Preparatory work leading up to final piece for assignment 2. Experimenting with various media and collage techniques.
Collographs I used to print with to create suggestions forms of rocks:
Stages of progression for final piece:
I then completed some photoshop experiments:
Assignment 2 reflection:
Surprisingly, I am rather pleased with what I have produced for assignment 2 compared to the outcome of assignment 1. I believe that this was because I was more committed to the work, I had more enjoyment of going through the process and planning more meticulously to produce an outcome that reflected the work I had completed in the exercises. I believe I have started to act on my time management skills and work at a more committed pace which has given me more time to reflect throughout different stages of the drawing and edit what is working and what isnt. I need to become more efficient than ever now with my time schedule.
Demonstration of technical and visual skills:
I think due to my commitment to my work and understanding the use of collage as an art form (parts of which I really struggled with) I started to enjoy it a lot more. This resulted in a more playful, experimental and expressive approach. I never really considered the various ways of having collage present in works of art, whether it was the only method of the artist or if it was combined with drawings, like Cy Twombly and Toby Paterson. I think the assignment piece shows a range of experimentation through the development of my preparatory work and the final piece itself. Throughout the exercises (and research that I looked into – Robert Rauschenberg) I picked up on the technique – ‘transfer drawings’ – and experimented with this as much as I could. However I could never find a place for it to ‘fit’ in my work. When I reached the assignment piece the idea of collographs came up and I considered this a similar way to produce an image for a more fragile outcome. From collographs, my ideas led to printing foliage found around London instead of drawing them to create that more delicate outcome. The graph paper was to imitate buildings (and an idea taken from exercise 2.4) but following a discussion with a friend the skyline looked too flat. The depth of the buildings that I had in exercise 2.4 was missing and it didn’t quite have the effect of the towering buildings, creating distance and depth. From this I then drew the buildings on top of the graph paper which added further layers and another point of interest in the skyline. However in response to this I made myself aware that I did not want too much going on in the skyline, which I had discovered when completing some compositional experiments. I wanted the buildings to be quite majestic and intimidating, over the rural landscape below, but not to fill the skyline. The negative space was just as important in this part of the drawing. I liked the drawing like this….
At the time I felt that it look ‘naked’ and the whole of the bottom half of the drawing should be filled in with the block shape. But even now I reflect on it and i’m still not sure what I do or don’t like…
To me it created depth and the disorientation of a city. I could I almost see people weaving in and out of the drawing. However I went too far and created a strong horizontal line, which to me cut the drawing in half. Because of this I repeated some of the collaged elements and bought them up above the horizon line to create that ‘jaggered’ horizon line.
Quality of outcome:
Due to having more time to reflect on what I was doing at each stage of the drawing, I feel that I have been able to produce a piece that has a good quality outcome. Photographing the piece at each stage enabled me to make decisions based on the visual development and quality of the piece. I chose to work horizontal on the paper. This again was a conscious decision to reflect a landscape. On this piece I had more control over the ‘drips’ in the piece, as at various points in preparatory drawings I didn’t want the drips to be too dominating but they were also a juxtaposition of the rural material imitating the vertical lines of the buildings. After completing my iPad drawings to help with compositional ideas I was able to decide what I wanted to include. I wanted the blocks of green ink to be transparent so that it didn’t hide what was underneath, the strong architectural structures. This was an attempt to imitate the constant struggle between rural and urban.
Demonstration of creativity:
I selected various visuals that were interesting to me from the exercises that I had completed and decided I wanted to incorporate those into my final assignment piece. I knew that I didn’t want to have purely a collage piece. I wanted to play around with different ideas and visual outcomes combining the various elements of drawing. I developed my ideas into collographs and used iPad drawings to help with my decision process. My development work really helped in ways to understand how all my different ideas were going to work together. I wanted to address the fundamentals in landscape – foreground, mid ground and background. I was able to create this in my drawing with the horizon line and the printing in the foreground, particularly printing with black ink. Continually demonstrating the conflict between organic and manmade I played around with the idea of scale in my work, printing the foliage to reach the the skyline, measuring up to the architectural structures.
I wanted to investigate the visual between the urban vs rural theme. This was a personal decision that I wanted to take forward as a theme throughout this unit. I feel that the majority of my work from exercises to the assignment piece attempts to develop on this idea. I wanted to show the constant struggle and battle between the manmade and natural world. My artist research enhanced my decision making for the use of collage in my work. Flynn Cameron Jones became a key artist who inspired me to work with magazines and cut them into linear strips. This surprised me as I wasn’t particularly keen on this work but as my ideas developed his collages seem to resinate with my work. Another two artists that I follow on social media called Heather Day and Georgina Towler were in my mind regarding the block fields with my ink which also followed on from my iPad drawings. Both Day and Towler respond to the natural world by drawing/painting landscape using mark making and block shapes.
Figure 1. Heather Day (2018) [Instagram webpage] At: https://www.instagram.com/p/Blt9UG9AOJk/?taken-by=heatherday (Accessed on 27 August 2018)
Figure 2. Heather Day (2018) [Instagram webpage] At: https://www.instagram.com/p/Blt9UG9AOJk/?taken-by=heatherday (Accessed on 27 August 2018)
Figure 3. Heather Day (2016) [Instagram webpage] At: https://www.instagram.com/p/Blt9UG9AOJk/?taken-by=heatherday (Accessed on 27 August 2018)
Figure 4. Georgina Towler (2018) [Instagram webpage] At: https://www.instagram.com/p/Bl7gTxCBIIF/?taken-by=georgina_towler (Accessed on 27 August 2018)
Figure 5. Georgina Towler (2018) [Instagram webpage] At: https://www.instagram.com/p/Bl7gTxCBIIF/?taken-by=georgina_towler (Accessed on 27 August 2018)
Figure 6. Georgina Towler (2017) [Instagram webpage] At: https://www.instagram.com/p/Bl7gTxCBIIF/?taken-by=georgina_towler (Accessed on 27 August 2018)
Figure 7. Georgina Towler (2017) [Instagram webpage] At: https://www.instagram.com/p/Bl7gTxCBIIF/?taken-by=georgina_towler (Accessed on 27 August 2018)
Figure 8. Georgina Towler (2017) [Instagram webpage] At: https://www.instagram.com/p/Bl7gTxCBIIF/?taken-by=georgina_towler (Accessed on 27 August 2018)
Response to assignment 2 feedback:
Well how pleased am I! I cant believe the feedback that I got for assignment 2. Congratulations, the assignment piece is an excellent piece of work and a significant step up from assignment 1. You have have immersed yourself in the research and produced a drawing that is visually exciting and conceptually satisfying.
I am super proud of myself for being able to produce something that has reflected my full immersion into the piece, which I most definitely did for this assignment, much more than assignment 1. Unfortunately my tutor is leaving the OCA but I was pleased to be able to finish on such a high.
My tutor wrote some notes in regards to my feedback but we also had a discussion about my final piece which was really insightful and exciting to talk about a piece that I had produced and gave such an in depth talking point!
I have written my own notes whilst talking in our google hangout, which may not make sense but I wanted to get them down to reflect on and use going forward, so here they are:
- cut some paper to cover the marks don’t paint over
- Material edge (the material has found its edge) – where the horizon line finds its own contour – had I over done the ‘jiggle’ it would be too much. Too stricter line on the horizon would be too similar to the strong architecture of buildings and not be natural. I didn’t want to split the land and sky and my tutor mentioned that this was a good decision.
- The drawn buildings looming, nothing inside. Reflecting back – attractive and cold at the same time.
- Graph paper-like shadow of the drawn buildings
- Does a drawing bare being looked at again and again. Seeing something new each time. This is what I should strive for and my tutor mentioned that I had done this
- Balance between giving enough and not too much
- Above the horizon: the cut collaged elements could be a reference to classical columns – the business gateway – change. One thing to the other. In between space 0 not clearly urban but not clearly rural.
- prints: nature of the mark, fragile mark not too dominant like the ink. The break in the marks you get with printing and not so much with drawing
- Footprint – printing the organic. The height of the plant
- The position i’ve put the viewer in is interesting with tall buildings and plants up high
- Really like the ‘looking up’ perspective
- Bottom: continuous layering. loose/transparent, looking through a lake – watery quality on the green – because we can see thought it, it feels like its been flooding – link to destruction. Qualities of the medium. Are the buildings being submerged? Are they no longer fit for human use?
- Very clear sense of immersion
- Setting out to ‘teach’ the viewer. Given the viewer space.
- Reflect and open myself up to it – what do I see?
- Reflecting is just as important as making
- Flag the prep for assessment
- Make notes of why no compositional sketches – explaining how I work and my own processes. I work more intuitively.
- Quality of exploration
- Not completely stuck on pieces – letting the material have its own presence – not tidying up too much (in the sketchbook)
- Think about the edges – edges within the picture not just around the edge of the picture. Be playful
- KEEP THE IMMERIVENESS!!!!!!!!!!
My tutor enjoyed seeing my travel sketchbook with various drawings inside along with my polaroid images. She mentioned that they feel like ‘objects’ which is an interesting idea as I have started to consider bringing objects into the landscape. She mentions that they remind her of Bechers typologies. My experimentation is clear in my sketchbook. (an improvement from assignment 1). My tutor left post it notes in my sketchbook to look through in regards to her comments on individual pieces.
In regards to my research my tutor recommends that I start to explore who has written or is writing abut the ideas that interest me to help build my contextual understanding. Go more in depth to find out about the social and cultural situations in which artists make work investigate they intentions in terms of the meaning they hope to communicate in their work. Suggestions given.
Learning logs/blogs/critical essays
From assignment 1 feedback my tutor recommended I use a larger format (sketchbook) to record my artist research (as I like to use a sketchbook to record this). In this feedback she mentioned that the larger scale is better. A very active and visually dynamic contextual research log. Well done on critical comparisons between different artists.
– Lucy Lippard, The Lure of the Local: Senses of Place in a Multicentered Society
– Ruin Lust, an exhibition at TATE Britain 2014, see this short video. https://www.tate.org.uk/context-comment/video/ruin-lust check out the linked articles. Have a look at the artists featured in the exhibiiton and you might find the catalogue interesting.
– Michael Landy’s etchings of weeds in his portfolio Nourishment.
– Laura Oldfield Ford’s drawings of urban spaces.
– George Shaw’s residential at the National Gallery and his drawings/paintings of trees that show evidence of nearby urban places. – I visited Shaw’s exhibition whilst completing my drawing 1 course.
– Following your comment about objects, Daniel Mller an anthropologist, has written two books Stuff and the Comfort of Things.
– I don’t know this book but I though it would be worth you checking it out – Inbetween
Spaces, Paperback, 2007 by Ines Rae, Claire Corrin, Daniella Watson Its quite interesting to see that my tutor has recommended I look into some reading regarding place and my drawing 1 tutor did the same. I started reading Space and Place: The perspective of experience by Yi-Fu Tuan, so maybe I will pick it up again.
Pointers for the next assignment. Reflect on this feedback in your learning log. Reflection is as important as making. We discussed in the tutorial how you need to spend time reflecting on what makes your work successful or not and build on this. Don’t be concerned if you don’t achieve the same level success in the Part 3. I will leave it to your new tutor to make their recommendations about Part 3.
- You have demonstrated that you can take a project and carry out the contextual and visual research to realise a creative result, an artwork that works visually and conceptually.
- Good contextual research into other artists work and thoughtfully applied in your own work.
- Your learning from the exploration of
- materials has been fruitful and is very
- evident in the assignment piece.
- Spend some time understanding how this drawing works visually and conceptually. Review how you preparatory work has led to this final drawing.
- Extend your contextual research to include reading about ideas as well as other artists – see my suggestions above.
Another think about exercise 3.3 – use string as the weeds, growing up and out and around and down of the derelict building. Do some sewing – attach sewn leaves onto the string – like Anna Barriball. String idea came from link to tornado.
Thoughts about an object. Im making an object for the room?!?!
I feel that it is important to note that I found a lot of my tutor’s suggestions weren’t quite going down the route that I wanted to go into. I looked at the artists she recommended and although I found them interesting to see their work, it’s not quite the direction I would like to take. Below are examples of the artists work I was recommended to look at but I decided not to pursue further. I wanted to conduct a little research into the artists as I may want to look at them at a later stage.
- Michael Landy’s etchings of weeds in his portfolio Nourishment. – I found Michael Landy’s etchings beautiful but this isn’t something I am particularly interested in moving forward.
- I have requested Lucy Lippard’s book from the V&A Library so hopefully I can work my way through that for this course.
- Daniel Mller – I think my initial interest was perhaps looking into objects/ things, since carrying on my studies with part 3 I have come away from this idea of things. Also I would like to look more closely at Lucy Lippard’s book and focus on other reading related to my work moving forward.
‘She is concerned with issues surrounding contemporary political protest, urbanism, architecture and memory.’
“I want to ask how far are the marginal political ideologies that emerge in the fraying edges of our cities a product of that environment and what new discourses are fomenting in the liminal zones of the commuter belt.”
She goes on walks around the old boundaries of Surrey, ‘through specific sites of cultural and socio-political significance relating to radical counterculture, land contestation and marginal political ideologies’. These walks then form a new basis for her work. “The walks and subsequent studio work will serve as examinations of physical marks in the landscape, of folklore, collective memory, and the politics of contemporary protest.”
I like the fact that her art is influenced by a physical act around her local area. The idea that she is taking note of things around her to then go back to the studio to make the art.
Her use of pencil work combined with ink and fluid media links in with my work for assignment 2. I also like the use of text that she uses in some of her pieces.