser, adding darker areas along the process. I also rubbed the chalk into the paper to get mid tones. I think I got the overall shape and managed to bring the object out of the space but tonally it can be worked on.

 

I found that when viewed together ( as one drawing) the sculls create quite an interesting composition and some sort of a storyline – as if one is buried and the other is on its way above,  So  that is how I will leave this for now – as one drawing.

 

 

Overall experience of the exercise – this approach helps to “feel” and “reveal” the subject rather than place it on to the support in a usual manner by starting with outlined drawing.  I can see how this method could be applied in other works – image/object/area could be found within the space by taking away rather than adding extra. It also shows that we do not need to rely on outline in order to find something but instead look for patches that are tonally different within the visual space.