I have now completed my final piece for assignment 3. I feel it has been a successful outcome exploring the relationship between 2D and 3D drawing but feel that it has been a little rushed. I really struggled with exercise 3.3 and 3.4 and I think this reflects in the work. I feel that the ideas from this final outcome could be explored further and developed into a large scale piece that perhaps surrounds a room and the people in it. I think I may return to this piece of work in assignment 5. Working the way that I have in completing this piece has made me more inquisitive in discovering the world around me and how I make art in a more abstract way. It has been quite a release to escape from the original theme i’ve been fighting with in regards to rural and urban landscape and given me time to discover my own responses to space in general.
Below are my notes during the process of making work for my final outcome:
As a starting point for this assignment I used my exercise 3.3 piece. I decided to create another drawing with the same process in mind but in the studio. I was worried that they would look the same but each piece seems to have its own individuality. IMAGE. Before I took this idea any further I wanted to take some time to research some artists that would help me with my journey into working this particular way.
My artist research really got me excited about what I could do with my work and how far I could push my ideas. To me it started to look like a map. I thought about extending the line to the wall – starting to use the space that was available to me and manipulate it to become part of my work, relating the work to this idea of a room (as in exercise 3.3). At this point I got really excited – the movement. It feel like they’re coming alive. I was looking for artists who’s work use maps in an abstract way. I came across artist Sarah Giannobile who drew abstract drawings of experiences and memories of places she has been. I started to consider finding maps in nature? The viens of leaves? The geography of the world and people in it? I found further artists thinking about space. Emma McNally’s drawing called Carbon Cleaving. ‘The work brings together different ways of describing space altogether: cartographies, technological spaces, telecommunications, flight paths, tracks and transmissions.
I made some photocopies of the work I had completed so far to draw on top of the unpredictable/uncontrolled marks.
- I started to notice that the drawing would be heaviest in the centre and then would reach/stretch out to take some air, to find space, possibly pushing through the chaos.
- I wanted to just draw some more to put on the wall but I know that I just wouldn’t be able to create the drawing in the same way. This is when I noted that the work was more about the process
- I feel that being more poetic in my language and explaining my work and concept would benefit people in understand gym passion for both nature, the city and respond to it in a way I understand it.
- Maybe my inspiration comes from the world around me (birth place in the country but now living in the city) but perhaps I am yearning to explore the processes and materials more.
- A while ago I started reading (after my drawing 1 tutor recommended I read it) ‘Space and Place. The Perspective of Experience’. I wonder if i’m going to develop an interest and experiment, direct my work down the space route. I feel I should familiarise myself with this book.
- I started to realise the size of the structure I had created affected the size of the drawing it made on the surface
- My research has definitely helped give me some direction and the opportunity to leave some ideas at bay which i needed to do to focus on one thing
- Make a piece to combine space and experience
- Just art and drawing makes you SEE so much more. Its amazing and I love it.
- map like drawings – grid like a map. Maps like a fingerprint. Rhythm of life, movement, ocassions, experiences.
- I like that on the large drawings, that are now on the studio wall, the extended black lines jumps out at you. I see it as escape, a release of a world of chaos. – thinking about this maybe I need to try some experiments out with 3D. Creating the physical ‘release’ coming out of the drawing, like artist Hannah Quinalivn.
- Now that I have experimented with wire, I like it but I think it needs to be black to stand out. The silver wire is too delicate for the piece.
- I have started to think about how I should have the drawings on a surface – like a tapestry/map. How am I going to have the composition?
Thoughts last night:
- Wallpaper roll
- thinking of the drawings that I can extend but how to have them on the wall
- Out them onto a tapestry/wallpaper roll and then have the extension coming out attaching to something – so I tried sewing on paper but which worked quite well.
Creating further ‘wind like’ drawings in the studio:
- because it is hanging vertical, when you swing it from side to side the pens only touch the centre of the paper. The edges of the paper are simply grazed by the pens creating fainter marks
- Abstract recognisable aspects of the world around me – can tell the link – wire imitate telephone pylons in London
- Almost act like a puppet. Puppet in society in regards to us humans acting how we are told to act and doing what we have to do to fit into society norms and values
- I was controlling from the top but ultimately the marks drawn is how the pens falls on the surface
Deciphering my own drawings:
- dots = death or a pause in time
- The contradictory marks of the ‘puppet’ marks and my deliberate marks that I have extended
Creating drawings on fabric:
- i’m not sure I like the cut up version of the ‘puppet’ drawing. I feel like the piece needs to stay in tac as it encompasses the chaos, all the successful aspects of the piece as whole is lost once its cut up. – make smaller drawings to put onto the long base surface (creating a tapestry)
- I think what the pen did was emphasis and take the marks further from what was already there, which I liked. I think the sewing is just adding more chaotic line and not emphasising anything.
- So I will now try the opposite approach with paper
- maybe its the width of the piece?! Rather than trying to do a long vertical piece it should be more of a standard rectangle like my original explorations which will then be easier to extend the line on paper
- Is it because the line originates from the centre of the piece? Rather than just lines all over the place
- I felt like I started to come away from the ‘puppet’ idea through frustration as I wanted to physically get involved with the work. Touch the pens, touch the surface.
- I started to explore the space around me and what I had infant of me
- Started to become a very personal, repetitive mark making process with my whole body in response to what I was thinking – perhaps a more conscious action
- Could do series of onsite drawings like this?
- Manipulate the surface – Jindra Jehu (images from google images and https://www.instagram.com/jindraejehu_/)
- The physical matter of the landscape. Like a 3D map on a computer
- So I scrunched up one of the works and I loved the immediate physicality the work now possessed as a 3D form rather than a 2D piece.
- However I have noticed that I think the drawing needs the mark to go further – creating a larger piece. So I decided to add further marks to the developing final piece. I decided to explore further ways of creating unpredictable marks: stick at length/ collection of pens using my non-dominant hand to draw
- I liked that in my assignment 2 my tutor felt that it had so many interpretations to it and I really liked that so whilst making the work, as always, I was reflecting on it too. I considered the piece like a galaxy. One main central pull and other galaxies around it, like a solar system. I would like viewers to have their own interpretations of the work.
- Lines coming off the page
- I’ve given my work a physical presence.
Assignment final piece:
Demonstration of technical and visual skills:
After initially struggling with exercise 3.3 and 3.4 I felt that my ideas and visual skills started to come together to create a successful final outcome. I wrote that I didn’t feel very immersed with my work for exercises 3.3 and 3.4 but when it came to putting ideas together and moving forward to create my assignment piece, my experimental and expressive approach to drawing started to make an appearance. My technical and visual skills were important aspects in my decision process when considering composition of the marks I was making and the amount of drawing that was going to be put onto the surface. In regards to my creativity and decision making during the assignment I had to decide how to use the marks that the ‘wind’ made and the more deliberate marks on the page made the drawing come alive – something was screaming to jump out of the page. This was when I realised cutting up the piece and rearranging the parts of then fit together was not going to work. I reverted back to the piece as a whole and decided to take it as it was. In the back of my mind was the aspect of combining a 3 dimensional piece with a 2 dimensional surface. Thinking of the different type of properties each dimension holds and using line I started to introduce with into my work. Using silver wire was a slight disappointment as it was hard to see against the drawing. I was able to source black wire which worked well. I had considered scrunching up a piece of work to reflect a physical landscape and the shapes within it. By scrunching up the paper it immediately changed my reaction to the piece. I wanted to touch it, walk around it, walk into it. Also scrunching up the paper related to distorting the image, like cutting up the image, but keeping it as apiece with all elements in tact. I noticed that there was a lost of empty space, and it didn’t feel just like negative space. This was then when I added further smaller drawings around the centre drawing. Were these further towns on my map? Or distant galleries in my solar system? This then filled the empty space and created more interesting negative space. From this I added further deliberate lines stemming from the smaller drawings adding further energy and liveliness to the piece. I made a conscious decision to have these smaller drawings random as I didn’t want to make the piece too regimented. I think I would like to take the work further – away from wind drawings perhaps and consider the idea of deliberate and non deliberate marks.
Quality of outcome:
Taking time to reflect on my decisions within the development stage of my work is starting to become a more natural process and I think that it is clearly evident in my work leading up to the final outcome. I took time to consider materiality, exploring with fabric and little textile influence. My piece demonstrates a little of my understanding of the world around me and the ‘stuff’ in society. It started to occur to me that the process of making the piece is very much an important factor when viewing the work. To me the work is like a map and lines escaping from the chaos of whatever the landscape is. It also makes me think of a galaxy in space. The scrunched up paper is to imitate mountains of 3D maps. I also played around with the idea of drawing on paper being a 2D action and making it into a 3D piece, giving the drawing a presence in space and time, giving it a physicality.
Demonstration of creativity:
I feel that along with my contextual research I have been able to explore a few avenues of materially and ways to approach this part of the course. I found a lot of the exercises hard to grasp but I found the more work I produced the easier it was for me to start making decisions about what was working and what wasn’t. I wanted to come away from the urban vs rural theme i’ve had going on for a while and start to consider my place in society and my personal response to it. I wanted to consider space and place, and the relationship between 2D and 3D. It is clear to see that my main influence is line and I wanted to extend this as far as I could in the time that I had.
I enjoy exploring as many avenues as possible when I complete each assignment and sometimes I cant develop my work extensively due to time constraints but I think that I have been able to push this piece to a point where I am happy with the outcome. However, I do think these ideas have the potential to go further and would consider completing some site specific work.
I continued to develop ideas through further artist research focusing on aspects that highlighted interest for me from other artist research within this part of the course. I enjoyed looking at both the installation, mark making artist like Smigala-Bobinksi and the relationship between 2D and 3D forms. After conducting contextual study point 9, I took the idea of combining space, form and line to create marks on a surface. I also went to an artist and curator discussion about Emma Talbot’s work which I found really intriguing and sparked some of the ideas to use textiles in my work. She would draws on fabric and combines her drawings with silk fabric. I attempted to use my work in this way but I’m not sure it was probably the best subject matter. But I wonder if my ideas could be developed further into using a textile based surface and manipulating it into 3D. I wanted my work to combine 2D and 3D and combing research of artists Hannelie Coetzee and Hannah Quinlivan were particularly inspiring for the work that I have made.
Referencing for artist research:
Hannelie Coetzee. (2014) Site Specific Plettenberg Bay. At: http://www.hanneliecoetzee.com/2013-site-specific-plettenberg-bay/ (Accessed on 22 October 2018)
Figure 1. Coetzee, H. (2013) Quartz line drawing. [clay on rock] At: http://www.hanneliecoetzee.com/2013-site-specific-plettenberg-bay/ (Accessed on 22 October 2018)
Figure 2. Coetzee, H. (2013) Quartz line drawing. [clay on rock] At: http://www.hanneliecoetzee.com/2013-site-specific-plettenberg-bay/ (Accessed on 22 October 2018)
Figure 3. Coetzee, H. (2013) Quartz line drawing. [clay on rock] At: http://www.hanneliecoetzee.com/2013-site-specific-plettenberg-bay/ (Accessed on 22 October 2018)
City News. (2017) Arts / Hanna’s site-specific work responds to place At: http://citynews.com.au/2017/arts-hannas-site-specific-work-responds-place/ (Accessed on 22 October 2018)
Figure 4. Quinlivan, H. (2016) Vibration Disrupted. [PVC, wire, cloth tape, salt and shadow] At: http://hannahquinlivan.com.au/portfolio/vibration-disrupted/ (Accessed on 22 October 2018)
Figure 5. Quinlivan, H. (2016) Installation view of Synecdoche. At: http://hannahquinlivan.com.au/portfolio/synecdoche/ (Accessed on 22 October 2018)
Arrhythmia || Interview (2016) vimeo. At: https://vimeo.com/171704467 (Accessed on 22 October 2018)
Hannah Quinlivan ‘Synecdoche’ Artist Talk June 25 2016 Flinders Lane Gallery (2016) [user-generated content online] Creat. Flinders Lane Gallery. 30 June 2016. At: https://www.youtube.com/watch?v=nL-3KP-rfmw (Accessed on 22 October 2018)
John M. Adams: Paintings, Drawings and Site-Specific works. (s.d) Bio. At: https://thefullempty.com/page/1-Bio.html (Accessed on 22 October 2018)
Figure 6. Confluence (2012) [John M. Adams: Paintings, Drawings and Site-Specific works] At: https://thefullempty.com/artwork/4016014-Confluence-combined-views.html (Accessed on 22 October 2018)
Figure 7. Confluence (2012) [John M. Adams: Paintings, Drawings and Site-Specific works] At: https://thefullempty.com/artwork/4016014-Confluence-combined-views.html (Accessed on 22 October 2018)
Drawing Centre (s.d) Hipkiss. At: http://www.drawingcenter.org/en/drawingcenter/5/exhibitions/14/past/1664/hipkiss/ (Accessed on 22 October 2018)
Figure 8. Hipkiss. (2017) The Towers [Graphite, silver ink, silver tape, and metal leaf on Fabriano 4 paper] At: http://www.drawingcenter.org/en/drawingcenter/5/exhibitions/14/past/1664/hipkiss/ (Accessed on 22 October 2018)
Saatchi Art. (2018) Sarah Giannobile At: https://www.saatchiart.com/Giannobile (Accessed on 22 October 2018)
Figure 9. Giannobile, S. (2018) Vivid Dream – Fine Art Print from an original drawing black and white art drawing bird drawing map drawing Bird fine art print. [unknown] At: https://www.etsy.com/uk/listing/68194384/vivid-dream-fine-art-print-from-an?ref=shop_home_feat_2 (Accessed on 22 October 2018)
Figure 10. Giannobile, S. (2018) Jamestown – Art drawing map print map drawing fine art print map art 18 inches h x 12 inches w Limited edition [unknown] At: https://www.etsy.com/uk/listing/61036150/jamestown-art-drawing-map-print-map?ref=related-2 (Accessed on 22 October 2018)
Figure 11. Giannobile, S. (2018) Starlings over Rome – Fine art print abstract line drawing map print flight print map art line drawing city drawing [unknown] At: https://www.etsy.com/uk/listing/92153829/starlings-over-rome-fine-art-print?ref=related-5 (Accessed on 22 October 2018)
Contemporary Art Society (2018) Emma McNally. At: http://www.contemporaryartsociety.org/donated-works/emma-mcnally/ (Accessed on 22 October 2018)
Figure 12. McNally, E. (2010) Carbon Cleaving. [graphite, nails on paper] At: https://www.flickr.com/photos/emmamcnally/5169839524 (Accessed on 22 October 2018)
Figure 13. Grzymala, M. (2011) Polyhedron as part of A Serpentine Gesture and Other Prophecies [tape] At: https://www.yellowtrace.com.au/three-dimensional-drawings-monika-grzymala/ (accessed on 22 October 2018)
Drawing room (2009) Monika Grzymala. At: https://drawingroom.org.uk/exhibitions/monika-grzymala (accessed on 22 October 2018)
Drawing in Space: Artist Monika Grzymala (2017) [user-generated content online] Creat. Des Moines Art Centre. 25 October 2017. At: https://www.youtube.com/watch?v=cfg2yHqYeZc (accessed on 22 October 2018)
Figure 14. Grzymala, M. (2009) Solex. [white tape, gaffers tape, fabric installation] At: https://drawingroom.org.uk/exhibitions/monika-grzymala (accessed on 22 October 2018)
Figure 15. Grzymala, M. (2009) Solex. [white tape, gaffers tape, fabric installation] At: https://drawingroom.org.uk/exhibitions/monika-grzymala (accessed on 22 October 2018)
Figure 16. Grzymala, M. (2009) Fabrauschen (chromatic noise). [adhesive tape and dots installation] At: https://drawingroom.org.uk/exhibitions/monika-grzymala (accessed on 22 October 2018)
Karina Smigla-Bobinksi. (2018) ADA. At: http://www.smigla-bobinski.com/english/works/ADA/index.html (accessed on 22 October 2018)
Figure 17. Smigla-Bobinksi, K. (s.d) ADA. [analog interactive installation / kinetic sculpture / post-digital drawing machine] At: http://www.smigla-bobinski.com/english/works/ADA/index.html (accessed on 22 October 2018)
Interview http://www.smigla-bobinski.com/english/works/ADA/index.html (accessed on 22 October 2018)
Figure 18. Karina Smigla-Bobinksi. (s.d) [artist website] At: http://www.smigla-bobinski.com/english/works/ADA/index.html (accessed on 22 October 2018)