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EVALUATION
Studio Practice Evaluation: Image
The last term of my third year in D&P was a breakthrough moment for myself as a developing artist. In this time I created a sense of identity in my work and a cohesive style that allowed me to express my own narrative as an individual.
I approached my research with dedication and full utilisation of the academic tools at my dispense. This research began at the beginning of my third year with the compilation of a detailed studio file. In this file I researched a variety of artists and the construction of their artistic practice. This was divided by myself into 5 sections: line, tone, colour, movement and philosophy. In this file I was able to identify the specific elements of artist technique that I aspired to incorporate in my own practice. Thus, assisting the development of my own style, regarding draftsmanship and the handling of material.
With this research under my belt, my work developed rapidly and I was producing the most technically challenging works I had done thus far in my degree. At this stage, the element my pieces lacked was the story behind it. I was not asking myself as the artist why and how questions, and as a result my work wasn’t fitting for a gallery environment. This realisation led me to my current studio file. My research shifted from technical study of artistry and draftsmanship to the observational study of the ‘experience’ suggested to a viewer and the emotional implications behind work. With this in mind, my research is comprised of a ‘metaphysical’ approach to fine art, literature, psychology and film. Exploring perception through the lens of an individual.
Studio Practice Evaluation: Text
Firstly, I explored themes within the fine art practice- for example post war Polish artist Zdzisław Beksiński who explores themes of nihilism, spiritualism, eroticism and dystopia in his paintings. In his depiction of scenes of both dreams and nightmares- Beksiński’s approach to his practice inspired my own as he chose to not title his work. ‘meaning is meaningless to me’- he did not want his personal interpretation to impose on the beholder’s perception of the work. Beksiński stated that paintings are to be ‘admired or contemplated, admired without asking what it means’. Beksiński’s philosophy towards his art impacted the perception of my own. I concluded that I wanted my work to be as open ended as possible, telling a visual story that holds ambiguity to the viewer. I think this approach to my work can be best described as ‘setting the scene without turning the page’, coaxing the viewer into creating their own world within the work.
Studio Practice Evaluation: Welcome
I also expanded my research outside of the artistic circle to studies of science and psychology. My practice was influenced by Rorschach’s blot test. An experiment requiring the individual to interpret ink blots, asking them to give a figurative answer ( a face, a butterfly etc). This test plays on the psychological phenomena of ‘pareidolia’, the definition of pareidolia is; “the imagined perception of a pattern or meaning where it does not actually exist”
It is this requirement of the viewer to interpret their own narrative within a piece of art that inspired my approach to my work. I wanted to make work that told a personalised story- which was relative to an individual. I pursued this ambition with the maintaining of figurative elements within abstracted compositions. With pareidolia becoming a key theme within my work I drew a lot from imagination. Implementing surrealist techniques such as ‘automatic drawings’ to influence my creative process. This allowed my work to loosen up as the marks became more spontaneous and fluent.
Studio Practice Evaluation: Bio
Moebius Automatic Drawing
Studio Practice Evaluation: Image
I discovered Alexander Cozens when researching into the artistic application of pareidolia. Cozens, an eighteenth-century British landscape painter implemented a painting technique that utilised pareidolia to create imaginative compositions. Cozens would randomly blot paper with ink, he titled this technique ‘blot drawings’, stating their purpose was to “unlock the imagination by suggesting random shapes and forms.”
Drawing inspiration from pareidolia has been a key element of artist practice for centuries, the phenomenon can be found everywhere. In the first year of my degree I started drawing inspiration from wood grain patterns and textures in limestone. It is only from my recent research that I discovered Leonardo Da Vinci wrote in his notebook that “artists might find ideas for compositions in wood grain or stains on the wall”
Studio Practice Evaluation: Welcome
A key influencer within my studio practice was a book recommend to me by my tutor Richard, titled ‘Sensitive Chaos’. This book is a study into the scientific and spiritual nature of water, and in turn all organic life forms.
‘Everywhere liquids move in rhythms. Countless rhythms run through the process of nature. Not only are the great currents and tides of the oceans subject to the rhythms of the seasons; every lake, every pond, every well with its ground-water level has its movements that fluctuate with high and low tide or according to other laws.’
The diagrams featured in this book inspired me to research organic forms. I was particularly interested in life forms that interacted with water or air to move.
It was the calculated fluency of these forms that informed my drawing, for example referencing the spiral of a shell, and the fins of fish.
I was particularly intrigued by an illustration featured in the book of a sequence of movements a sting ray undertakes to push through water. The drawing highlights how the shape of the stingray’s fins imitate the movement of the water and propel it forwards.
The premise of organic life forms harmonising with the air and or water currents around it to achieve movement captivated my imagination
It was this concept that inspired my compositions, as I tried to capture a harmonisation between the subject matter and the rhythms that surround it, adding a sense of fluency to my work.
‘And do we not see this flowing movement- in rhythmic sequence- even in the great variety of movements of human limbs?’
Studio Practice Evaluation: Welcome
A study into black and white cinematic visuals has informed my creative process, as the genre of experimental film has captivated a new way of thinking about the impact of an image and the way in which an image can be composed to tell the most dynamic story.
I have been inspired particularly by the themes and visuals within Ingmar Bergman’s 1957 film ‘Seventh Seal’ and Andrei Tarkovsky’s 1986 ‘The Sacrifice’
I drew from stills within these films, drawing inspiration from their thought provoking narratives as well as their cinematic value- of course as black and white experimental film makes excellent reference for a predominantly tonal artist!
Studio Practice Evaluation: Welcome
At this stage in my research, I had developed a great basis for my approach to my practice. The next question was how to decipher a sense of place within my work, or in other words, the ‘happening’. This led me to cultural studies of Japan. The rich and diverse history of Japanese culture has always excited my imagination. The folklore and mythologies surrounding the ancient Asian culture provide a unique reference for creating captivating narratives within pieces of artwork. I have read various sources exploring Japanese folklore, such ‘The Book Of Yōkai’ by Michael Dylan Foster and ‘Kaibyo : The Super Natural Cats Of Japan’ by Zack Davisson
These books provided inspiring insights into Japanese folklore and mythologies that ignited my artistic interest even further. I used these stories a backbones to my compositions and inspire the initial marks within the piece. For example I would use stories of various yōkai, or original paintings of the folklore as a point of reference. I also took inspiration from places of worship within Zen Buddhism, in particular the Kennin-ji Temple situated in Kyoto, the building is decorated with large paintings of various deities, such as Fujin and Raijin the Gods of Thunder and Wind.
The term ‘yōkai’ translates roughly to supernatural phenomena meaning the term is used to describe things we can’t explain using scientific observation. The presence of the unknown is a theme that I worked into my compositions as a means to add a sense of depth.
Creative intention and appropriate material outcome
Studio Practice Evaluation: Welcome
The challenge of creating works that are creatively expansive and originate from spontaneous marks was finding a medium that catered to the techniques I had been fascinated by. A solution to this dilemma was not answered by exploration of a new and foreign medium but rather a different approach to a familiar medium. I had been using charcoal and graphite powder in my tonal drawings for the last year or so, only ever as a means to build up areas of shadow quickly. It was only through experimentation did I discover that when the powder was removed in small areas with a putty rubber, unique shapes would begin to manifest. This would become the starting point for my practice and a technique I would implement in my degree show works. I would start out with a concept; whether that be a composition of figurative and nonfigurative shapes or automatic marks made with a pencil. This would be the first chapter of narrative; setting the scene. I then applied charcoal powder in a painterly fashion using a brush, this pulled the elements of the composition together with fluent brush strokes. Once happy with the marks, I removed areas of charcoal by pushing a putty rubber over the areas with directional strokes. It was this technique that began to unravel a unique narrative to the drawing. I finished the drawings by reinforcing the marks and shapes that added to a sense of space to the composition with a charcoal pencil.
Studio Practice Evaluation: Text
Studio Practice Evaluation: Image
I was able to have informative conversations with artists and curators both externally and visitors of the university. I gained insight from curator, Jan Philip as to what of my art works, he was interested in for an exhibition he was composing. This gave me a sense of what is popular in contemporary fine art.
I was able to construct a good understanding of what type of art works well in a gallery setting by submersing myself into as many opportunities within the community as possible. Aforementioned in my PP3 file I partook in a collaborative artist exhibition in the centre space gallery. This experience taught me what elements of my art worked well in a gallery setting based on what sold to the general public, this was helpful as to informing my practice as a fine artist. By exhibiting and marketing my work, I also gained insight into the marketability of my illustrations. I have used this knowledge to build my presence on social media, and increase the revenue I’ve made as a practicing artist. As mentioned in my PP3 file, I have been successfully selling prints of my illustrations via online marketplaces, such as Depop and Etsy. By increasing my understanding of the artist market, I have also been able to construct a professional website in which I will be able to showcase and sell both my fine art works and my illustration prints.
Studio Practice Evaluation: Text
I have engaged with as many opportunities as possible over the duration of the semester (of course limited by Covid-19). I attended every life drawing class available to students (approximately nine hours a week) which led to an opportunity with the BBC for a televised life drawing class. I have utilised these classes to explore life drawing with different print based mediums, for example I have produced a series of mono-print life drawings.
Studio Practice Evaluation: Text
I believe I have demonstrated excellent engagement with the course, I have expressed a great deal of maturity and personal growth in my artistic practice and have produced unique and personal final pieces. My devotion to my practice and the course is clearly demonstrated in my research; I say this because the majority of my references and inspiration are derived from conversations I have had with tutors and visiting artists in the studio. I believe having the maturity to engage with tutor feedback and hold articulate conversations is clear in the fruition of my practice.
Studio Practice Evaluation: Text
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