Category Archives: Part 3 Physicality and gesture

Assignment 3 and Parallel Project sculptures 4

Apart from some changes that i have tried to do to the assignment pieces i followed up with the parallel project idea of found images and making them into solid subjects.

Because this assignment was about gesture, movement, engagement with the process and “unexpected” (to some extend) results i found quite a few linear shapes and forms within the works.

I must say that it was not easy to decide what to change in the works, feeling of making it worse creeps in even though there is a want to make it better. I have made some changes to the larger “self portrait painting – well, it definitely changed… I have stopped amending it as i feel that i need to have a “conversation” with it later in order to feel what else to do here or not?  I have used more media ( pastels, inks, acrylics, different tools and so on) and also during the process found” another me in it , sort of coming out from the left side of the picture plain.  I feel like this “self portrait” is my own journey to discovery and experimentation I’ve been going through during the course.  In the future i will come to work on it again, with more to add or erase but i have stopped as it needs a rest for a bit. To some extend this work was edited after being inspired by looking at some works by Francis Picabia “Transparencies” where he uses overlayed linear images to create a complexity and depth.

There is a possibility of Cropping it out and one of the possible frames is below, i will decide after discussing it with my tutor. It is on a canvass so i might leave for now)

Then it was two more drawings performing to music – i am still “looking” but not “doing” in regards of changing the overall drawing. I’m going to have a “conversation” with them and see if i can ..

But what happened so far after some time of looking at the works – i have found quite a few interesting shapes and forms that beginning to be translated into 3D forms. This sculptures inspired by the marks made during the process, as well as the final result plus the actual music that was played during the process.

I am using stronger wire that can support itself better and only a small amount of plaster, plaster cloth or none at all in order to capture the “fragile” “sensitive” quality of the lines/marks and flowing music. I hope to achieve sculptures that will mimic this gestural element of mark making along with some movement that vibrates the air while the music is being played. Ambitious, yes, but extremely interesting and rewarding process.

Bellow are some of the photos of the works in progress ( final assembly with the drawings i will do when i’ll finish)

 

Below is one sculpture against black background and superimposed using Paint 3D on to a landscape

 

 

 

Three pieces combined

 


Reworked pieces for assignment.

As advised by my tutor i have tried to reworked a few pieces. The one below i have added more shadow and defined a few lines.

 

Two below are from project 4.

First i have used actual drawing and made a new one that was based on the statement 2.

 

then i over-painted some ares on the finished drawing as advised by my tutor.

 

 

 

 

 

 

to be continued

 

Part 3 Review against Assessment Criteria

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

This section was quite an intuitive and emotional in regards of using materials and techniques and self expression – i feel that I’ve opened up new ways of looking at working process, explored collaboration with idea and materials, experimented with immediate response through feelings and sound and direct contact with media. Compositionally there is an improvement – now i try to use more of the whole and involve negative spaces as well as the object/subject within the space.

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

I feel that assignment work directly relates to the whole part – working intuitively and applying most of the methods used in this part to arrive at the final piece. I believe it is evident through all the works produced – they feel coherent and follow up as a group.

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

This part really allowed development of ideas during the process involving experimentation and invention of new ( to me) methods of application,  and use of materials. I feel that  my voice and method of interpretation finding it’s way out – i’m feeling tuned in to creative process, especially important is the part of expression by using all available to me at the moment – materials, feelings, senses and the space i have. My imagination is quite colorful and sometimes it is difficult to express but i do feel that i’m getting close to finding a right way for me to do it.

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

My thought process and how i arrived at the end result is documented in the blog. I try to stay critical to a degree as well as look for what worked or could be taken further and how.  Artist research finds it’s way into the works and also the process i go through, i find myself looking back at some artists and works to reevaluate and discover new things as the study progresses. There are a few artists i would like to look at further – i started a list of some that may be useful to me for the parallel project.

Assignment 3 Painting to music

Select a piece of music (preferably classical or at least rhythmically complex) and allow your movements to be affected or generated by it whilst producing a drawing.

 

It took me a while to choose a piece of music – but it was a nice time working with a cuppa listening to my classical collection.

I have chosen Tchaikovsky Piano Concerto No1 in B Flat Minor Op.23, Allegro non troppo; Georgian SIMI Festival Orchestra, conductor: Nodar Tsatishvili; piano Vakhtang Badrishvili

, I have a CD but as example here will insert a YouTube video I found with the music performed by a different orchestra:

The reasons for choosing this particular piece – first I have played piano and this was one of the pieces that I did in the music school; second I just love piano and string instruments together; third Tchaikovsky is my fellow countryman so it is a homage in a way; fourth reason is I just love this composition – it makes me happy, relaxed and alert at the same time and feels my mind with images; fifth it is rhythmically complex with slow parts that grow into almost still moments and then start to become fast and furious))…. Just to list a few…

Next I wanted to record the process but was not sure how – in the end I managed to do a time laps (no music) – the result is a 1 minute video of the 45 minute process. I had the piece on repeat so there was some repetition – this allowed me to change tools, colours etc. I painted mostly with my eyes closed – apart from when i needed to swap colour or application tools.

Mostly I used my hands – I “played” the canvas as if I were playing the piano and conducting it at the same time. Other tools used : ice cream sticks ( one is still on the canvass), plastic tool for making patterned lines (not sure what it is called); brushes, plastic containers i had paint in, pallet knife, water, acrylics (yellow, p.rose, cyan, grass green, white, black)

This is first time i did a time laps, so perhaps it is a bit too fast but, if possible please watch it on repeat(or at least 3 times in a row) during the whole length of the piece of music ( link above) it will make more sense – that’s how I watched it.

Here is the time-laps:

 

And the result: 1st picture while wet; second when dried – pictures are brighter than the real thing, first one is closer in terms of tone

 

There is definitely a lot of “me” in it – I had really attacked the canvass during some moments as well as stroked it softly using gesture movements. The whole process was really enjoyable and messy – I’m still covered in paint)))

Background/starting colours got muddy – painting with eyes closed was liberating but unpredictable and resulted in mixing of paint. I’m glad I have added some fresh colour in the last 15 minutes – it sort of popping out and contrast with the grey background; I also see resemblance in some marks/blobs/spatters to the musical notes that were played in faster temp. I also like that some of the canvass is still visible especially considering amount of paint and marks I was using

At the moment I decided to leave it here, rather than add something – firstly I need to think more about it as I can’t see anything that is really popping out to create more recognizable shapes, also I do not think I need to find anything recognizable here – in the end this is my “intuitive” painting as a reaction to music played on repeat and I consider this more of a performative gestural painting. But I will see if in some time I will decide to develop it further…

 

 

Second drawing:

This time I’ve used a gessoed A1 cartridge paper, charcoal (soft, hard, homemade), diluted India ink, white/yellow acrylics, my hands and brushes for application. I did not use video for this – instead made photographs of stages.

Music – I’ve listened to 1. Same as above followed by 2. Shubert – Rosamunde D.797, Op.26, “Intermezzo”; St. Petersburg Chamber Orchestra “Canon” conductor Vitas Antonavichius

here is an example on youtube https://www.youtube.com/watch?v=_PlZ1GJQ2AI

 

Second piece of music is more peaceful ( relaxing) and worked well as a continuation. 

First i used charcoal to apply fast gestural marks (Tchaikovsky) – I’ve noticed a lot of sharp/long lines while using this medium; followed by brush and ink – softer/wider marks, spattering ink as if i’m conducting and made brush impressions following  individual notes.

 charcoal   ink, acrylic

I also flipped it to different sides during the process.

Just before the next piece started i swapped for white paint –  first gestural and some pushing occurred then i started to follow patterns on paper as music progressed – for some reason i felt like geometrical patterns were the ones to follow here. Half way through white was swapped for yellow and was applied mostly in a conducting motion.

Then I left it to dry and to determine the next step. In the end I decided to leave it like this – I like the marks and minimum colour here; I think it works as a piece of emotional expression.

Third piece: a small Colour abstract using pallet knifes music (same) and colour. Here I tried to project colours i saw while listening. (Approx. 29×40 cm canvass)

 

After some time, a lot of music on repeat, harvesting and tending the garden  I started on a new canvass – it is quite large, biggest so far for me – 80cm x 127cm

What i developed out of first two is a combination: music, borrowed lines and me

Fourth piece: Self portrait

I started without preconceived idea, similarly to the previous pieces – music was playing, colour was prepared etc. First I gessoed a canvass I got on car boot – it is quite large so I’m just being brave here.

Gesso was applied using gesture movements and texture was in mind – i like how it dried with variation of thickness and lines still visible.

It took me a while to decide the next step. I wanted to combine first attempts and develop them – so i enlarged some areas, looked through colour/line placement and in the end decided to use a limited pallet. Partially the colour choice was inspired by my garden – Green and yellows of cucumbers and tomato plants. Also i liked how yellow worked in the second drawing. My veg garden, below:

I went with yellow first – gesture movements while listening to music then similarly I applied green.

After these layers dried i used India ink and brush to randomly find a few shapes.

Then some diluted yellow paint was poured over(vertically) and also i was turning the canvass during the whole painting process. 

 

Then I used tied together poppy seed heads and applied black acrylic – I made a video but unfortunately the phone moved so only part of the canvass was visible – I’m not adding it here yet. This added a few nice random marks.

I really did not know how to take this further – some of the ideas popped in to my mind (flower field, cartoony people, pure abstract etc.)…

It took me quite a long time of staring at the canvass to decide but I had some sort of a moment and just went with it. I decided to try and do a self-portrait….

Starting with the eyes to get going first I began using India ink and a brush, my hands, tissue etc.

 

 

Here is the result…

 

First thoughts: Overall I like how it developed out of gesture to music into a representational image. There are some aspects that work – eyes, soft forms of the face against jigsaw pieces/harder lines/ irregular shapes… Not too happy about the way hair on the sides look – I had used spray bottle and ink run down too much in a rather messy stain…

It is hard to imagine just by looking at a small photo but as a whole it does work especially due to size of the canvass and colour contrasts.

I had it in the lounge for a few days – looking at different lighting arrangements and trying to figure out how and if I need to take this forward.

Things i decided to work on in a few days of analysing:

Hair – I want to have more gesture marks along with a bit more definition, highlighted areas and try to retain spontaneity of other marks around

Face – there is some likeness but not exactly “me” looking back … Providing I was drawing freely I still want to get a better drawing along with more likeness…

 

I used diluted inks, acrylics, rags, water, pallet knives and my fingers to modify areas I was not happy with – I had to reapply, erase and wipe out quite a few marks during the process here.

The result: First image – taken indoor under normal light bulb;

 

Second – taken outside in the morning , light but not sunny. Image is a bit too yellow…

 

I believe after reworking i have achieved a lot more likeness with myself, not exact but I’m more at peace with this one – I feel it is more resolved and has a presence. I modified the shape of the face, mouth and hair, neck line, shoulder length ( I’ll change picture after I get the work back from my tutor as I did it at the last minute before packing, and nose, added more paint around the face to cover things I did not like and to add contrast.

Even though it does not look exactly like me i can see myself in it through application, colour and involvement in the process. I tried to work in a similar manner as in the beginning – using gesture rather than precise controlled lines to maintain spontaneity and movement that was captured during listening to the music I’ve selected. There could be a few things to add/change but I decided to stop at the moment so I do not overwork it too much.

 

Reflection:

This approach somehow reminds me of Karel Appel paintings – a lot of gesture and emotional physicality in his work.

Part 3 in general was very physical and experimental – at the beginning i was not sure how the exercises will go but during the process really got involved and enjoyed delving into the unknown areas.

There are a few things I found out during this part – do not be afraid of exploring totally new ways of application, approaches and use of emotion. Words and music can help generate ideas, liberate movement and choice of colour/tools and media.

I feel that I learned a lot more of what drawing can be and ways of approaching ideas – starting point sometimes can be elusive but involvement helps to bring it together in the end.

Working on a larger scale definitely resonates with me – i find that gesture and space help me with expression in general. Also this goes in line with idea for parallel project where I’m thinking of enlarging elements of objects to abstract whole and find new ways of seeing the same thing.

Overall I really enjoyed this part and hope to carry on some of the learned into the future projects.

 

 

Project 4: An Emotional responce

Aim: Allow your own emotional response to direct mark-making

Method :

“Take 10 pieces of card and give them to friends. Ask them to write down a characteristic of someone in a novel or newspaper article in the first person. Ask them to choose something which might engender an emotional or physical response. Examples might be “I killed 15 women” or ‘”I won the lottery” or “I feel nervous at parties”.  

Ask someone to sit for you as a model. Every 10 minutes ask them to read from one of the cards.  As they read the statement out, try to change the way you use your materials to respond to the statement. Make angry, scared, joyful marks as prompted.

If you don’t have access to a model, make a self-portrait or simply imbue another object – a
chair, perhaps – with these qualities.”

 

Initially I thought we have to do 10 separate drawings, but then decided to do all the marks on one – I believed this will create a combination that might result in a more complex image.

As I could not find a model to sit for me at the moment I decided to choose an object. After some time the choice fell upon my raised bed where we grow some veg. The model is slightly overgrown cucumber with its leaf – not cat walk specimen but I felt it “wanted” to be drawn))

Using stepladders as a stand, the composition was set with clock facing me to be able to monitor time, the written statements were placed face down in a random order – this would create unprejudiced reaction and order hopefully. Statements were written a few days prior which gave me some time to forget them. I also decided to do it early in the morning and with no music or other distractions to be able to react with a clear head.

I chose a selection of media that jumped at me first – charcoal, chalk, oil and soft pastels, colored pens, black ink, few mixes of acrylic paint, water, pencils.

I will decide what to use accordingly as i read the statements. Let’s explore!

First statement: I crossed the ocean in a boat!

The first thing that i felt was the calmness of the air and the vastness of the water – so first marks were made using pencil, mainly outlining the object. Then colours came in – blues, greens a bit of yellow – this was obviously related to the cucumber but also the water itself. Then my imagination started playing images of dangers – rain, wind, waves, sharks, loneliness, cold etc.. So i responded using oil and soft pastels, ink – images were popping out and i just went with it – drawing quickly and almost stabbing the paper…

 

Second statement: I seek larger slice of life.

Colour (red, orange, yellow, white) was the immediate response along with cliché images – adding crown to the shark and the cucumber, car with big wheels, gold chain and fish, blood on the teeth of the shark – I guess this means ruthlessness of “big fish” in business word… I also had response in words – (why? I do not know but it just happened) – so I added some: gold fish, disco, glamour, fun, watch me, cream, respect, life – do not remember the order they came out though. I also used white acrylic and applied it with my hands and fingers – this felt like “cream” – richness of the big piece of pie… I also splashed some white over as a bling in the air I suppose…

  whole top

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I think this experiment might be getting a bit out of hand now )))) Imagine cucumber ruling the world ?)))

Third Statement: I live in a matrix

Well this will explain cucumber in gold crown on a night out)) Slightly stopped in my tracts I went with what came to my mind – caged reality? Conspiracy theories? The mesh was applied using dripping paint, the eye was enlarged as if the cucumber just realized something is going on here … A few phrases/words popped in my head and i written them – Lost, where is cucumber?, is earth flat? And outlined word Cream in black ink…

 wholetop

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Here I took a break – mainly to let some of the paint dry so I can use dry media as well if needed. Cup of coffee and recording of the statements so far followed…

While waiting I tried not to think too much of where this was going – so i do not make a direction but maintain immediate response to the statements to follow. The thing I was thinking is – do I carry on the same piece or take a new piece of paper……

Fourth statement: I feel frozen inside

Blue – cold – snowflake – expansion from the centre… Immediately i wanted to draw circles and hard lines emanating from the centre. Then I used white paint to dab blobs of paint – sort of like frost bites – following lines of this net.

 

Fifth statement : I dream pictures in colour

Cucumber regained some colour and this was the first response, then I used red, green, yellows and allowed my hand make marks on its own – circles, frames/pictures, dabs of paint, etc…

Sixth statement: I want to fly high

Few words were added and wings to cucumber, shark, rain droplets, then I felt that if one to fly it would feel like a rush through a substance while generating currents so I splashed some paint using brushes and sticks…

Now it is getting very busy and wet on the paper…. I’m starting to find it difficult to un-relate with the surface – it sort of feels that I’m beginning to repeat gestures and marks…

 

I also noticed/realized that i somehow “forgot” about drawing cucumber but instead “feel” what it would “feel” … Interesting discovery..

I decided to stop here…. it felt too much on one surface… so I changed the paper and continued from blank page…

Seventh Statement: I killed them for fun

I did not expect this one… First response was the colour of blood and i sort of attached the paper with a brush doing variety of gestural marks, sliced the cucumber, added the leaf, which started to wilt now and curled up on itself… I suppose this statement made me angry but I tried to feel “happy” as it directed…

Eighth Statement: I’m still alive!!!! 

Interesting how the random shuffling placed the card here … I’m glad my cucumber is alive so i went with green – it felt natural here. Using thick paint straight out of the tub i added liveliness to it and made leaf open again as in the beginning. Vertical markings represent growing stems or living things, also i added word Life in white first. And another cucumber was born ))) Splashed some colour in celebration..

Ninth statement: My vision is not clear

Well, to be honest i was lost for words and sort of got frozen…. the only response I had was to splash some grey ink over and then i really felt that “the vision” of where this is going was gone… so I stopped……

Tenth statement: it got lost… literally … and I think this was meant to be as I’m feeling exhausted after this exercise to be honest…. till next time I’m emotionally switching off …

 

Reflection: To what extend did your emotional and physical responses fuse? Did this change as you progressed with the exercise? Did you find yourself able to respond emotionally and physically at one and the same time?

To start with I was trying to tune in with the idea of combining an object with a human statements, and even though it was confusing I think I got into the process/response/reaction quite quickly. As it progressed the thing that changed was how I felt – I started to feel at one with the object and red statements, as if I was it and felt its emotion… It sounds weird but I think it was due to complete immersion in to the experience… I would say that I responded more emotionally – this perhaps because I see things in pictures and colour and quite a calm person. I rarely (never, would be better word here really) let myself react physically (arm waving, shouting, breaking things etc.) to anything, I tend to overthink and analyse things to come to a discussion rather than argument… So I think this is why there are more gestural marks that attacking the surface approach, but also it could be due to statements I had. Apart from couple mostly they were “soft” rather than aggressive/harsh. But the process really took it out of me – i definitely need a break and a cuppa now))

Overall I was surprised of the outcome and experience I had. I think second drawing with less in it is a better drawing – visually more pleasing and I quite like it hanging on the wall above my PC. But I quite like the first one too – it’s a bit over-complicated and busy but it has energy about it.

This experience will be helpful when I get to the Assignment – painting with music, I feel that I have more understanding now on how to approach it.

     

Above: Thoughts of a cucumber, a day in a studio. (A1 cartridge sheet, mixed media, all sort of tools and loads of emotion went into the making of this salad)…

 

 

 

Contextual focus point: Erased De Kooning

  1. 1953, R. Rauschenberg, Erased De Kooning

At first glance this work is quite intriguing – it made me wonder of what was there before the act of erasing; some marks are still visible and also it appears that some of the erasing markings are also still present. In a way this is a drawing on it’s own – but in reverse, or as if time was re-winded until only trace remains. The framing visually is quite simple – i believe chosen on purpose so it does not distract from the work within and the label plays an important part – without it the piece would not be understandable.

2. Digitally enhanced infrared scan of Robert Rauschenberg’s Erased de Kooning Drawing

Above is the infrared scan of the drawing – revealing some of the previous workings with figures and lines.

Rauschenberberg worked in different ways and founded a quite a few new ways of approaching the creation of art. This particular work was a part of exploration.

In 1953 De Kooning was one of the most influential abstract artists and highly admired by many including Rauschenberg, who was still quite young and in compartment not as significant at that point. The decision of erasing work of a master was an act of bravery, an act of iconoclasm – the destruction of art and exploration of conceptual approach to collaboration, in my opinion.

The actual act of erasing took about a month – which shows that it was highly thought about process and decision making task. It wound be interesting to know how exactly he felt during the process – intrigued, afraid to proceed, eager to delve into it ?

After researching i found out that Raushenberg chosen De Konning because of his significance. Also when he approached the artist and got his permission there was a decision to be made of which work to erase. De Kooning had offered a few works – some were the works that he rejected but this was not interesting to do for Rauchenberg. Some works were done in pencil and would be too easy to erase. In the end work that has been chosen consisted of a variation of marks and media – there is no record of it though only what the infrared (above) could reveal.

The whole process was carefully thought of in order to achieve a result as important as the chosen work by an iconic artist.

Also this work has qualities of a “performance” art – reaching out to public and their feeling of the act itself.

Framing was done significantly later (1955) and the label was attached – this really planted the whole thing in to the history, it became a work of its own.

This video is not about the erased drawing but just interesting insight on the artist himself ( De Kooning) and how he found an idea for painting series by finding/creating a focus point from which work expands. https://www.youtube.com/watch?v=e6kiVI_KNTY

Later i found the video with Rauchenberg explaining how he did it ( I’m glad I had understood some of the initial ideas before watching this, it felt as I am really starting to connect the dots of study).  He says in the end – “its poetry”….

And I think it really is.

  1. https://www.sfmoma.org/artwork/98.298 ( accessed july/aug 2018)
  2. https://www.sfmoma.org/artwork/98.298/research-materials/document/EDeK_98.298_003/
  3. https://www.tate.org.uk/context-comment/articles/genteel-iconoclasm
  4. https://www.artsy.net/article/artsy-editorial-robert-rauschenberg-erased-de-kooning

 

 

Project 3: Drawing “Machines”

Aim: Push the concept of marks as a tracery of movement to its logical conclusion by making marks incidental to your own movement.

Method: find something which moves and use to create an “incidental” drawing. Develop this automatic drawings using source material from sketchbooks or simply by responding to what you find as you experiment. Note what happens when you shift from automatically produced marks to considered ones.

 

Interestingly enough i could not find anything in the house that can move or moves on it’s own…..  Then I had a Eurica! Moment – tooth brush!!! not much but it does spin))) well partially.

I did not have much success with this – attached media just kept falling off, the brush was running away or not moving at all… then I made a small holder for one end and managed to attach a piece of charcoal – it worked!!!!! And then the battery died….

This is one of the attempts, no drawing was produced but i like how charcoal sticks “dance” here:

https://vimeo.com/user88239699/review/284873151/6032aa1798

 

At least i understand what Rebecca Horn meant by saying:” they {machines} have a human quality and they must change. They get nervous and must stop sometimes. If a machine stops, it doesn’t mean it’s broken. It’s just tired.” ((Rebecca horn (the Bastille Interviews II; Paris 1993); Drawing 2 course book page 45).

The attachment:

Before my “machine” got tired it did quite an interesting geometric drawing – I guess the pattern it was moving at was determined by the attachment I added for stability.

https://vimeo.com/user88239699/review/284873672/862dfe68bf

I can imagine if this would have been a longer drawing it would have a lot of “repeating” forms/lines and just change depending on the medium attached. I actually thing that this minimum, that was achieved after a struggle, is not too bad of a drawing – less is more has a new meaning here. As I continued to walk around, move objects, and so on – accidentally (?)- I allowed myself to walk over the drawing adding my mark. So now the drawing is “top to bottom” collaboration of teeth cleaning robot (brush) with my walking equipment (feet imprints) both using charcoal as a medium (piece and dust)))).

 

Take 2: Sunday was a baking day – custard filled fruit tarts and meringues, yummy. Why I’m talking about it? – The electric whisk!!!!! It has a motor and, while I must hold it, does have an attachment that moves.

So next morning I had a go using only one attachment that rotates. As this attachment has 4 sides i decided to use all and attached a piece of drawing medium to all. Interesting to experiment but pastels proved to be too fragile and broke off almost immediately ( still looking for a red one), charcoal was attached using a rubber band and this helped for it to stay intact; ball point pen lasted quite long but then flew off as well. I love the spiral pattern created here – almost like see-through snakes or flexible limbs moving through space.

I got inspired and used charcoal attached to the whisk to draw a self-portrait in sketchbook (A3) – I like the softness and the marks achieved to suggest the features and hairs/lashes. I think larger sheet of paper would work much better – as it will allow to get more gesture and not to be constricted by boundaries. This is an interesting method – I think I might need to practice this approach and implement it in later works (or parallel project).

Self-portrait 2 (sketchbook A3) – Using graphite stick and hypo trochoid template (to make circular forms/lines) – I started by using rotating motion following the template and moving it over the paper. I was looking at my photo and drew the shapes on paper by moving the template. Then i drew my face using graphite and pastels – this drawing is smaller – as the size of the photograph that is printed to almost actual size (scale). I wanted to have two different ways and a feel of blurriness here. It is like two images on top of another but with a different zoom and sharpness.

I think it might have been better to use the whisk rather than circular template – as there would have been more marks – but i wanted to check the overall idea of using discovered marks and patterns and I think it worked in combination.

Take 3: Wind drawings.

I have tried this before (last course) – where I used a hanging charcoal and wind to make marks. This time i tried using similar method but more tools and places.  This technique is interesting and produces nice and soft marks especially if the wind is not strong. The weather was quite calm so this experiment could be continued to check other possibilities and weather movements.

Charcoal -tomato collaboration: this did not work there were no wind or air movement as well as moisture in the air – the result, no marks and wet charcoal. But I do like how they dangle in the space- so this is a dance drawing)))

Charcoal, pencil, graphite hanging off the ceiling and Fan:  not much of a result here, i think the sticks are a bit too heavy for the air flow. I have tried to make “wings” (tags off green onions) and change fan settings, but did not manage to get much change here.

 

1st set up                                                             2nd set up with a cross

Some of the marks achieved:

I took my A1 support ( two A1 sheets attached to a canvass) and the drawing implements hanging off the string outside: i attached it to the drying line umbrella in hope that wind picks up later on. This stayed outside for a few hours until the rain started.

 

 

This result is what i was waiting for – a series of random marks made when wind moves the drawing tool. These marks remind me drawings of Egon Schiele – to some extend, they have erratic and jiggered quality but are very organic and “sexual” – as much as line/marks could be.

close up details:

 

rain drops add “molecules under microscope” sort of feel/look

 

Also if to flip this particular one, it could be read as a landscape (mountains and trees in the foreground) – but I do not think there are needs to find anything representational here – the marks are lovely and organic and make the eye wonder around on their own.

This is why I think this is a drawing i do not need to alter or “improve” – but I will use it as a source material, perhaps to enlarge certain areas.

 

Reflection:

How does the element of control affect the feel of the drawings?

I think that element of control added a direction – movement, flow, marks could be used as a tool to achieve intended result (especially if recognizable elements are present – such as a portrait for example). So the marks that can be achieved by “machines” while still accidental to a degree can be used as a “technique” and a tool if needed.

 In your own composite drawings, which marks do you prefer and why?

I would say that i discovered the possibility of joining forces here. I already prefer/enjoy/love to let materials take some control and determine the overall outcome while working so joining forces with machinery can be beneficial to the creative process. And while I had very limited resources, and perhaps more downs than ups during this projects I really enjoyed the experimentation, and hope to get(find/make) more “machines” to collaborate with.

Project 3: Rebecca Horn’s Drawing “Machines” research

Research Rebecca Horn’s drawing machines.

One of the videos

I watched – mostly her sculptures and a few drawing machines, unfortunately i do not understand what was said but it was interesting to see. Not all works here resonate with me but what does is the hypnotic movement of some sculptures (needle like spikes that move) and her use of mundane and manmade materials to create something almost “living” in the space they occupy and relate to the natural element.

What do you think Rebecca Horn was trying to find out or express by making the machines?

I think she is trying to find a connection between living/breathing and made/assembled, by giving machines life of their own. It seems that her works express her inner search for “what is reality” and “fragility of living organisms”, maybe it is her search for the “eternal life”…. Watching this video for example

I felt that she was really in the space of “actual mark creation” – in the zone of being the machine herself, almost being the movement and moment when paint touched the surface. I think these machines somehow are her self-projection – perhaps as some people use avatars in virtual world, she expresses herself by creating these “living” works. It is her way of reaching out to the rest of the world. (Obviously it is just my imagination). Perhaps this idea of creating machines comes from her early experience of being very ill (poisoned by fumes) and making body extensions that were worn by her and others making them almost alien looking. Here is the video where some of her earlier work is shown

The finger extensions definitely remind me of the later “needles” sculptures that move on their own – one work evolved to another in a way grew out of and began its own life. Similarly is the “white body fan” 1973 performance act, as I see, evolved and transformed into her butterflies, flying books etc… Early works involved human “machines” while later ones became mechanical “beings”.

Here is a small version in English (same machine as above)

She mentioned that she wanted to give something else to viewers than just painting to capture the moment by using “flying” books. It was exactly what i thought about them while watching the previous video. The close up of the droplets shows really lovely marks that ink/paint made as it collided with the wall and dribbled down – to me they look like spores of a fungi that flew from the source and planted themselves to create a new life of their own. (The artist herself called this work “rain” and mentioned how nice they collide with the space).

 

How does the element of control affect the feel of the drawings?

Some machines have controlled movement – this has effect of repetition and similarity of some of the marks made. But still some randomness and accidental effect finds its way – adding something extra to the repetitive patterns, breaking illusion of controlled movement. I think that controlled drawing is less fluid – marks made exactly where they intended to be, while “accidental, automatic, unpredictable” drawing in a way draws/creates itself and can be looked at an entity of its own.