“Completing my project based on Through the Looking Glass and receiving feedback from my tutor was both a nerve-wracking and a rewarding experience. I often feel apprehensive about how my work will be received and whether I’ve done enough to meet expectations. However, I was delighted to hear that my tutor was blown away by my efforts, particularly in handmade crafting, the stunning illustrations I created, and my integration of technology. She also recognised my initiative in learning Blender, expressing eagerness to see the animation I am currently working on. My tutor has also encouraged me to start marketing myself, and playfully adviced me to display my sculptures at home rather than sell them. This feedback gave me a renewed sense of confidence in my abilities. Hearing her say, ‘ If you don’t have confidence now you never will, well done Gemma,’ and that she was impressed and blown away by my work was incredibly affirming, and it’s a reminder to trust in my creative instincts moving forward.”
Category: Research & Reflection
When I finished Assignment 4, I was concerned about what my tutor would think of my work. For as long as I can remember, I’ve felt like my work isn’t good enough. However, after receiving feedback from my tutor, I understood that my concerns were unfounded because the tutor provided great feedback. This event led me to be more confident in my abilities. I’m more motivated to keep working hard on this course. It gave me a huge boost of confidence and assured me that I was on the right course with my studies.
The concept of imagination that I chose for the assignment is so broad that it encouraged me to think outside the box by employing mind maps and primary research. For the first time, this led my work to reflects my personal style.
Reflecting on my visual approach to the task, I would proceed in the same manner that I would with the research. Visiting Oxford helped me engage with the story on a different level. Throughout the journey, I imagined myself as Alice in a variety of settings, including visiting the river she would have taken boat rides on, seeing the fields she would have played in, and the inspiration around Oxford that led Lewis Carroll, all of which helped me channel those ideas into my artwork.
The final images’ strengths are that they demonstrate perspective, movement, attention to detail, and expression against a complex background. The illustrations’ flaws could be improved by working on more refined facial expressions with the sculptures I produced, as well as paying closer attention to detail with the sculptures. This might be accomplished by adding whiskers to the rabbit and more detail to the fur. This could be accomplished by researching human or animal facial anatomy to create more realistic depictions.
The work’s scale was suitable for assignment four, but going forward, I’ll need to make sure I set up the right size at the start of the project to prevent it from unintentionally becoming distorted in any way. For example, if I want my work to be used as book illustrations or merchandise.
Part three of this course has been enjoyable but very challenging. I have had to learn many new skills, such as animation, paper folding, painting on a large scale, and working at speed. The workload has been intense, but I have enjoyed pushing myself to try new things and expand my artistic abilities. Despite the challenges, I have found immense satisfaction in seeing my skills evolve and improve and watching my projects come to life.
Animation is a new skill that I have learned in this part of the course. Previously, I once attempted a small gif; it only consisted of four panels and was not very good. Therefore, I am proud that I stepped out of my comfort zone, tried again, and learned new skills that I would like to develop further in the future. I am excited to continue growing and improving in this area; the only worry is how time consuming it is.
Working on a large scale was also a challenge that pushed me to be more resourceful and creative in finding solutions. It was the first time I had ever painted a landscape scene. I have always thought it would be too difficult and have avoided even trying. However, I was surprised and happy with the end result, and it is even framed and now hanging in my kitchen.
Finally, one exercise that I found very challenging was Exercise 4: Small. Attempting to make characters out of oragami was very frustrating at times. Yet, after persisting, the end result produced some aesthetically pleasing results in the form of book covers. These projects have reminded me of the importance of trying new things and stepping out of my comfort zone.
In exercise 4, I combined different elements from different projects that I felt had a successful outcome at the end. To make them work, I had to crop and adjust different parts of the illustrations. Again, in assignment 3, I combined the work produced from exercise Fast and exercise Big. Using different elements allowed me to push my creative boundaries and think outside the box when it came to completing the assignment. Overall, I have learned that taking risks and experimenting with different techniques can lead to innovative and unique outcomes in my art projects. I am excited to continue exploring new methods and styles in future assignments to further develop my artistic skills.
During this course, there have been many artists that I have researched, and there are two that I will remember, which are Marina Abramovic and Tehching Hsieh. Both of these artists have pushed the boundaries of performance art and challenged traditional notions of endurance and time. Reading about them both shocked me and intrigued me. However, I do not want to produce art like they have; it is not something I personally would want to do, but what I have learned from them is to persevere, take risks, and keep challenging myself to push past my comfort zone and explore new possibilities.
Brief
Paper toys are essentially what their name suggests; they are toys made of paper. Find some specific artists who design paper toys and document examples of their work in your log. What is the purpose of paper toys? Who is their target audience? What is the draw to making paper toys as opposed to buying pre-made toys?
Visual Skills 2: Visual Exploration p106
Keywords from the brief
- Find some specific artists who design paper toys and document examples of their work in your log
- What is the purpose of paper toys?
- Who is their target audience?
- What is the draw to making paper toys as opposed to buying pre-made toys?
Seth
The first artist I examined was Gregory Gallant, a Canadian cartoonist better known by his cartoon name Seth. After seeing a few documentaries and reading about him, I realised that he is an artist who frequently writes graphic novels on the ordinary issues of life, such as people attempting to determine whether their lives have been successful.
Here’s one of the documentaries I watched in which he talks about his artworks. His large collection of projects caught my interest because he not only does commission work, but he also explores a variety of other artistic interests for personal enjoyment. These include a rubber stamp diary, a sketchbook, and he is developing a model city called The City of Dominion.
Throughout the documentary, I enjoyed his short animated film called The Creek. It reminded me of a local site called Soudley Ponds. In the 1930s and 1940s, villagers used man-made diving boards to swim during hot summer days. Today, however, it is a nature reserve full of fish and crayfish, as well as a place where people may take a stroll and view the stunning scenery.
I wanted to post a photo of people swimming in the ponds, but couldn’t find one. However, I was able to find some old images of the surrounding area and a woman describing what it used to be like on Facebook.
Below is an a photograph I took recently of Soudley ponds.
Reflecting on Seth’s work, I think he is so successful because of his sheer determination and he is alway developing his artistic practice. Also, his written storytelling is as good as his artwork, which brings emotional depth to his graphic novels. The combination of the two enhances the overall storytelling experience. Looking at his artistic technique, he employs clean lines and a muted colour palette to create a vintage feel to his work.
Steve Monger
The next artist I have the pleasure of researching is one of my former tutors from one of my previous units at the OCA. Not only is he an OCA tutor, but also a Graphics and Senior Lecturer at Bristol University. In his spare time, Stephen investigates photographic representations of location and is particularly interested in how photography might overlap and merge with other types of representation such as digital drawing and 3D modelling.
This leads me to the model making of buildings Stephen has produced using cardboard. Although part of his work included photography he also created many sculptures of building to show the viewer the different details that was otherwise inaccessible by the use of photography alone. Below are some photographs of one of these paper sculptures.
Thomas Demand
Similarly to Stephen, Thomas is a an artist who also builds realistic models of buildings. However, these are life-sized models of spaces and buildings using a selection of paper and cardboard. Interestingly, he then photographs these models and after destroys them so the photograph is the only record left.
Below is an interesting documentary I watched about Thomas’s work.
After watching it I was quite amazed at the sheer dedication and detail he puts into his art work, often taking weeks to construct them. What sets his work apart from other artists is not just the craftsmanship but also the depth of meaning within each piece. One example is called “Yellowcake”.
For this project, Thomas meticulously reconstructed the scene of the 2001 event involving the Embassy of the Republic of Niger in Rome, using paper and cardboard. It was at the Embassy information regarding Saddam Hussein’s alleged attempt to purchase uranium “yellowcake” was stolen.
Below is one of the photographs of his reconstruction.
Through Demands craftsmanship and series of photography he invites viewers to think about the narrative and subsequent consequences of the event, which was the invasion of Iraq by the U.S. The fact that the alleged proof of Saddam’s attempt was later revealed to be forged adds a sense of tragedy to the narrative.
Looking at Demand’s interpretation of this event through his artwork offers people a different kind of engagement compared to a brief news report. I personally find it more thought provoking, intimate and memorable.
Amy Bennett
The final artist I researched is Amy Bennett, an American artist who has a unique approach when creating narrative paintings. This consists of constructing paper models and using them as reference material to observe and paint from. She often uses these models to create detailed and surreal scenes that explore themes of suburban life. By using these paper models, Bennett can explore different viewpoints and compositions before starting her painting.
Each painting shows a different aspect of everyday life in a way that is both familiar and thought-provoking. In the video I watched below she states ” It’s a bit like being a fly on the wall, observing people and their interactions without them knowing.” (Bennett, 2011). This gives her paintings a vulnerability that is both captivating and intimate.
As a mother and wife, she has used the many challenges this brings, as well as the joys of life, as inspiration for her artwork. This can be seen in her work called “Nuclear Family,” which captures the complexity of love and relationships as well as the difficulties of family struggles.
Below is a photograph of one of the paintings from the series “Nuclear Family.“
Her artistic style often features bold colours, abstract shapes, buildings and people. These elements combine to create a unique and engaging image. Looking at these works reminds me of my own experiences as a mother and wife and has prompted me and I should think others to reflect on everyday life.
What is the purpose of paper toys?
The purpose of paper toys is to provide entertainment and creative expression for children and adults alike. Not only is it easily accessible but as shown in this research task it also allows for endless creative possibilities.
Who is their target audience?
It depends on the artist who is making the paper toys and their intention for them. The target audience could be any age. It could be designed for pure enjoyment. On the other hand, the target audience might be to engage viewers in a political or cultural matter. To spread important messages and spark conversations. The artist may also aim to promote social change and awareness through their work.
What is the draw to making paper toys as opposed to buying pre-made toys?
There are many benefits to making paper toys, which are:
- The pure satisfaction of making something with your own hands that can be played with or explored.
- Making paper toys allows for customisation and creativity in design, as discussed in Amy Bennett’s research.
- From an environmental perspective, paper toys are more sustainable than plastic alternatives and can be easily recycled at the end of their life cycle.
- Personally I would appreciate a handmade paper toy skilfully made, more than a bought plastic toy because to me it would hold more sentimental value.
- In some cultures paper toys hold significance values for example the long-standing tradition of origami that originating from Japan.
References
Bennett, Amy. “Amy Bennett.” Www.amybennett.com, 2021, http://www.amybennett.com/home.html.
Bennett, Amy . “Artist Amy Bennett.” Www.youtube.com, Anthony Paget , 26 July 2011, youtu.be/yodJPR5hGic. Accessed 28 Mar. 2024.
Brownstein, Bill. “Film Animates the Life of Comic Book Creator Seth.” The Gazette, Bill Brownstein, 8 Oct. 2014, montrealgazette.com/entertainment/arts/film-animates-the-life-of-comic-book-creator-seth. Accessed 26 Mar. 2024.
Chamberland, luc. “Seth’s Dominion.” Www.youtube.com, 13 Mar. 2024, youtu.be/EJMKBiJuO6I. Accessed 28 Mar. 2024.
Demand, Thomas . “Thomas Demand: Animations | Exhibition | DHC/ART.” Www.youtube.com, 18 Jan. 2013, youtu.be/M-itI67quhE. Accessed 28 Mar. 2024.
Hoffman, Eric, et al. Seth: Conversations. Perlego, University Press of Mississippi, 4 Feb. 2015, http://www.perlego.com/book/561986/seth-conversations-pdf. Accessed 28 Mar. 2024.
kurkdjian, guillaume. “Amy Bennett.” Wertn.com, 22 May 2019, wertn.com/2019/05/amy-bennett/.
Maher, Daniel. “Amy Bennett Looks at the Complexities of Suburban Family Life in Her Miniature Paintings.” Www.itsnicethat.com, 10 Apr. 2019, http://www.itsnicethat.com/articles/amy-bennett-nuclear-family-art-100419. Accessed 28 Mar. 2024.
Monger, Stephen. “About : Stephen Monger.” Www.stephenmonger.com, 1995, http://www.stephenmonger.com/index.php/info/about/. Accessed 28 Mar. 2024.
—. “Mr Stephen Monger – UWE Bristol.” People.uwe.ac.uk, people.uwe.ac.uk/Person/StephenMonger. Accessed 28 Mar. 2024.
Shane, Robert R. “Amy Bennett: Nuclear Family.” The Brooklyn Rail, 4 Sept. 2019, brooklynrail.org/2019/09/artseen/Amy-Bennett-Nuclear-Family. Accessed 28 Mar. 2024.
Tylec, Laurie . “Acquisition: Thomas Demand “Embassy I,” from the Series “Yellowcake.”” Www.nga.gov, 30 Oct. 2020, http://www.nga.gov/press/acquisitions/2020/demand.html. Accessed 26 Mar. 2024.
Wehr, Anne. “Thomas Demand.” Frieze, 1 Apr. 2008, http://www.frieze.com/article/thomas-demand-1. Accessed 28 Mar. 2024.
Illustration list
Fig. 1 Facebook post (2017) [Facebook, screenshot] At:https://www.facebook.com/ForestBygoneHistory/photos/a.10150369899392595/10154391365347595/?type=3 (Accessed 26/03/2024).
Fig. 2 Old photos of Soudley village. (2017) [Facebook, screenshot] At:https://www.facebook.com/ForestBygoneHistory/photos/a.10150369899392595/10154391365347595/?type=3 (Accessed 26/03/2024).
Fig. 3 Fowler, G. (2024) Soudley ponds [Photograph, landscape] In possession of the author: Forest of Dean.
Fig.4 Monger, S. (2008) The making process of Pawnbroker [Paper sculpture] At: http://www.stephenmonger.com/index.php/the-prawnbroker/ (Assessed 26/03/2024).
Fig.5 Monger, S. (2008) The Pawnbroker [Paper sculpture] At: http://www.stephenmonger.com/index.php/the-prawnbroker/ (Assessed 26/03/2024).
Fig. 6 Demand, T (2007) Lemoncake [Paper sculpture] At: https://www.303gallery.com/gallery-exhibitions/thomas-demand?view=slider#7 (Accessed 25/03/2024)
Fig. 7 Bennett, A (2018) Animals [Painting] At: www.itsnicethat.com/articles/amy-bennett-nuclear-family-art-100419. (Accessed 26/03/2024).
Brief
For this research task, I have been asked to look at a one-day conference called ‘The Embodied Experience of Drawing’, held in 2018, in Plymouth. After, I was asked to make some notes about the participants different drawing techniques and physical processes.
To do this, I watched a short video that observed the participants drawing and took screenshots of people’s different approaches.
Here’s a picture of one of the conference women, lying on her back. Taking different pens and pencils and making marks on the page without looking at it. The marks made will be limited by the extension from her elbow upwards.
Approach one
The next image, is the same approach as above but allows a full extension from the shoulders into both arms. This creates a more flowing line work, especially with the medium charcoal as it makes bold expressive lines.
Approach two
With the next approach, this lady is sitting looking at the paper on her knees. Again using charcoal but this time using the motion of her arms to swish back and forth in front and behind her.
Approach three
In the next image, the lady is making marks by creating rubbings from various surfaces.
Approach four
In the next two images, the participants are using their whole bodies to create marks with what I think is graphite powder. This is a more physical approach than the previous ones and will make the most expressive marks.
Approach five
Finally, many artists were practising their observational skills by drawing still lifes.
From watching the video, I can see the purpose of the day was to explore the relationship between drawing and using various parts of the body or the whole body. It would be a beneficial exercise that will help to explore new ways of approaching drawing.
Next, I was asked to search for and record my thoughts on some of the listed artists in the OCA textbook who make large-scale images.
The following artists from the textbook appealed to me:
- Emma Stibbon
- John Vertue
- The Boyle Family
Emma Stibbon
Before starting the previous exercise, which was to create a large landscape scene, I began first, with this research task. One reason I selected Emma, is because Emma is a British artist known for her large-scale drawings and prints that often depict dramatic landscapes and environmental events. This is therefore an appropriate research task before embarking on the previous exercise and I thought I may find inspiration from Emma’s work.
Stibbon has visited remote and environmentally significant places all over the world, such as Antarctica, the Arctic, Iceland, and volcanic regions. Emma creates reference sketches of these natural landscapes, glaciers, volcanoes and polar regions while on location, which she then refers to when creating her finished pieces in her studio. The drawings and prints serve as visual records of her observations and encounters whilst on her expeditions. As she states on her website,
“Many of the environments and landscapes I depict are changing rapidly. As an artist, I feel committed to representing the impact of these changes, be they natural or human. My impulse is to draw, in an effort to act as a witness.” (Stibbon, n.d.)
Stibbon’s drawings and prints are full of detail and powerful compositions. She often works in monochrome, using charcoal, graphite, ink, and other media to create intricate pictures.
Her creations evoke awe; they make me feel as though I’m there, experiencing the moment she has captured.
John Vertue
John Virtue, is a contemporary British artist, known for his distinctive monochromatic landscape paintings, primarily in black and white. Many of his large-scale works consist of dramatic landscapes, often depicting urban scenes, coastal views, and rural landscapes.
Researching online, I found a very interesting documentary where Virtue discusses the makings of his artworks.
He explains his work consists of abstract compositions from the way he perceives the world. In order to do this he is very experimental with the materials he choses to use, such as many different types of brushes, rags, his own hand, black ink mixed with shellac and titanium acrylic. (Virtue, J, 2012)
His artworks consist of bold brushwork, strong contrasts, and are full of movement and energy. What I find interesting about his work is there is a powerful sense of atmosphere and mood even without the use of colour.
Below are some examples of his work.
The Boyle family
The Boyle Family is a group of artists consisting of Mark Boyle, Joan Hills, and their children Sebastian Boyle and Georgia Boyle. It began originally with the mother and father in the early 1960s, when they started to visit demolition sites in London and gathered materials to use in their artwork.
To get a better understanding of who the family are and their artistic approaches I watched the following documentary.
The documentary is very informative and is interesting to see the artist’s approach and visions for their works and the many different projects they have embarked upon. It was also interesting to hear the objective of the works, Mark said :
“The objective is to teach ourself to see“.
I found this statement quite thought provoking as an artist myself, this is what I constantly strive to do, to see exactly what is in front of me and portray it to the viewer as I would like them to see it.
The Boyle Family, all have an innovative approach to art-making, which involves the replication of real-life surfaces and landscapes. They are particularly renowned for their “Earth Studies” series, where they recreate sections of the Earth’s surface in three-dimensional relief, capturing the texture, composition, and detail of specific locations.
Another study which I found interesting is called “The Multi Human Being series”. Which was the study of different parts of the body. Mark himself took top layers of skin from different parts of his body and then created images from them using a projector.
Overall, I find their work challenges traditional notions of what constitutes art and encourages viewers to reconsider their perception of the world around them. I also think, there is a fine line with some of their work. Is it art? or a contribution to science? Is it the study of our planet and everything that resides within it?
After researching these artists I chose Emma Stibbon to ask myself the following questions about her artwork:
How do they choose their subjects?
Emma has a strong desire to document the impact of both natural and human-caused events either on large-scale canvas or via printing methods. In her work, she captures the stunning scenery of the places she visits, but she also records the environmental changes that are taking place. For example, glaciers have broken down before her very eyes as she watched from her moving boat.
How do their creative and material approaches differ?
Emma’s creative approach differs from working in the field to working in her studio. Whilst in the field she often collaborates with scientists and geologists that give her information on why something is happening and she has to work at speed to capture the information.
When back in the studio, Emma can use her sketches and digital photos she has taken as reference for her large-scale artworks, and she can be much more experimental and spend longer on fine details. Often, she will incorporate materials taken from the environment she was in. Such as volcanic ash, which she then mixes into ink and uses in some of her artworks.
Below is an example of one of these artworks, this particular one is from a volcanic scene.
The reason Emma includes materials from the environment she study’s are to create a metaphor in her artworks. Another example where she has done this is in her work, “Tidewater Glacier chalk on Blackboard“.
This image is created using chalk on a blackboard. The irony is in the possibility that the chalk could vanish in an instant, much like a glacier melting away.
There is something quite special about looking at Emma’s large-scale images. The places Emma chooses to draw are places that not many people will ever get to see in their lifetime and being able to look at these works allows each viewer to experience some of the magic that Emma must have witnessed whilst out in the field.
Why do they make their work at a large scale?
While watching the film below, Emma revealed why she does her art on such a massive scale. In the documentary, she stated:
“I sort of want the reason for the big scale is that sort of sense of encounter for the viewer. I really want the sort of sense about being immersed in something for an audience that might sort of see that in a space to give a sense of the physicality of being in front of it.” (Stibbon, E 2023)
It was nice to hear her say this. As I had previously mentioned, I felt the pieces were for the viewer to get a better understanding of the places she had been witness to. The vast scale allows the viewer to fully immerse themselves in the scene, which is similar to watching a film at the cinema.
What hurdles have they encountered or initiatives have they had to develop in order to produce their work?
Whilst in the field, Emma is faced with many obstacles that hinder her such as the cold, seasickness, the wind, the fear of a volcano eruption and the many other elements that the places she visits throughs at her. Therefore, she has to work fast using sheets of carriage paper, inks and watercolour. These mediums are chosen for there ease of use and they are good at capturing the characteristics of the environment at speed. Emma, also said in a documentary that “The paper is a witness of the weather, and it is embedded into the media” (Stibbon, E 2023) Additionally, she will use a digital camera to record information for later use.
Reflection
It has been interesting to see the different style and approaches that theses three artist have used whilst creating their large scale works. Out of all of them, I have to say my favourite is Emma’s work. The whole process from start to finish is quite fascinating. Being able to visit remote countries, recording information whilst there and then coming home and capturing the scenes at such a large scale but with such realism is remarkable.
References
“Boyle Family.” Www.boylefamily.co.uk, http://www.boylefamily.co.uk/boyle/works/index.html.
Davies, Patrick. “John Virtue (Paintings).” Patrick Davies Contemporary Art, http://www.patrickdaviesca.com/artists/46-john-virtue. Accessed 18 Mar. 2024.
“Emma Stibbon | Artist | Royal Academy of Arts.” Www.royalacademy.org.uk, http://www.royalacademy.org.uk/art-artists/name/emma-stibbon-ra.
Gallery, Rabley. “Emma Stibbon RA – Broken Terrain.” Rabley Gallery, 2 Aug. 2020, rableygallery.com/shop/artists/emma-stibbon/emma-stibbon-ra-broken-terrain/. Accessed 18 Mar. 2024.
Robbins, Andy. “The Culture Show: John Virtue.” Vimeo, 6 July 2012, vimeo.com/45322786. Accessed 18 Mar. 2024.
Roberts, Cristea. “Emma Stibbon.” Cristea Roberts Gallery, cristearoberts.com/artists/33-emma-stibbon. Accessed 18 Mar. 2024.
Spira, Freyda , and Robert l. “At Home: Artists in Conversation | Emma Stibbon.” Www.youtube.com, 16 June 2023, youtu.be/l3PtnhGeVyI. Accessed 18 Mar. 2024.
Stibbon, Emma. “About.” Emma Stibbon, http://www.emmastibbon.com/biography.
Illustration List
Fig. 1 Drawing approach one extension of elbows (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).
Fig. 2 Drawing approach one, full extension of arms (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).
Fig. 3 Drawing approach two, drawing kneeling (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).
Fig. 4 Drawing approach three, rubbings (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).
Fig. 5 Drawing approach four, whole body 1 (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).
Fig. 6 Drawing approach four, whole body 2 (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).
Fig. 7 Drawing approach five, observation (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).
Fig.8 Boyle M, Hills J (1974 )Bergheim Mine Study [Resin and fibreglass impression] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)
Fig. 9 Boyle M, Hills J (1977 ) Rock and Scree Series [Resin and fibreglass impression] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)
Fig. 10 Boyle M, (1969 ) Skinchart for Body Work [Negative photograph] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)
Fig. 11 Boyle M, (1969 ) Skin Series, Left Heel Study [Negative photograph] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)
Fig. 12 Boyle M, (1973 ) Skin Series, Small Back Study [Negative photograph] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)
Fig. 13 Stibbons E, (2017 ) Broken Terrain. [Intaglio] At:https://rableygallery.com/shop/artists/emma-stibbon/emma-stibbon-ra-broken-terrain/ (Accessed 13/03/2024)
Fig. 14 Tidewater glacier chalk on blackboard (n.d.) [YouTube, screenshot] At https://youtu.be/l3PtnhGeVyI (Accessed 13/03/2024).
Brief
Search for and record your thoughts on the production of both ‘Fast’ and ‘Slow’ artworks in your learning log. What are some of the arguments for and against this kind of real-time viewing? Research these artworks and artists for different approaches in different creative contexts:
89
Visual Skills 2: Visual Exploration
I started doing research on the list of artists provided in the brief by googling them online.
Koyaanisqatsi
The first person I researched was Godfrey Reggio, who directed a film called Koyaanisqatsi in 1982. The title of the film I did not understand so I researched what the word Koyaanisqatsi means and discovered it is taken from the Hopi which are the westernmost group of Pueblo Indians, situated in what is now northeastern Arizona. The word means “life out of balance”.
Next, I watched the film that is available at this link, https://watchdocumentaries.com/koyaanisqatsi/ and made notes whilst watching it.
The film is about a collection of visuals that capture a mix of natural landscapes, displaying all the different elements on our planet. It then transitions to scenes of human civilisation. From striking architecture to various technology advancements. The imagery I felt emphasises the profound impact of human activity. Throughout the film, there is a saddening emphasis on the damaging effects of pollution, warfare, and sights of abandoned structures. Sometimes parts of the film are sped up or slowed down which made it even more dramatic. Initially, I was apprehensive about how long the film is especially with it being only visuals and music. However, I found myself fascinated by the united relationship of the visuals and music.
Upon reaching the end of the film, I had a sense of sadness. It dawned on me how unknowingly, some of our actions over the years have brought devastation upon our world.
Next, whilst researching I found a documentary with Godfrey Reggio and Philip Glass explaining the making of the film.
It is an interesting video and it is clear Godfrey is a clever man with a high intellect. It was mentioned during the video “It is up to the viewer to decide on what they think about the film”. Godfrey also said “We live technology it is the air we breath, we are no longer conscious of its presents.” (Reggio, 2018).This statement is true and its is saddening to realise how we are so proud of our technological advancements but neglect to see the implications they are having.
Longplayer
Next, I looked at the work of Jem Finer’s project ‘Longplayer’.
Researching the project Longplayer I discovered it is a unique piece of music designed to last 1,000 years, composed by Jem Finer, who is a musician and artist. It began playing by an algorithm played through a computer and was first played on 31st December in 1999 and will continue to play without any repetition until the year 2999. Apparently, the idea of the project was not about music but more about the experience of time. Longplayer resides in a lighthouse in Trinity Buoy Wharf in London.
Given the length of time this project is expected to last for causes various arguments for and against real-time viewing of Longplayer:
Arguments for real-time viewing of Longplayer.
Having music played nonstop for a millennium and considering the countless individuals who will have come and gone, who have heard and seen the music is quite remarkable. It’s a truly unique experience. Throughout the next millennium, viewers will be able to observe its progress. Experiencing Longplayer in real time might help people establish a relationship with time, as well as giving people space to reflect. It is evident from online research that people frequently travel great distances to visit Longplayer.
As can be seen in the video above, people are sitting about the bowls, enjoying the music, and even meditating there. As such, it provides a chance for people to join together and it makes it possible for people to gather, listen to the music, and converse about it. As a student myself, it is also a valuable educational tool allowing students to investigate and evaluate the artwork.
Arguments against real-time viewing:
Although I hope the project works, I don’t think the concept will last a millennium. People’s time will need to be dedicated to maintaining it. It’s also questionable if people will grow tired of the concept. One of the biggest issues I can see is the technical challenges that will come up. For instance, ensuring that it continues to play, adjusting to new technologies, and maintaining Longplayer.
Andy Goldsworthy’s sculptural practice.
Andy Goldsworthy is a British sculptor, photographer, and environmental artist known for his distinct sculptures and land art projects. His creations are often created in natural settings, including forests, riversides, and coastlines, and he frequently works with the environment, using materials sourced directly from the landscape such as rocks, leaves, branches, and ice. Through his art, Goldsworthy explores themes such as the relationship between humanity, nature and the passage of time.
Arguments For real-time viewing of Andy Goldworth’s artwork:
Goldsworthy’s art is about the concept of not lasting forever. People who viewing his work, with such a short time frame are reminded of the beauty of nature and its lifecycle and are given time to appreciate the natural world around them. Watching Andy work in realtime allows the viewer to understand his working practice and therefore gain an appreciation for his art. Also, stumbling across his work would create more of a sense of excitement. A friend of mine has been doing similar art whilst on her walks in the Forest of Dean, people are always excited to see and find her designs.
Below shows photographs of my friend Alisa Swanson’s artwork which I think is similar to Andy Goldsworth’s style.
Alisa Swanson’s artworks
Arguments Against Real-Time Viewing:
Focusing on Goldsworthy’s real-time process may distract from the final artwork itself. Instead of appreciating the completed piece, viewers may become fixated on the artist’s actions.
From my own experience when I have had people watch me in real time create art work I have found it disrupting and distracting. Which possibly could affect his final artwork. The presence of an audience or observers may influence the artist’s decisions or alter the intended outcome of the artwork. However, this is a personal thought, and he may not feel this way when creating his works. Also, by watching him work there would be no mystery or excitement compared to stumbling upon it.
Marina Abramovic performance ‘The Artist is Present’
Out of all the people and creations I have researched this one personally is the most bizarre. The artist Marina Abramovic, sat motionless at a wooden table in a museum located in New York City, in 2010. Visitors were invited to sit across from her one at a time. The visitors were free to sit with her for as long as they wished, and they were encouraged to make eye contact with Abramović during their time together. This performance lasted 8 hours a day for three months.
However, when I watched the clip below, it made me reconsider my initial impressions of the performance. It was truly emotional and made me think is there more about the whole process of this project then I first thought. As Marina sat ready to meet her first guest she was unexpectedly greeted by her ex boyfriend and they sat for a minute gazing into each other’s eyes.
After careful consideration, I now believe through her art she is teaching people to be present in the moment, quiet their minds and to find time to connect with themselves and others. As most of the time people are so busy in their own fast pace lives they do not experience times like these. I also think it shows dedication and endurance from Marina to do such a project. After the effects of Covid it would be good to see how the same experience would affect people if they took part in the performance in 2024.
While I was researching, I discovered some of Abramovic’s earlier works. One was her performance in the 1974 production of Rhythm 0. This performance scared and stunned me possibly even contributed to a nightmare I had the following night of reading about it. Without getting into specifics of the performances, I can say that she is devoted to her work as a performance artist and is willing to push herself to the limit.
Tehching Hsieh
Again, I was surprised by the next artist and his dedication to his art. Tehching Hsieh, is a Taiwanese artist most known for his five ‘One Year Performances’ These works are known as the following:
- Cage
- Time Clock
- Outdoor
- Rope
- No Art
Time Clock
Below is a small documentary, discussing the work produced while creating the project, Time Clock. For this performance Tehching, punched a time clock every hour, for a whole year. Each hour he photographed himself which resulted in thousands of photos documenting the process. These photos were then sped up using film, that gave a better idea of the hardships he faced. Such as never having slept longer than fifty minutes, in a whole year. The philosophy of this piece was to document the passage of time. In his own words “You consume time until you die, every minute, every hour is different, you cannot go back, every time is different but also the same thing.” (Hsieh, 2014). In all of his performances he has pushed the boundaries of art and endurance, provoking viewers to consider the nature of time.
Next, I watched an interesting documentary of Tehching Hsieh, talking about all of the above works and his life story.
Reflection
From researching all of the above creators, a similarity can be seen between them all which is, their intention for the viewers to slow down and engage in a moment of shared presence, allowing for a deeper exploration of either the environment, time elapsing or the human experience within our world.
References
Berry, M. (2022). The Path of Performance: in Conversation with Tehching Hsieh. [online] http://www.youtube.com. Available at: https://youtu.be/DI7TjiHdEOQ [Accessed 11 Mar. 2024].
Blumberg, N. (2018). Andy Goldsworthy | Biography, Art, & Facts. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Andy-Goldsworthy.
Borges, D. (2023). Marina Abramovic and Ulay – a Minute of Silence / the Artist Is Present (MoMA 2010 Performance HD). [online] http://www.youtube.com. Available at: https://youtu.be/op_AGbEBMro [Accessed 11 Mar. 2024].
Cohen, A. (2023). Andy Goldsworthy: Co-Authorship With the Earth through Land Art. [online] TheCollector. Available at: https://www.thecollector.com/who-is-andy-goldsworthy/.
Lader, R. (2013). The Artist Is Present and the Emotions Are Real: Time, Vulnerability, and Gender in Marina Abramovic’s Performance Art» Writing Program» Boston University. [online] http://www.bu.edu. Available at: https://www.bu.edu/writingprogram/journal/past-issues/issue-6/lader/.
Levin, J., Eshun, K., Wertheim, C. and Wertheim, M. (2019). Longplayer. [online] Longplayer.org. Available at: https://longplayer.org.
Mramoeba (2023). Longplayer. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Longplayer [Accessed 10 Mar. 2024].
O’Hagan, S. (2010). Interview: Marina Abramović. [online] The Guardian. Available at: https://www.theguardian.com/artanddesign/2010/oct/03/interview-marina-abramovic-performance-artist [Accessed 11 Mar. 2024].
Payne, C. (2009). LongPlayer Live. [online] http://www.youtube.com. Available at: https://youtu.be/NhEI3FEvxU0 [Accessed 11 Mar. 2024].
Qatsi, K. (2001). Koyaanisqatsi. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Koyaanisqatsi [Accessed 10 Mar. 2024].
Reggio, G. (1982). Koyaanisqatsi (1982) | Watch Free Documentaries Online. [online] Watchdocumetaries. Available at: https://watchdocumentaries.com/koyaanisqatsi/.
Reggio, G. and Glass, P. (2018). Godfrey Reggio & Phillip Glass on ‘Koyaanisquatsi’. Filmschoolarchive. Available at: https://youtu.be/PK03KKcdzl0?si=rRnSmHL67r0hbLLg [Accessed 10 Feb. 2024].
Royal Academy of Arts (2023). Marina Abramović | Exhibition | Royal Academy of Arts. [online] http://www.royalacademy.org.uk. Available at: https://www.royalacademy.org.uk/exhibition/marina-abramovic [Accessed 11 Mar. 2024].
Sheetz, K. (2019). Hopi | People. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Hopi.
Tehching Hsieh: One Year Performance 1980-1981 (201). Tehching Hsieh: One Year Performance 1980-1981. [online] YouTube. Available at: https://youtu.be/tvebnkjwTeU.
Tehching Hsieh: One Year Performance 1980-1981 (2014b). Tehching Hsieh: One Year Performance 1980-1981. [online] YouTube. Available at: https://youtu.be/tvebnkjwTeU.
Illustration list
Fig. 1 Fowler, G (2024) Notes. [Photograph] In possession of: Fowler, G: Forest of Dean, Gloucestershire.
Fig. 2 Swanson, A (2024) Snow circle. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 3 Swanson, A (2024) Snowballs. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 4 Swanson, A (2024) Patchwork sticks. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 5 Swanson, A (2024) Animal face. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 6 Swanson, A (2024) Coloured stems. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 7 Swanson, A (2024) Moss. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 8 Swanson, A (2024) Leaf snail. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 9 Swanson, A (2024) Pebbles. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 10 Swanson, A (2024) Seaside circle. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Fig. 11 Swanson, A (2024) Autumn. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.
Part Two: Visual Approaches
After receiving my tutor’s feedback regarding my artwork, I was pleased to discover that I had explored a diverse range of concepts and mediums. This demonstrates that I experimented more and attempted to finish each exercise to the best of my ability, pushing myself beyond my comfort zone.
Hearing which artworks my tutor enjoyed the most was interesting, and her answer surprised me. She particularly enjoyed a sketch of a wizard that had been digitally enhanced.
She thought the drawing was strong, and even though I was pleased with it, I have never felt confident creating digital art, so hearing that my technical abilities have improved was reassuring.
As I mentioned in my blog, I’ve never been a fan of collage work, but I began to enjoy it when I understood it could be utilised to express ideas. Hearing that my tutor loved looking at them was encouraging.
The fact that my assignment presentation was well-received and that I overcame the technical difficulties of utilising a new software package made me happy. I’ve received a few constructive comments from my tutor to help me polish the presentation more before I submit it for assessment. I had never created a live presentation before, so discussing my work was a little intimidating. Yet, now that I’ve done it once, I believe it will be simpler the next time.
After finishing part two and speaking to my tutor I am surprised that my artwork may go in a new direction in the future. Previously, I had liked creating illustrations that conveyed everyday humour. However, I have realised now illustrations with a narrative, meaning and sometimes with a political stance are more memorable and have a bigger impact on my audience. This is something I am going to have to think hard about how to take this strength forward in my illustration practice. For the first time, I am embracing change and recognising strengths in my work and not being so hard on myself.
Brief
To consider how collage and montage also influenced design and typography, you can access and read critic Simon Morley’s essay ‘Writing on the wall: word and image in modern art’ at the OCA library resource.
Look at the work of three of the artists referenced in this Collage & Montage section. You can search their names online, find them on Wikipedia or other websites, or look for their work on the OCA library resources. Here are some of them again with some others as well:
- Jean Arp
- Enrico Baj
- Julie Cockburn
- Max Ernst
- Linden Eller
- Hannah Hoch
- John Heartfield
- Peter Kennard
- Eugenia Loli
- Eduardo Paolozzi
- Jamie Reid
- Linder Sterling
- John Stezaker
- Isabel Reitemeyer
- Martha Rosler
- Annegret Soltau
Visual Skills 2: Visual Exploration p69.
- Make notes about your thoughts on Morley’s essay and the different images that some of the artists use, how they incorporate them into pictures, and what the intention is behind the work. Consider these questions:
- Where do they find the images that become part of their collages from? Which images do you find the most striking?
- Do their images relate to the politics or social issues of their time? If not, what are they concerned with? Are they related to psychology, or dreams, or are they purely visual experiments? Discuss their relevance to the period they were made in.
- Do the concerns of the images have a new relevance in today’s world, and if so, how?
Notes on Morley’s essay
Simon Morley examines the social and historical reasons that led to the rise of Constructivism as a reaction to the Dada and Futurist movements in his essay ‘Writing on the Wall: Word and Image in Modern Art’ (Morley, 2003). He discusses how artists have used written words or text in their visual works and how they combine a variety of artistic movements, techniques, and mediums in their work.
The essay investigates how artists have adapted to society in which words are used and play an important role in communication and culture. Morley investigates the cultural and social conditions that influence artists’ choices. A study of the magazine of the Paris-based Purist movement, L’Esprit Nouveau demonstrates this by comparing pieces of text, one handwritten and one typewritten.
The typewriter was perceived as a sign of order and progress in opposition to the turmoil and disappointment that followed World War I, and it was heavily impacted by the movements of Futurism and Dada.
Throughout history, various art trends have impacted the art world and how we see and use art today. The Futurist movement, for example, had an impact on art in the early twentieth century. It was distinguished by a heavy emphasis on the modern era, technology, and speed, as well as a rejection of tradition and history as it was thought of as outdated.
Futurist art often depicted motion and energy. An example of an artist who practised this is Giacomo Balla with his oil painting Dynamism of a Dog on a Leash which was completed in 1912.
Fig 1. Dynamism of a Dog on a Leash (2012)
The people of this movement wanted to celebrate the modern world of industry and technology and did this using Neo Impressionism and Cubism.
During World War One, another movement known as Dada emerged out of anger and resentment for the war’s bloodshed and tragedy. Its goal was to question social norms and create artwork that would shock, people, such as satirical art.
Another growing movement during this time is constructivism. The people behind this movement wished to develop a new visual and verbal language that could be used by everyone. This form of art was associated with significant advances in machine mass manufacturing, and they believed in using logical design and technology to advance and better both art and society. El Lissitzky was one of the painters that contributed to the popularity of this movement.This style of art consisted of strong lines, high contrast in colour, and simple composition.
Morley explores the ways in which mass media has shaped and modified creative approaches. For example, industry, politics, and technology were all part of the constructivist theory. There was advancement in technology during the later 1920’s for example, the media-printing revolution, advancements in Radio, photography, film and lithograph.
All of these movements amongst a few others have had a lasting impact on art and design we see today. Especially Constructivism. Modern artists and designers can still be seen to practice some of the principles from these past movements. Such as, artist who are still exploring the use of basic shapes, lines, and colours in their work. For example, Georgia Nassikas is a modern day artist who creates art using mixed media and uses geometric shapes.
Below is one of her artworks created with wax and oil paint.
Fig. 2 Around (2016)
Many artists and designers use minimalism in their work today, and they continue to experiment with new materials and technology to express themselves. In conclusion, the influence of Constructivism can still be seen today in the continuous investigation of abstraction, geometric forms, and the use of modern materials. Its concepts continue to inspire artists who want to push the boundaries of creativity and engage with the changing environment around them.
Julie Cockburn
Julie Cockburn is a sculpture and a British Visual Artist known for turning old photographs into three dimensional objects.
Where does the artists get their images from? and what images do I find most striking?
Cockburn finds inspiration in a variety of places, including old family photos, vintage postcards, junk shops, and the internet. She will make several changes to these photographs, including cutting, sewing, and painting. Julie creates new and unexpected narratives in this manner, which the audience can interpret in their own way.
There are several images of hers that I find striking because of her excellent and bold use of colour that enhances the visual impact of her work. Cockburn’s use of colour triggers a wide range of emotions in audiences, from nostalgia from the use of an old photograph to surprise and excitement from the geographical shapes and pops of colour.
Fig. 3 Armour (2019)
I like the way this image provokes the viewers to think about who is behind the embroidery. The colour and transformation gives an old nostalgic photograph a new meaning.
What are the images related to?
Julie Cockburn’s artworks are based on themes such as memory, as evidenced by the usage of vintage postcards. Another topic emphasised is how she gives a feeling of personality to still portrait photographs, giving them a new life. Another theme in her art is transformation, which is shown through the use of embellishments and accentuating depth to a two dimensional image. Her subjects that she focuses on are specific – men, women, landscape and still lives.
Relevance in todays world
Julie’s work is relevant today because it invites the audience to contemplate and discuss the pieces, making their own interpretation of the work. What is now a digital age and currently a world concerned for the environment it is refreshing to see an artist using recycled materials and handcrafting them into something beautiful.
Linden Eller
Linden Eller is a mixed media artist who uses a variety of materials such as a variety of papers, tracing paper, found fragments, sewing thread, paint and pastels.
Where does the artists get their images from? and what images do I find most striking?
Often her work features recycled materials such as old paintings and book pages that she collects from thrift stores.
Although I enjoyed looking at all of her artwork I particularly liked her series of paintings entitled Rhythms of Motherbaby. I think this is because I probably felt a deeper connection to these works being a mother myself and how she may have felt while creating them.
Below is one of these paintings from the series entitled ‘Sleep’
Fig. 4 Sleep (2022)
What are the images related to?
Linden created these paintings shortly after the birth of her son after being inspired by a book she bought called ‘A Life’s Work’ by Rachel Cusk. The paintings show the transition into motherhood and the connection felt with the new growing child.
Linden’s artwork in general is created with a pale colour palette and a mixture of different collected materials. When finished the work expresses her memory, childhood, longing, home and architecture. The work explores creatively how memories are processed, altered, and renewed.
Relevance in today’s world
Linden’s art work is relevant in today’s world not only because she is producing multimedia art during modern times but because her artwork addresses timeless subjects that resonate with modern audiences. Such as the work shown above. Her work is experimental and playful and often explores the human mind and our emotions which in todays era I think is very important especially with the turmoil people have faced with Covid and the Wars going on around the globe.
John Heartfield
John Heartfield was a Germaan photomonatage artist that produced artwork to fight against Nazism and fascism by using political satire.
Where does the artists get their images from? and what images do I find most striking?
John Heartfield, obtained images from magazines and newspapers such as AIZ (Arbeiter-Illustrierte-Zeitung). He would use some of these images to create his photomontages. Sometimes he would take his own photographs to use in his photomontages and also use found images in advertising materials, posters.
Another way he obtained images was by working with other artists such as George Grosz and Rudolf Schlichter, who provided him with some of the images he used in his photomontages.
Heartfield occasionally used official propaganda materials, particularly those created by the Nazi regime, to and critique the government’s messaging. He repurposed these materials to create satirical and critical works.
By recreating image from various sources, John Heartfield was able to craft visually striking and politically charged photomontages that had a significant impact on politics and artists during his time. His work is still celebrated for its powerful commentary on the socio-political events of the early 20th century.
The images I found most striking is ‘”The Meaning of Geneva.” or commonly known as ‘A Puppet in Thyssen’s Hand!) Due to copywriter issues I am unable to post a picture on this site. However it can be accessed at the link below.
This image was created during Hitler’s rise to power in the run-up to World War II. It implies that Hitler was a tool in the hands of more powerful people, such as the Nazi party, who manipulated and supported his rise to power. The depiction of Hitler as a puppet implies that he is not an individual leader but is rather controlled by the Nazi regime. It’s an intriguing piece of work that, sadly, could be remade today for example Donald Trump as the puppet and the Russians pulling his strings. Or Belarusian President Alexander Lukashenko, pulling Vladimir Putin’s strings.
What are the images related to?
His images are related to the Dada movement, political activism,
and satire. As previously mentioned Heartfield used photomontage to confront Hitler and his enforcers. He attempted to raise social and political awareness while also criticising Hitler’s regime. Shockingly, I discovered Heartfield was number five on Hitler’s most wanted list, and Hitler sent his law enforcers to vandalise his art studio and attempted to murder Heartfield. Luckily John managed to hide and, fortunately, escape. I find it amazing he used his artwork to make an incredible change to peoples lives and that he risked his own life while doing it.
Relevance in todays world
John Heartfield’s artworks continue to be as powerful now as they were in the 1930’s for several reasons. With each of his photomontages he has managed to create a visual record of political and social issues that were happening during his time. I feel it is important for people to study his work and be able to understand the tragedy’s that happened during his time. By studying his work it can remind us to fight against dictatorship, promote social justice, and to keep using art as a medium for activism and change.
Reference list
David, E. (2019). Telling it Slant: Julie Cockburn’s Intricate Visual Language Challenges How We Perceive Each Other | Yatzer. [online] http://www.yatzer.com. Available at: https://www.yatzer.com/julie-cockburn-telling-it-slant [Accessed 11 Nov. 2023].
Eller, L. (2022). Rhythms of Motherbaby. [online] Linden Eller Studio. Available at: https://www.lindeneller.com/work/rhythms-of-motherbaby [Accessed 11 Nov. 2023].
hear field, J. (n.d.). John Heartfield Art As A Weapon Part One. [online] http://www.youtube.com. Available at: https://youtu.be/Af8r0g7Jw9k [Accessed 11 Nov. 2023].
Heartfield, J. (2023). Political Art. Official John Heartfield Exhibition. Integrity. Courage. Genius. [online] John Heartfield Exhibition. Available at: https://www.johnheartfield.com/John-Heartfield-Exhibition/.
Jones, J. (2019). Dynamism of a Dog on a Leash | Work by Balla. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Dynamism-of-a-Dog-on-a-Leash.
Post, K. (2023). EXPLAINED: Who are Russia’s Allies? A List of Countries Supporting the Kremlin’s Invasion of Ukraine. [online] Get the Latest Ukraine News Today – KyivPost. Available at: https://www.kyivpost.com/post/13208.
Rise Art. (n.d.). Georgia Nassikas, Artist | Contemporary Art for Sale. [online] Available at: https://www.riseart.com/artist/64482/georgia-nassikas [Accessed 11 Nov. 2023].
Spicer, E. (2019). Julie Cockburn – interview: ‘My Work Is about Telling the truth, but in a Really Circuitous Way’. [online] http://www.studiointernational.com. Available at: https://www.studiointernational.com/julie-cockburn-interview-telling-it-slant-flowers-gallery-kingsland-road-london.
Tate (2014). El Lissitzky 1890-1941 | Tate. [online] Tate. Available at: https://www.tate.org.uk/art/artists/el-lissitzky-1519.
Tate (2017). Futurism – Art Term | Tate. [online] Tate. Available at: https://www.tate.org.uk/art/art-terms/f/futurism.
The Art Story (2016). Theo Van Doesburg. [online] The Art Story. Available at: https://www.theartstory.org/artist/van-doesburg-theo/.
Wikipedia Contributors (2019). L’Esprit Nouveau. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/L.
http://www.getty.edu. (n.d.). Agitated Images (Getty Center Exhibitions). [online] Available at: https://www.getty.edu/art/exhibitions/heartfield/.
http://www.lomography.com. (2015). Lomography – an Interview with Julie Cockburn. [online] Available at: https://www.lomography.com/magazine/313332-an-interview-with-julie-cockburn [Accessed 11 Nov. 2023].
Illustration list
Figure 1. Dynamism of a Dog on a Leash (2012) [Oil painting] At: https://en.wikipedia.org/wiki/Dynamism_of_a_Dog_on_a_Leash (Accessed on 31.10.23)
Figure 2. Around (2016) [Mixed media] At: https://www.riseart.com/art/73959/around-by-georgia-nassikas (Accessed on 31.10.23)
Figure 3. Armour (2019) [Hand embroidery and ink on found photograph] At: https://www.studiointernational.com/julie-cockburn-interview-telling-it-slant-flowers-gallery-kingsland-road-london ( Accessed on 31.10.23)
Figure 4. Sleep (2022) [Mixed media] At: https://www.lindeneller.com/work/rhythms-of-motherbaby (Accessed on 31.10.23)
Brief
Many fine artists have developed systems and processes to create their work, and these approaches often cross boundaries between drawing, painting, sculpture and photography. Some famous ones are:
- Robert Morris
- Mario Merz
- Agnes Martin
- Bruce Nauman
- Eva Hesse
- Overall, Joseph Kosuth’s working process is characterized by a rigorous commitment to conceptualism, an emphasis on intellectual engagement, and a careful consideration of language and its relationship to art. His work challenges viewers to think deeply about the nature of art and language, making it a significant and influential part of the conceptual art movement.
Research some of these artists’ work and working processes and reflect on these in your learning log.
OCA text book- Visual skills 2- Visual Exploration
Robert Morris
Robert Morris (1931-2018) was an American artist known for contributions to minimalist and post-minimalist art movements. His work consisted of many forms, dance performance, minimalist sculpture, earthworks, drawing, painting, film, photography, collage, readymades and theoretical essays.
In his works, Morris frequently used industrial materials such as plywood, fibreglass, aluminium, steel and felt. These were used to make simplified geometric forms.
Robert Morris’s Process with Sculpture.
While researching his approaches and focusing on some of his sculptures, I realised that his most famous works appeared in the middle of the 1960s, and Morris had a unique approach to this medium that began with minimalism. He would distance himself from his artwork while working in order to concentrate on the process of creation. which he continually highlighted as a significant component of his work. He once quoted:
“There’s information and there’s the object; there’s the sensing of it; there’s the thinking that connects to process,” he once explained. “It’s on different levels. And I like using those different levels.”
(Morris, 1960, as cited in The Art Story, 1915).
Morris appears to be discussing a process of engaging with and understanding the object he is constructing.
There is a distinction, for example, between what the artwork is about and what it shows. During his working process, Morris would investigate the artwork using his five senses.
Morris then goes through a cognitive process in which he reflects on, analyses, and interprets the artwork. When employing this working style, it is important to distinguish between each of the cognitive processes because it is this way that helps him to have a better understanding of his work.
Mario Merz
Mario Merz (1925-2003) was an Italian artist who was part of the Arte Povera movement which began in Italy in the late 1960s.
Following WWII, the fast development of industrialisation and advanced technology in Italy (and Europe) prompted the country’s transition to modernism. Other movements welcomed the modern age, but Arte Povera saw it as a threat. Mario Merz and other artists rebelled by frequently creating work from cheap-to-hand materials like mud, rags, glass, neon lights and twigs. This creative process is intended to push the boundaries of art in the modern day.
Merz’s work frequently incorporated these everyday objects to create sculptures, installations, and paintings that addressed topics of nature, culture, and society. His artistic process used a mix of mathematics, geometry, and the natural world.
I found it interesting that he frequently used the Fibonacci sequence in his work. This is a mathematical sequence found in nature. This influence can be seen in the image shown below where he has used spirals and numerical patterns.
One of Merz’s most iconic works is his igloo series. From the 1960’s until his death, he made thirty of these sculptures. These igloos are made from various materials, including clay, glass, and metal, and again they often incorporate the Fibonacci sequence in their construction. The use of the igloo symbolises the idea of shelter and the interconnectedness of human beings and nature.
Merz’s artwork also included political and social satire. Merz once phrased on one of his sculptures “If the enemy masses his forces, he loses ground; if he scatters, he loses strength,” The phrase prompts viewers to think about Giáp (who was the general of the Peoples Army of Vietnam.), and other Vietnamese’ conduct throughout the Vietnam War, which had been going on for over a decade when Merz produced this sculpture. At the same time, the sculpture encourages viewers to think about their behaviours in the present day by engaging with the object. He was a critic of modern society’s excesses, and his art frequently attempted to question it. So he could promote a more environmentally friendly and peaceful interaction between humans and the environment.
Overall, Mario Merz’s creative technique was defined by the combination of mathematics, nature, and everyday materials and an in-depth study of humanity.
Joseph Kosuth
Joseph Kosuth is an American conceptual artist best known for his investigation of language and philosophy through visual art. He has made numerous contributions to the conceptual art movement that started in the 1960s and has continued to create thought-provoking art throughout his career.
His working process involves research, careful selection of language and texts, and careful consideration of the context in which his artworks will be shown.
Neon text installations are one of Kosuth’s most renowned types of art. He displays words, phrases, or quotes in neon lights, frequently in a language or script other than the viewer’s, encouraging people to consider the meaning of the words. He often displays definitions or lists of synonyms to investigate how language affects our views of reality and objects.
Below are some examples of his work
Overall, Joseph Kosuth’s working process is characterized by creating conceptual art, which focuses on engaging the viewer with careful thought about the language he uses and its relationship to the artwork.
Reflections
It was interesting to learn about these artists because they are not the type of artists I generally study. It was fascinating to learn about the purpose behind each artist’s work, their creative process, and how intellectually perceptive some of the pieces are once you know what they are about. Overall, all these three artists employ a minimalist approach, carefully selecting and analysing their medium and artwork.
It’s great to see how different artists begin their work, how they decide when a piece is finished, and what they hope to achieve.
Reference list
Auz, Dr.L. (2021). Mario Merz, Giap’s Igloo. [online] Smarthistory. Available at: https://smarthistory.org/merz-giap-igloo [Accessed 7 Sep. 2023].
king, N. (2010). OpenAthens / Sign in. [online] go-gale-com.ucreative.idm.oclc.org. Available at: https://go-gale-com.ucreative.idm.oclc.org/ps/i.do?p=ITOF&u=ucca&id=GALE%7CA460761404&v=2.1&it=r&sid=summon [Accessed 7 Sep. 2023].
Leonie Huber (2019). Robert Morris – Refractions – Berlin. [online] Sprüth Magers. Available at: https://spruethmagers.com/exhibitions/robert-morris-refractions-berlin/ [Accessed 2 Sep. 2023].
Merz, M. (1974). Fibonacci Tables. [Charcoal, Acrylic paint, Metallic Paint and Neon on Canvas] Tate Gallery online. Available at: https://www.tate.org.uk/art/artworks/merz-fibonacci-tables-t03673 [Accessed 6 Sep. 2023].
Rajesh, P. (2020). Mario Merz. ProQuest, [online] Jan., pp.100–101. Available at: https://www.proquest.com/docview/2328344975?accountid=14178&parentSessionId=%2FWUXklpy%2Bx7r4RQqy08ROLctM03Lj2mi%2Fzar4NlSuGg%3D&pq-origsite=summon [Accessed 7 Sep. 2023].
The Art Story (2015). Minimalism Movement Overview. [online] The Art Story. Available at: https://www.theartstory.org/movement/minimalism/.
Wikipedia Contributors (2018). Võ Nguyên Giáp. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/V.
Witney musem (n.d.). Robert Morris. [online] Sprüth Magers. Available at: https://spruethmagers.com/artists/robert-morris/.
Zelazko, A. (2023). Joseph Kosuth | Biography, Conceptual Art, Artworks, One and Three Chairs, & Facts. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/biography/Joseph-Kosuth.
Illustration list:
Figure 1. Fibonacci Tables (1974-1976) [Painting] At:https://www.tate.org.uk/art/artworks/merz-fibonacci-tables-t03673 (Accessed on 06.09.23)
Figure 2. Igloo di Giap (1968 ) [Sculpture] At:https://smarthistory.org/merz-giap-igloo/ (Accessed on 07.09.23)
Upon receiving my assessment results, I feel it is important to reflect on my performance and progress as an illustrator. I will use this self-assessment to identify my strengths and areas for improvement.
Strengths
I learned to identify subject boundaries and apply practical knowledge in the unit: Responding to a Brief. Being able to select, test, and interpret a wide range of focused research shows how I am committed to thoroughness and diligence.
My capacity to produce successful ideas by mixing creativity and critical thought was complimented in the assessment. This has boosted my self-esteem. I must remember to keep these skills in my practice because they allow me to deliver innovative solutions and insights to a wide range of projects and issues.
It was exciting to learn that I had improved my practical, technical, and communication abilities, as these are valuable advantages in any field because they allow you to not only produce ideas but also effectively communicate them to others.
Continuing to develop these skills will surely provide me with more opportunities to succeed in my studies and expand my practice. In the future, I must remember to be curious, dedicated to learning, and to continue pushing the boundaries of my knowledge and talents in order to achieve even greater advancement.
Areas for improvement
In my illustrations I need to check that there is enough contrast in tone, or colour, or line between what is in the foreground and what is in the background and explore more ways of being creative.
Ideas I could explore and help enhance my creativity are listed below.
- Experiment with Colour.
- Utilise Value and Tone effectively.
- Experiment with Lines and Shapes more.
- Consider Texture in exercises and assignments.
- Emphasise Lighting and Shadows where appropriate.
- Use Negative Space effectively.
- Play with Size and Scale before settling on a final outcome.
- Continue to combine Traditional and Digital Techniques.
- Improve my digital skill through courses and practice.
- Look for inspiration from other artists and designers.
Conclusion
The assessment results have given me valuable insights into my strengths and areas that need I can see need improvement. Over all I need to stop feeling afraid and to try new approaches and explore various possibilities. To keep pushing the boundaries of my creativity. Through self-awareness, dedication, and continuous learning, I am confident that I can take my illustration skills to new heights. Embracing challenges and seeking feedback will be important in my journey to becoming a more accomplished illustrator.
Visual Skills 2 