Category Archives: Part 4 Environmental interventions

Assignment 4 and parallel project sculpture

I used Paint 3D to superimpose the sculpture inspired by Leonardo Da Vinci drawing on to a landscape. I walk with my dogs in this fields , it is quite open and i feel that helps to show how the sculpture might look if it was done on a larger scale. I like the contrast here between the white of the sculpture and natural colours on nature.

 

below is another one with figures, but i’m not sure if it works as well but it shows the possible scale.

 

below is the sculpture cut out.

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short videos combined

 

 

 


Using Initial Assignment 4 Installation piece i have photographed it close up to show shadows , as an idea to demonstrate the horse in distress , as when it is restrained by the cage:

 

 

 

 

 

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.

 

 

 

 

 

 

Project 3 Research point:

Research point:

“Many artists use installative drawings and what these artists are doing positions the viewer or audience member in a totally different way to someone viewing a work on the wall contained within a frame.

Using the link below, look at the work curated for On Line, an exhibition of contemporary drawing held in Edinburgh in 2010. Look particularly at the section entitled ‘line extension’ which discusses the work of Robert Rauschenberg, Cy Twombly, Ellsworth Kelly, Karel Malich, Edward Krasinski and Pierrette Bloch:” http://www.moma.org/interactives/exhibitions/2010/online/

Line extension section presented works that use line to extend beyond flat surface of support into the 3D space we occupy.

I am familiar with some of the artists and their work that feature in this exhibition.

Personally i’m quite a fan of Alexander Calder’s wire works – he uses linear qualities of wire to place the drawing into the space away/out of the flat surface of paper. Added movement creates visual interest and in a way makes line appear as if it is in a process of being constantly drawn/changing.

A Calder,  Calder room at National Gallery of Art in Washington, D.C.

Ellsworth Kelly – uses automatism and gesture often while not looking at the support – this creates lively markings , to my eye they resemble moving branches that could be seen on a large tree or grasses in the wind. Spontaneity and unpredictability of resulted marks appear still moving. In a way his use of gesture is similar to the Way Pollock used paint while immersed in the process of creating his canvasses.

some works by E. Kelly https://www.moma.org/collection/works/37190?artist_id=3048&locale=en&page=1&sov_referrer=artist

 

Robert Rauschenberg – his work quite close to me personally , especially the idea of using “found” or recycled materials. His pioneering Technics of combining painting/drawing with performance art , as example where he used car to draw it’s tire marks, opened up new possibilities and doors into the idea  “we can do anything” in a name of art.

Automobile tire print : https://www.moma.org/interactives/exhibitions/2010/online/#works/02/49

Edward Krasinsky – his work was new to me but i found it exiting, as the idea of “leaving” the plain of the flat surface is quite similar to what i’m exploring at the moment.

https://frieze.com/article/edward-krasinski-2

Pierette Bloch (June 16, 1928 – July 7, 2017, french), . Why is she described as using “poor materials” and what do you think her materials lend to her subject matter?

Looking at her work makes me think she was very much interested in mark making and expressing the qualities of line by using materials that mimic it’s qualities. Why to use “poor”materials ? Sometimes the simplicity of material can capture momentum and imply the moment our eye sees the object , we can make out everything else later. I think her background in textiles led to the use of singular strands of horse hair, wire, thread, inks, paper – they found life of their own out of the whole piece delivering “simple” but striking result at the same time. Also she is being referred to as a modest person, as example she mostly signed her works on the back, and this perhaps was her way of relating to works produced.

image source http://fryderyk.canalblog.com/archives/2013/03/11/26592960.html

Her works are mostly in black and white, linear and appear moving in space while remaining static at the same time. I particularly liked Horse hair and wire pieces – i can imagine that the hair move as the viewer comes close or walks by. The elegant twirls and knots create ever changing line that in it’s simplicity takes over the space it’s occupying.

Some of her work reminded me of works by Russian installation artist Dmitri Gutov, in particular work where he uses fishing line. In an example below he used line attached to walls with dust particles tied to them.  I found this project fascinating and it captivated my imagination when i heard of it.

To what extent would you say that this piece by Louise Bourgeois is a drawing?”

( i could not find the image that is in the course materials, but the one below is similar)

image source: https://www.sfmoma.org/artwork/fc-555/

She uses theme of spiders throughout and has a lot of drawings using hard media to very fluid paint. Also she has produced a series of sculptures where she plays with scale and materials. To me , the answer to the question is – i think it is a sculptured drawing that found it’s way from flat 2D support and emerged as a 3D object that fills the space and interacts with the viewer on a different level. I feel that material and the linear qualities play role of drawing in space/air rather than being on a paper surface.

 

References:

https://frieze.com/article/pierrette-bloch

http://www.artnet.com/artists/pierrette-bloch/

https://vernissage.tv/2011/01/10/pierrette-bloch-retrospective-at-galerie-karsten-greve-paris/

http://www.gutov.ru/install/dust.htm

https://galerie-karsten-greve.com/en/pierrette_bloch/works/paperworks#1

http://www.artcritical.com/2009/05/11/pierrette-bloch-at-haim-chanin/

https://www.artsy.net/artist/louise-bourgeois?medium=*&page=1&sort=-decayed_merch&price_range=*-*

https://www.sfmoma.org/exhibition/louise-bourgeois-spiders/

https://www.sfmoma.org/artwork/fc-555/

https://www.sfmoma.org/artwork/98.193.A-E/

https://www.tate.org.uk/context-comment/blogs/work-week-maman-louise-bourgeois

https://frieze.com/article/edward-krasinski-2

https://www.moma.org/interactives/exhibitions/2010/online/#works/02/66

Project 3. Installation

Method: Make a drawing that relates to its environment in a way that creates an interesting dynamic between the artwork and the space around it.

For this project i used my garden and tried to add drawing that would fit in, interact and can be a part of it  at least temporarily.

 

1. My shadow outline on the shed/studio space. Here i used my shadow and charcoal to “imprint” my outline on the space i occupy while working on the course.

It would have been easier and more accurate copy if someone else drew it , but i found it more interesting to do it myself – the shadow kept moving as a drew using charcoal. NOw everytime i walk by i smile and feel more connected to the space i use.

 

2. Shadows of the roses.

 

Using charcoal i drew over, trying to capture the essence rather than accurate contours of, the rose bushes. As clouds moved and wind moved the branches so did the shadow, this added more interest , in my opinion, to the end result.

first

two with a big shadow two with a smaller shadow two without a shadow

Video of how the drawing looks while sun creates shadows.

 

What i like about this “interaction” is that when the sun creates shadows the drawing is almost invisible, but when overcast the drawing becomes the shadow itself. Also i felt this fitted in really well as when asked my family did not see it until i pointed out, and that was exactly what i wanted – lines became part of the surrounding.

 

3. Going along the Lines with blending in i wanted to make a wire drawing that would fit with the dried grass and still bare branches, but one that would have a movement. While working on assignment 4 ( horse) i used Leonardo’s horse drawing as a model and shaped a piece of green wire into a horse head. I left just enough length to create a spring, and some more to be able to attach this around the garden. The movement created by wind and the spring in the wire resembles the motion of horse feeding in the field.

The static images – quite hard to see as the wire blends in with the surrounding lines of grasses – which is what i wanted, as this adds inconspicuously to the surroundings almost becoming one.

Here it is attached to the fence near the “wild garden” patch and some fire wood, short  videos below show the motion as if the horse eating.

 

 

Here the head was attached to the tree, giving it a linear body. and  short video below

Here it is grazing on some herbs, attached to the cut down oak tree, and a short video

 

Here i have put it in to the stable – attached it to the fence, as if it is peaking out before the bed time.

 

I totally enjoyed this experience, and my mum really loved the horse grazing in the garden, which is quite uplifting.

I feel that overall ideas for this projects have potential to be bolder or larger but they have worked in the space i chose. The charcoal shadows blend in and almost unnoticeable doing exactly what they were planned for – be a part of the whole. The wire head gave some smiles to a few people who seen it in motion and i enjoyed taking it out for a graze around the garden. The wire mimics lines that can be seen around it and in a way grows out of the thing it is attached to.


Research point:

“Many artists use installative drawings and what these artists are doing positions the viewer or audience member in a totally different way to someone viewing a work on the wall contained within a frame.

Using the link below, look at the work curated for On Line, an exhibition of contemporary drawing held in Edinburgh in 2010. Look particularly at the section entitled ‘line extension’ which discusses the work of Robert Rauschenberg, Cy Twombly, Ellsworth Kelly, Karel Malich, Edward Krasinski and Pierrette Bloch:” http://www.moma.org/interactives/exhibitions/2010/online/

Line extension section presented works that use line to extend beyond flat surface of support into the 3D space we occupy.

I am familiar with some of the artists and their work that feature in this exhibition.

Personally i’m quite a fan of Alexander Calder’s wire works – he uses linear qualities of wire to place the drawing into the space away/out of the flat surface of paper. Added movement creates visual interest and in a way makes line appear as if it is in a process of being constantly drawn/changing.

A Calder,  Calder room at National Gallery of Art in Washington, D.C.

Ellsworth Kelly – uses automatism and gesture often while not looking at the support – this creates lively markings , to my eye they resemble moving branches that could be seen on a large tree or grasses in the wind. Spontaneity and unpredictability of resulted marks appear still moving. In a way his use of gesture is similar to the Way Pollock used paint while immersed in the process of creating his canvasses.

some works by E. Kelly https://www.moma.org/collection/works/37190?artist_id=3048&locale=en&page=1&sov_referrer=artist

 

Robert Rauschenberg – his work quite close to me personally , especially the idea of using “found” or recycled materials. His pioneering Technics of combining painting/drawing with performance art , as example where he used car to draw it’s tire marks, opened up new possibilities and doors into the idea  “we can do anything” in a name of art.

Automobile tire print : https://www.moma.org/interactives/exhibitions/2010/online/#works/02/49

Edward Krasinsky – his work was new to me but i found it exiting, as the idea of “leaving” the plain of the flat surface is quite similar to what i’m exploring at the moment.

https://frieze.com/article/edward-krasinski-2

Pierette Bloch (June 16, 1928 – July 7, 2017, french), . Why is she described as using “poor materials” and what do you think her materials lend to her subject matter?

Looking at her work makes me think she was very much interested in mark making and expressing the qualities of line by using materials that mimic it’s qualities. Why to use “poor”materials ? Sometimes the simplicity of material can capture momentum and imply the moment our eye sees the object , we can make out everything else later. I think her background in textiles led to the use of singular strands of horse hair, wire, thread, inks, paper – they found life of their own out of the whole piece delivering “simple” but striking result at the same time. Also she is being referred to as a modest person, as example she mostly signed her works on the back, and this perhaps was her way of relating to works produced.

image source http://fryderyk.canalblog.com/archives/2013/03/11/26592960.html

Her works are mostly in black and white, linear and appear moving in space while remaining static at the same time. I particularly liked Horse hair and wire pieces – i can imagine that the hair move as the viewer comes close or walks by. The elegant twirls and knots create ever changing line that in it’s simplicity takes over the space it’s occupying.

Some of her work reminded me of works by Russian installation artist Dmitri Gutov, in particular work where he uses fishing line. In an example below he used line attached to walls with dust particles tied to them.  I found this project fascinating and it captivated my imagination when i heard of it.

 

To what extent would you say that this piece by Louise Bourgeois is a drawing?”

( i could not find the image that is in the course materials, but the one below is similar)

image source: https://www.sfmoma.org/artwork/fc-555/

She uses theme of spiders throughout and has a lot of drawings using hard media to very fluid paint. Also she has produced a series of sculptures where she plays with scale and materials. To me , the answer to the question is – i think it is a sculptured drawing that found it’s way from flat 2D support and emerged as a 3D object that fills the space and interacts with the viewer on a different level. I feel that material and the linear qualities play role of drawing in space/air rather than being on a paper surface.

 

References:

https://frieze.com/article/pierrette-bloch

http://www.artnet.com/artists/pierrette-bloch/

https://vernissage.tv/2011/01/10/pierrette-bloch-retrospective-at-galerie-karsten-greve-paris/

http://www.gutov.ru/install/dust.htm

https://galerie-karsten-greve.com/en/pierrette_bloch/works/paperworks#1

http://www.artcritical.com/2009/05/11/pierrette-bloch-at-haim-chanin/

https://www.artsy.net/artist/louise-bourgeois?medium=*&page=1&sort=-decayed_merch&price_range=*-*

https://www.sfmoma.org/exhibition/louise-bourgeois-spiders/

https://www.sfmoma.org/artwork/fc-555/

https://www.sfmoma.org/artwork/98.193.A-E/

https://www.tate.org.uk/context-comment/blogs/work-week-maman-louise-bourgeois

https://frieze.com/article/edward-krasinski-2

https://www.moma.org/interactives/exhibitions/2010/online/#works/02/66

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

 

 

 

Project 2. Interacting with the environment

Project 2. Interacting With the environment

Most of the interactions/drawings/installations are temporary but i quite like this idea of fleeting moment and immediacy. Also ones that are there to stay will disappear or become part of the environment once again. I do not think that they will be noticed as “drawings” by others but it was an interesting experiment to go through. There were other ideas but in order not to damage anything they were left for later perhaps. also some of the thing would require more than i could do alone.

Using shells on the beach

here I’ve placed shells in a shape of a jelly fish ( only the body) but on mass. Inspired by a group of them laying together on the sand. My dog helped by leaving a paw print next to it.

shells jelly fish

 

Foot Prints – here i have “collaborated” with some birds ( i hope they do not mind) – i wanted to add to the prints seabirds left by leaving my own foot prints next to them ( bare foot and my walking boot). Interestingly bare foot print looks larger than when in boots.

Almost standing on a jelly fish – this is a “not actually” happening interaction only in imagination

 

Standing in a water and watching it making a drawing as it run around my static feet. To make the interaction a static drawing i chose to do a photo rather than a video – capturing the moment before it flows away. Second photo is standing on floor tiles – their pattern resembles  water ripples.

 

 

 

Platting grasses along the fields

I had an idea of creating a line of platted grasses along the edge of the field where I go for a walk. The grasses are dry now and quite fragile, so it was a slow process, unfortunately I had two dogs with me and they “helped” by breaking most of the pieces. Anyhow, I enjoyed the process and a few dog walkers commented that it is an interesting idea and it looks “intriguing”.  even in a week’s time there were a couple of them still standing they blended in to the rest of the grasses, but I could still find them. 

 

I did more over a period of time in different places, some of the still standing even after a few weeks. I think they blend in with the background trees – resembling shapes and still bare branches. It was quite hard to get a photograph  i wanted so i did a small video  ( dogs helping as usual) of the Trio of Grasses, (few weeks later two are still there).

 

 

 

Sounds of Walking – here i physically interacted by walking on different surfaces, in a way as a temporary “drawing” using motion and sounds.  I have tried to walk at different times of day and year, at different pace and wearing different footwear. A Few videos, below:

 

  1. Morning walk – only sounds of birds, my dog next to me, my feet touching the ground. Part of Interacting with environment art project (6th august 2018) https://youtu.be/ULFc3jkoIEc
  1. Sounds of walking (on grass 2nd walk) https://youtu.be/ANVuGb4YTzQ
  2. Sounds of walking, two people,  https://youtu.be/Arcw9G5_qvg
  3. Sounds of walking, two people https://youtu.be/mbnLfXF6GIo
  4. Sounds of walking on frozen ground https://youtu.be/SVnt2aNrAPQ
  5. Evening walk – sounds of garden, distant road, my feet touching the ground. https://youtu.be/nkmVKpGkWQU
  6. walk on gravel in the dark, no visual  https://youtu.be/MP8jKySsIms
  7. walk in the dark while raining, trying to walk not in a straight line – as if i was loosing balance and making variaty of walking steps https://youtu.be/7X4tn_ojMaw
  8. walk on gravel in the dark https://youtu.be/_nz-BoprU-c
  9. walk in the dark , making different noises with my feet https://youtu.be/_ri2zmuuG9U
  10. fast morning walk on grass https://youtu.be/EUme1WtD2yM

 

A small “found pieces” installation on a fallen tree trunk. Just a few bits i found laying around this tree. Smaller pieces have fallen down since but the roof tile and the straw is still there after a few weeks.

 

While walking on the beach i have made a small “drawing” using a dead crab. It’s colours attracted me and i have placed it in a position of a sunbather laying on a towel, thinking back i probably could have placed a tissue or a piece of material under it for a greater likeness . It took a few crabs as they very fragile and kept braking. I like the juxtaposition of brightly coloured shell with grey stones. I’m sure no one would really think that this one was places by a person as there always something after a tide.