Part 3

reflection - part 3

by Natasha

Text

highlighted text = important/key information 

black text is my own writing 

 

Monday 25th February

Had a very confusing day today, my original idea of queer theories and HIV and AIDS that I did all of my research for during our time off, and was cleared by Hannah was today disregarded by Emma. I pitched my idea to Emma for clarification today for my PPP and when explaining it to her she said that it was too much like a history of art project and not enough fine art, which I can understand where she was coming from. However, what I am annoyed and panicking about now is that if my idea was too history of art like and too research based why didn’t Hannah pick up on that before I started the bulk of my research, I feel a bit miffed and that the work I have spent days on was for nothing, all in all I feel like I’ve wasted valuable days of research.

I have now got to come up with a whole new idea and do the research for it in 3 days, which is going to be nearly impossible. I want to have the best work possible and think that I am going to be very pressed for time.

Ideas that are going through my head now are that I need to come away from the bulky research and focus my work on relevant and more conceptual ideas. When looking back at my previous work it all links in some way to the body therefore I think I should carry on this theme. When I think about relevant themes associated to the body I first think of identity and perfection.

For me I would lean more towards perfection, due to the fact that I think I am always searching for perfection with my own body.

What I would like to explore within the theme of perfection is people’s opinions of perfection (this will be tricky due to the fact that everyone’s perception of perfection is different – one persons perfection could be another’s hell). To achieve this, I am thinking of creating a few questions to ask people and documenting their answers.

I also want to explore associations with perfection and the process behind or leading up to perfection.

Or rather to processes of trying to succeed perfection, rather than the “perfect” outcome itself.

I have given myself a list of things to do to clarify my head space, the first being to do this questionnaire and then to project these answers on to a “perfect” white canvas.

Tuesday 26th February

 

Created my first outcome for my new project today, I started off by creating a questionnaire where I asked people in the studio to summarise perfection in 3 words, they could be conjoining words or completely separate key words. What I found was there was 2 directions that people went down when answering this question, they either tried to describe their vision of perfection e.g. flawless, joy, nature or they went down the negative direction of saying that perfection does not exist e.g. unrealistic, ironic, fake.

With these words, I wrote them down in a repetitive structure on a piece of acetate and then projected the sheet on to a “perfect” plane white wall. The idea being that I was projecting people’s perceptions on the clean and “perfect”.

With these words, I would also like to print them off and do some image transfer onto canvas to create textured or layered outcomes.

 

I think that its really interesting finding out what peoples perceptions of perfection are because they are completely different to my own, this I think will make for very interesting art outcomes due to the fact that my basis of research is very broad, my only worry is that will my art become too detached from my own personal views, therefore will i be able to be as invested in it? 

I also think that this may lead to very subjective art that could get a bit complcted to produce singular art pieces out of it.

Thursday 28th February

 

Handed in my PPP today, I am happy with the outcome, however I think that I may have been a little narrow in my proposal therefore I think I may have to broaden my research as the project goes on, but for now I think there is a lot I can do with the search into perfection.

I started on some of my outcomes. Have started off my doing all my outcomes in my sketchbook which I think I need to stop doing – but I was doing image transfer so thought it was the best place for it. although it think it would look good if I were to image transfer onto fabric and make it a lot more textile like. this could then lead to very textured based art and maybe the use of instillations. 

Stated off my creating and making lots of different patterns, in my search for the perfect pattern (the pole I am going to do) I then image transferred the patterns I made because I think it made them look more interesting,- the grainy pattern that they give off when transferred I think gives then a sort of romantic nature to them - as if they are an old fashioned photograph.  I plan on cropping and abstracting all of the images I transferred and think I will experiment will collages and putting them on to the human form. 

I think that placing them on the body will give them a very different connotation - if I were to get people to pick their most perfect pattern and then project that patten on to them like a label or stamp to categorise them. 

this Idea has the potential to turn into categorisation art which could be interesting but also dangerous - I don't want to start categorising people into groups as it may lead to political art which is something that I don't want to dabble in. 

Need to work with projections and painting onto the human form.

e.g. painting the pattern onto someone’s face and then photographing the outcome – exploring the use of layers to create perfection.

Monday 4thFebruary

 

Finished off all of my patterns off today, they range from geometric line work to abstract painting methods. for me I think that the best ones that I have produced are the complex patterns as not only do they show off a greater skill range for myself but I think they are more interesting to both create and look at. I would say that the best patterns at I have created are the ones that don't immediately look like the traditional pattern. for example, the farmers field that has been ploughed symmetrically, this for me is near enough the perfect pattern because it uses repetitive actions but does not look like the traditional "pattern". 

 

What I wondered today was does a  pattern have to look like a pattern (a repeated design) or can a pattern be due to its method – therefore could a pattern be an abstract painting be a pattern if you use a repeated method to produce the outcome e.g. only using a certain few brush stroke methods in a handful of directions over and over again. Would this classify the painting to be a pattern? 

if you are using the same method to produce a series of paintings does that mean that the paintings as a collective becomes a pattern, I believe so. I don't think that a patten can just be categorised by it visuals or the stereotypical societal views. I think that If you create a piece of work and go about it in a systematic way then this can be categorised as pattern like too. 

I am thinking of ways of documenting this method approach to pattern making and I am thinking that if you were to film yourself creating the pattern using reparative methodology  and then show that film alongside the end product then it will make a lot more sense to the viewers when you label it a pattern. 

then then also opens the door for the method to then become the art piece rather than the outcome itself. if you would methodically and document your development at different stages it could become a film piece or an series of photos leading up to the final piece. by presenting the documented development photos one after an other then this could then come a series pattern in itself. 

I have now become a lot more aware of what a pattern can be or the potential that things have to become a patten, I think that I should look into documenting my work and other artists that do this. 

I looked into an artist called Joan Mitchell who is an abstract artist that specialises in expressive line work and paint forms.  the process within her work looks very rhythmical and repetitive in terms of brush strokes and expressions. I would put her work in the category of patten making simple due to the way In which she applies paint to paper. 

 

Also started my pole for the most perfect pattern today I asked people on my studio, I posted it on my Instagram story (so that I got a range of people) and I also put it one my girls group chat.

The aim is to leave to poles going for 24 hours and then collected the data, the pattern that comes out with the highest score will be the basis of my project – I wish to create art based around this pattern and then use the theme of the pattern/style of the pattern on the human form.

 

Tuesday 5thMarch/Wednesday 6thMarch.

 

 

I tallied up the results of the pole this morning and the results that came in where that the symmetrical continuous line came out as the winner. Created a few pieces of work that reflected this method, however, don’t think that this has much potential to continue onto a good outcome.

I spoke to Garry and we discussed my ideas for looking into the process of art and the patterns that aren’t a pattern visually but methodology of them is pattern like. Therefore, I was thinking of exploring the idea of making perfect art though process, I were to look at how I make my art e.g. if I were to give myself a set of rules so that the methodology of my work was systematic and therefore perfect.

If I make everything I do have purpose and If I set myself guidelines then I think I could be on to something.

This I think is along the lines of action art, the process being the main focus and the outcome being the inevitable not the predictable.

However, as much as I love the action art of Jackson Pollock I do not want to go down that root start creating expressive abstract art, I want it to be a bit more structured.

 

I really want to do more with projections because I think that they have been the most successful thing I have done so far, I might explore projecting onto “perfect surfaces” for example, white sheets, a raw brick wall etc. Basically, projecting onto any pure or raw surface because these for me are perfect as they are untouched.

 

Projection wise I like the idea of incorporating both landscape and human form, but I want it to be vintage esc or in black and white (I am not too sure why yet but I don’t want it to have a modern feel) I might have to explore found imagery again.

 

Still need to explore the process of art and the production of “perfect” art therefore I need to set myself out rules or guidelines.

 

One idea I had was to film someone doing performance art to create 2D art and the project it onto a raw surface “a perfect surface” the idea behind this is that there is 3 layers of art going on the first being the methodology of the performance art to create a 2D painting ( the person would have paint on them in some way and I will give them a set of movements in order to create the painting) the second layer being the piece of art that is then produced and the third being the projection of the whole process. – my only issue is finding the space to do the performance art as there isn’t much space at archway to create this.

 

Moving on to creating more art I think that I need to continue a bit more with the structured a rule written art and then I think I should then move it onto projection based art.

Work on timed art and structured art and then I could combine projections and the paintings into one.

Thursday 7thMarch

 

Started to produce art that had rules to it, the first one I did was an abstract piece but only using vertical brush strokes, really liked the outcome of this think it worked really well visually. However, did find it hard to only use vertical brush strokes as I was so tempted to do quick brush strokes horizontally. This is made me realise the that process of my art is really important to the overall outcome.

 

I then went on to create a quick timed piece of art using spray paint – this did not go as planned turns out I can’t use spray paint and it went everywhere, the overall outcome was not idea and just didn’t work but I did learn that I should not use spray paint again so that’s a positive. 

the idea of creating quick art though I think is good for many reasons including the fact that I won't be thinking about my work to much and the concept behind it therefore hopefully the marks that make will the quick decisions but purposeful. if I have less time to create the art then each line has to have a large amount of purpose behind them as there will be less lines all together on the page. 

my thought process is that if I have less time and I am not thinking about the forms I am putting on the page then there will be a lot of repetition between the the times pieces I do as it will be my subconscious that is creating the forms on the page not my conscience thought process and therefore only a few forms will be held in my subconscious. 

 

The next piece that I produced was a set of four prices that were inspired by Tanuma Sirbiladze and her energetic mark making on canvas. I give myself four minutes to produce the first one, three minutes to create the second one and then two and finally one minuet for the last two. What I learnt from this id that I wasn’t thinking about the outcome art all when producing them and only focusing on the initial mark making therefore the outcome was almost a surprised to me as I hadn’t planned how anymore them would look like. I think that from a process point of view these worked really but maybe from an outsider’s point of view the may have not been the most visually successful.

 

I wasn’t to carry on with this theme of rules and process but like I said before move it more onto projection.

Friday 8thmarch/ Saturday 9thand Sunday 10th

I spend these three days focusing on my preparation for my Newcastle interview, making sure that my sketchbook was padded out and that I was adding in new portfolio pages. 

I think that my portfolio is good enough and shows a range of talent, the piece that I have chosen show a wide range of technique varying from abstract peices where I have explored the use of tone and colour on the page. I have added my use of textiles in the human form instillation I did and I have also added pieces from my projections and realistic drawings of the human anatomy.

I have chosen to use A1 sheets as the background for my prints as I think it makes them look a lot more crisp, also giving it the effect of them being on a wall space - which is how I would ideally like them to be presented (obviously apart from the human form instillation).  

 

Monday 11th/Tuesday 12thMarch

 

Was in Newcastle so was unable to do any work but had my interview on the Monday and think it went well.

in the interview there was two teachers and one student, at the start of the interview they were asking lots of questions about what foundation I was at, when I said I went to central st martins they become very interested in what it was like and for the first 5 minuets was just asking be about my corse. I found this a bit weird as that doesn't reflect on my work at all, they were asking questions like how many people are in our classes and how many tutors I have. not to sure why they were asking these questions as they are very irrelevant to both the interview and my work - therefore I can only think that they were just curious and wanted to know what it was like, being a prestigious course. 

after they stopped asking these weird questions they then went on to ask about my favour of not interesting piece in my portfolio - I chose the projection work of the found footage that I had done due to the fact that I had a lot to say about it - I explained how it was a modern day interpretation of Casper D Fredrick's paintings of wonderer above a sea of fog and that I used old slides from the 1970s. they seemed very interested in this and we were discussing how I would like to develop it more and how I would like to present it in a gallery space. 

they then asked me to talk about another piece at which point I picked the dot drawing of the females stomach, I explained that the artist Scott Short inspired me with his use of photocopying to create fragmented images and then how he projects them and paints them. after explaining this they then didn't know of the artist Short so I had to explain his work which again they  seemed interested with too - I felt that this may have given me the upper edge as I know and artist they didn't and seeing as he is quite a famous artist this surprised me that non of them knew who he was. 

after that they went on to ask me about he history of art context and if I did any history of art at cam - I said I didn't but that we do a lot of research based projects and have to do a lot of writing to back our work up. I don't think they were concerned with the fact that I didn't do art history at the moment. 

all in all I think that it was a very conversational interview and it flowed really nicely. I think that Newcastle is my first chose so am really hoping it went well and they give me an offer!

 

Wednesday 13th March

Finding it hard to actually create work at the moment, feel like I have lots of ideas but can’t actually put then into physical things. Think what I need to do is make a timetable for the next week and make sure that I keep to it.

Friday 15th march

 

current thought process is that I think I was to divert onto lots of projection art and photography instillations.

Want to come away from the human form and home more into the geological aspect  of perfection, the natural perfection. the reason for coming away from the human form is due to the fact that I think it have focused too much on the human body in my previous projects, in part 2 my whole theme was the human form and the anatomy of the muscular skeletal system. I just think that it would be best if I step away from the human from and look more into what I think is perfect. 

initially when thinking of perfection I think of the outdoors and nature, growing up in the countryside I was always outside at the stables with the horses and going on walks on a Sunday with the family. nature and the outside has played a massive role in my upbringing therefore the theme of landscapes is very fitting. 

if I were to then solely focus on landscapes and think about the perfect landscape my thoughts immediately  go towards the mountain ranges and being on top of a ski slope and looking down on the valley. I go skiing with my family every year and have been since I could walk, therefore the mountains have a spacial place in my upbringing as well. for me the mountain are a place where you can really think and clear your head. there is a massive peacefulness about the mountains for me and is a place where I can really lose myself in not only the scenery but the sport of skiing. 

the combination of the exhilarating action of skiing and the calming vast space of the mountains I think makes for a really interesting concept and potential works of art.

And really concentrate of the process of documenting them, for example I want to look into using the negatives of film so that you are able to see a different aspect to the image, a different kind of perfect – viewing a perfect landscape though a deformed image. Shows that all perfection is deformed to each individual.

 

Want to explore using projections as an instillation, for example projecting onto raw materials – the purity of it makes it perfect (perfect and untouched)

 

I was also thinking I could flip the idea of process of perfection around and document/create work around the decline of perfection in a natural sense. Looking at the earth as a changing landscape.

Inspiration to move more into nature came from artist Elena Daminai and Mercelo Moscheta.

 

I also thought about working with found imagery again and using the landscapes that people have taken, because that image is someone else’s documentation of perfection – they have taken the time to take a picture of that particular landscape therefore it must mean something to them. The idea that I can be using other people perfections of perfection in my documentation of process to perfection I think would be really exciting.

Monday 18th March

 

Started developing my new ideas and change in my project.

I developed some pictures that I took last year on my skiing holiday of the mountain ranges, they were in black and white and semi bleached out. The images themselves I think are a very good representation of a perfect landscape. However, want to manipulate them and see if I can take the perfect image and degrade/change it so that the image is no longer showing the perfect landscape.

I started doing this my photocopying the images and blowing them up to A3 from A5, this not one distorted the image a little bit but it also makes the overall appearance of the photograph a lot darker.

I then repeated this process 4 times each time photocopying the image that I just photocopied (so I was photocopying the photocopy). What I found was that every time that I did this the image got less clear and a lot darker.

I them presented them as a series one after each other, I really like the outcome of them next to one another as I think that it makes the process clear to the viewer.

However, one of the images when I photocopied it them became completely black, this being the outcome that I was not expecting, I don’t think that it’s a very good outcome however, it is interesting and does look good next to the original.

 

inspiration for this type of documentation came from the artist Scott Short, I have use this work as inspiration before in section two but I just love his work so much and think that it is so versatile that I am able to use the style and it not look the same as the original or mimicking Scotts work. 

 

I had my progress tutorial today with Emma and we discussed that I should create a lot more images of landscapes and play around with enlarging them so that they become distorted, transferring them onto different fabrics and materials and painting/drawing the end distorted product (a bit like Scott Short).  We also discussed the propose of a landscape and what the contrasts are within varying landscapes.

 

After my tutorial, I then photocopied 2 of the mountain range photocopies and zoomed into them by 200% so that only a section of the mountain was printed out, the image that was produced is a distorted and pixilated cropped view of the landscape, I think that it looks really interesting and I’m going paint the printed-out image onto wood.

I think the process of me transferring the image into a painting is a really interesting one, will the landscape that I think is perfect will it still have that same effect when I paint it of will the essence of the piece be lost because its not a photograph? 

 

I also want to explore more with image transfer onto materials and see if I can print onto organza like fabric.

Tuesday 19th march

Tuesday 19thmarch

 

Started to create paintings of the distorted photocopies that I made yesterday. The photocopied images are very distorted and show high levels of pixilation. I have started to paint these photocopies using mars black and titanium white acrylics onto cut up MDF board. The first one I created I did straight onto the un-primed wood, this turned out well but I think that the paint will sink into the surface over time therefore I will prime the rest of my boards.

Really happy with the overall outcome of the piece, I think I got the abstraction right but now need to experiment with ways of changing it up.

however I carrying one from my thought yesterday I do that the perfection is lost when I transfer it to a painting, I just don't think that it has that crispness that the photographs have. what is captured from a photo is very different from the what you capture from a painting - I think that in general the emotion and the feeling like you were there is always lost in a painting compared to a photograph. I would say that a photograph is like a snap shot from someones memory, it can be taken in 100th of a second therefore it retains its freshness and allows the viewer to really immerse themselves within the snap shot, where as a paintings takes a lot longer and therefore are many hand decisions that have to be made therefore they could stray from the actually representation of the landscape.  

Thinking about using different brush strokes and mixing the mars black with other colours so that it adds a bit of depth to the painting – however, I may find out that after experimentation I prefer the plain mars black and that I like the raw photocopy representation of the painting.

Need to make colour swatches of mars black mixed with other colours – e.g. crimson red or burnt umba etc.

Also think that I should experiment with size and scale, should scale it up to a big board rather than a A4 board. However, does this mean that I should scale up the brush size too or should I do a meticulous and detailed piece where I capture all the fine pixilation’s.

Talking to Garry – discussing the research into the sublime, and how we measure our achievements against nature – link to Casper Fredrick – wanderer over the sea of fog – shows that we are never really able to get a grasp of the landscape around us because it is so vast.

the sublime being a feeling that something is greater than yourself and that you are not really able to describe what is going on. I would say that this is a very accurate representation into how I feel about the landscape of the mountains. I think I will ever be able to grasp quite how big they are even though I have skied nearly all of the alps in Austria. the idea that they are too vast for my understanding is also a concept that kind of annoys me, I should be able to understand the scale of the mountains. no? 

We try to concur the vast landscapes like the mountains and the deserts, but we will never beat them of be able to truly get our heads around their raw power.  

 

 

 

 

Wednesday 20th March

 

 Went into the studio and created 2 more paintings of the up-close pixilation’s of the mountain range, however this time I was playing around with the colour pallet and mixing greens and blues into the black tones.

I think the tones of the green work really well, they add a bit more depth to the painting but I don’t think I applied it correctly – in the correct places, I didn’t put enough tones in the middle of the painting and instead I left quite a lot to the outside of the painting. I need to read up of the correct was to paint and use tone in painting.

Also primed a big piece of MDF ready to paint on.

Felt really sick though around 4 o’clock so much so that I went back home to surrey.

Thursday 21st march

 

Didn’t go into uni as was unwell at home – on bed rest for 2 days.

Monday 25th March

 

 Completed the big MDF canvas panting of the zoomed in mountain range. I looked up how to apply tone properly therefore I think that this one worked out really well. I like working on this large scale and think that I should play around with the use of scale more. The only 2 things that I might work on though are that I am using acrylic therefore it looks a little flat on the surface – even though acrylic is good because I can get texture into the painting by it drying quickly I think that I need to experiment with different mediums like oil and maybe substance based acrylics. I also think that it would be a good idea to go even more detailed in some areas of the painting on a large scale so that you have to contrast of really big brush strokes to really small detailed brush strokes.

Need to keep on mixing up the colours – maybe mix up the white and the black so have a slightly off-white tone rather than the titanium what that’s on there now.

Tuesday 26th March

 

I started off by editing and printing off the pictures I took on Saturday of the landscapes back home (Tilford military ground). Digitally I think that they were a massive success and the detail and colour perception are amazing. However, when printing them out they seemed to lose most of their depth and crispness – this could be the printers at Archway therefore I am going to print them out again tomorrow at Kings Cross, they also weren’t as good when I photocopied them as the mountain ranges were. they didn’t seem to photocopy that well and got all mixed up and blurry – unlike the mountain range pictures that zoomed in really nicely.

When I got one that I liked I sectioned the photocopy up into separate parts – like cropping individual parts of the image. I did this because I want to work on my detailed approach to painting these photocopies. My thought is to do small samples of cropped views of the picture and really focus on creating depth and texture through tone and detail.

For this I am going to work with oils and start to move away from the photocopy look of plane black and white and move onto tones and shades on white and black.

Need to experiment with ways of placing the paint on the surface in order to achieve this and see how detailed I need to get to make it a truly spectacular piece. My only concern is that I will spend too much time fussing over minute details in these paintings and it will take up too much time.

Need to research the colour spectrum and artists that use colour scientifically in order to produce artworks.

Wednesday 27th march

Went into the studio and prepped my oil paintings by painting on the off white under layers. The tones that I used were titanium white mixed with blue, yellow, green and red. I think that the best result was the white mixed with green because I was able to get the balance correct by adding a little blue to offset the bright green – this then ended up becoming a grey like white. The paint itself took really well to the MDF but I think that I should use an oil primer next time rather than the normal primer because it turned quite corky on the wood when applied.

still not 100% sure how I feel about doing these paintings, even though I think my painting skills have come on a long way since the start of the corse, I think that I they don't produce the outcome that want, I just think that a painting is unable to capture the raw emotions of the sublime when it is of a zoomed in landscape, maybe I should stop doing cropped landscapes and start looking at the whole landscape but play around with the scale so that it becomes a bit more interesting.

I think that cropping the landscape makes it lose it vastness and all together it sublime effect on the viewer. because the mountains are such a huge landscape I think that presenting a photo of the whole landscape but on a small scale would be interesting.

I think that I need to do it collect more photos on my skiing trip on Saturday, focusing on capturing the vast nature of the landscape - so from the top of Solen on the walk way so that I can look over the valley.  

Thursday 28th March

 

Finished off the small-scale oil paintings, I don’t that the rural landscapes work best for zooned in paintings and that the mountain scape worked a lot better. However, I do that that the original black and white pictures would look really good projected onto a surface or a canvas. I just didn’t really like having to work in that much detail and such a small scale I think that it was very unforgiving and the brush strokes that I didn’t take so much care with really showed up and looked really messy. I think that the fine detail would look better mixed into larger brush strokes on a larger scale, so that you can get the contrast of brush strokes. Or an alternative would be to use the same about of detail but on a larger scale – I just didn’t like the small derails on a small scale – it was just too samey.

 

On my skiing holiday, I am going to take more mountain landscapes with a range of detail and view- points. I think that I should stick to the theme of mountain ranges and then link it to the sublime and how we can never measure ourselves to the infinite landscape that is the mountains.

 

Also think I should focus it to the colour spectrum and make my colour choices and painting quite scientific – therefore relating it to the theme of perfect and the process in making it perfect – I will be looking / creating the perfect colour tones in order to create depth in a painting.

Sunday 7thApril – Monday 8thApril

Started reading “the sublime” by Philip Shaw. A few things that I have found most interesting so far are:

One meaning for the sublime is basically when we are lost for words and are unable to comprehend and answer or respond to a situation or landscape.

The sublime is minimal – therefore I should reflect this in my art – the use of 2 colours but then with lots of other undertones – the use of white and black as the basis for my colours.

The sublime is greater than the beautiful and that the sublime is masculine whereas the beautiful is feminine the use of florals would be beautiful but the use of deep and masculine tones would be sublime. Not too sure how this works because is not the sublime and the beautiful subjective therefore how can you gender a subjective concept, when it must change for every person. For example, a mahogany and olive toned wood work sculpture of a man could be beautiful to someone, however if you were going by the rules that would be classified as sublime styled sculpture.

Ecstasies is explicitly related to an experience of the divine as a momentary transcendence of the human condition. – in short saying that the sublime is directly related to the concept of God if you believe or not.

Monday 15th April

 

First day back after Easter, felt a bit confused with what I had to do but started off with printing off the pictures that I look from skiing of the mountain ranges exploring the sublime. The digital pictures themselves have come out really well, am really please with most of them. With these I think that I want to present the best 2 as stand-alone photographs of the sublime but have them on a small scale so that they have a greater effect on the viewer – think that it would look good if I had an A6 ish size of the photograph on an A3 white background to highlight the scale of it.

Also, really think that I should crop and zoom in on the photographs like I did with the last ones and paint them because my painting skills have come on a lot and I feel that I can do a lot better than the last lot of paintings I produced.

Another concept I thought of developing was working with having the photographs go from light to dark tones – ending in an almost completely black photo and reversed as well so going from dark tones to light ones. This can initially be done by photocopying the original picture and then I can use Photoshop on top of the initial photocopy.

 

I sorted through my Lethaby submissions today as well and have come to the conclusion that I am going to submit 3 things, the first being the small paining of a rural landscape near to where I live, exploring the subline and perceptions of perfection and I am also going to submit 2 of the digital photographs I took of the mountain ranges over Easter, the first will be an A5 version and the other will be an A6 version but on an A3 piece of white card to emphasize the scale of the photograph.

I would really like the last one of my three to be submitted because I think it shows off my photography skills the best but I would also be happy for the painting to be shown as you can tell my painting ability has progressed since being at CSM.

Wednesday 24th April

Continuation of the oil paintings – added all the black tones to complete both of the oil paintings today, am really happy with how the smaller more zoomed in one turned out due to the fact that I have put a lot of fine detail into it and I think the mixing of my colours was spot on. However, when moving onto the next paining I don’t know if it was the composition of the painting of just the way in which I painted it, but I really am not a fan of it. I think what properly happed was my lack of patients ran out while completing the last bits of the second painting there for I just kind of got fed up with it. I think that with a fresh pair of eye tomorrow I should make a few finishing touches and smarten it up a bit as I don’t want to ruin the whole painting.

After completing the 2 paintings I then had a think of ways that I am going to present the projection of the negatives, one thought was to project it onto a crumpled-up piece of paper to represent the kinesthesis of the mountain range. This then gave me the idea of testing it out on a printed-out image of one of my photos and then simply crumpling it up. The overall outcome although being a bit rough I thought worked really well, the idea of having a more sculptural piece of wall are I think makes the piece more interactional with the viewer and therefore may lead them to have a more subliminal reaction to my piece.

When then thinking of how I could transfer the idea of giving the viewer a subliminal reaction when viewing my art, I thought about presenting my work on the floor – the reason for this it to highlight the religious side of the sublime and the way that people have a transcendent feeling when experiencing the sublime. Standing looking over my art would then replicate the effect of being transcended.

I thought that I could incorporate the sequence of whiting out the original photo with the concept of presenting the work on the floor to really emphasise the religious element.

question

The sublime is a human emotion therefore the art that is depicting that emotion should be accessible to the viewer?

 

Or because the fact that the sublime is almost unattainable should we keep contact with the interpretation to a minimal. – the use of a barrier – glass to separate the unattainable with the subliminal.

Thursday 25th April

due to the fact that the sublime is an intangible thing, then should I make me art a non tangible piece. creating a kind of barrier between the art and the viewer 

this could either be a physical barrier like a piece of glass or a photograph with in a sealed container (zipped clear bag) 

or it could be a metaphorical barrier - creating really small prints so that you're not really able to grasp the whole concept, unable to see the whole thing in detail therefore its not fully understood. - this I think could be risky as its very down to interpretation and the message may not get across well enough. 

Saturday 27th April

fullsizeoutput_4171.jpeg

series representing the religious side to sublime. the idea being that it should reflect the transcendent effect of experiencing the sublime. 

Saturday 27th April

Came to a bit of brain blockage as to ideas for further work in terms of using mountain ranges as my key focus. What I have then thought of it to use contrasting subliminal landscapes – the desert and the mountains and explore the contrasts between them.

 

I want to explore not only the visual contrasts of the landscapes but also people’s opinion on how that landscape would make them feel in relation to the sublime.

I want to find out if the contrasting landscapes would generate the same subliminal emotions or would they be poles apart.

 

Starting off by comparing the visual contrasts I think that I should use photography and collage to see the initial differences. I could also com bine the landscapes and see what happens.

 

This is my starting point – leading on from this I am not 100 percent sure where it will take me.

Text

the wonders of the world. 

for me there are 3 wonders of the world that could evoke the feeling of the sublime, the fist being the mountains ( already covered this) the second being the ocean and lastly the desert 

contrasting all 3 and seeing if there are links between them could be interesting. 

which one evokes the highest level of sublime? or are they all equal?

or is it completely down the the individual as to which one they prefer - different being equally different levels of sublime. 

monday 29th April

 

Spent the day in the library experimenting on Photoshop with trying to creating this artificial subliminal landscape of where the earth meets the sea.

The beach I think is a very personal sublime place for myself due to the fact it has a lot of good memories and Is a place where I go to think and have some alone time.

along side having fond memories of the beach I think that it is a really powerful place. the sea is a very unpredictable thing which can have very negative effects. it also is a very powerful thing, the connection of the sea and the land is always changing due to erosion. therefore I think that the relationship between sea and land is a very appropriate subject to create this sense of unease and bewilderment. 

Creating these landscape – I want then to look natural but complex and unnatural at the same time. I want people to be perplexed as to what it is and be able to see the land and the sea but I don’t want people to immediately know that it is two pictures layered on Photoshop.

The photos themselves again are personal to me because I took them and therefore make me have a stronger connection to them. There are only a select few pictures that I didn’t take and those are the ones of the desert. However, when layering them with my own photography it is almost like I have adopted them and they are merged to form this new image, they are no longer two spate images but one.

  

The initial pictures that I have taken I feel that they may not have a dramatic enough effect to create the sense of the unknown and the uneasy. However, they are all individually powerful images and alone I think would stand out if I were to show them alone.

When choosing the found desert images to layer my sea scape photos with, I found that the pictures that I initially thought would go ended up not matching at all. One of the big difficulties I found was that the under layer of the desert was too dark for the layered sea photo on top therefore when I tried to layer it the sea scape just got lost in the desert photo and the meaning was lost with it.

Equally another struggle I found was that sea scape was too tonal therefore the under layer was lost, I found it hard to find the perfect balance being either the desert or the sea being too over powering. I found that in the end if I always layered the sea on top of the desert then it makes for a better landscape and made then join a lot more seamlessly.

 

My aim for these photos is to make it look that it is one image, the sense of the uncanny I think should be running though peoples mind when viewing the landscape. The idea they know that the landscape doesn’t belong where it is but on the other hand it looks like it fits and is one with the sea scape.

I think that my next step with these landscapes is to experiment with converting them into black and white. I am interested in seeing if the qualities of the sublime are lost or enhanced. I would also like to experiment with the use of blurring. I think it was be interesting to blur the photos in stages and see again if the sublime is lost or enhanced.

The reason behind blurring the landscapes is due to the fact that the sublime is an intangible concept which is difficult to know if you are actually experiencing. Are we experiencing the sublime or are we just taken back by the prosthetics around us?

Equally the concept of the uncanny is one where the normality is twisted, would blurring the landscape make it uncanny but obscuring our vision or would it be lost all together.

If you were to only see the blurred image would know and understand what it is?

monday 29th April

exploring if colour of am image changes the sublime nature of it.

Is a black and white version of a photo  equally as sublime as the coloured original? 

 

Screen Shot 2019-04-29 at 14.00.25.png

Tuesday 30th April

went into the studio and started to write my evaluation with the points that Garry and Emma provided us with.

Had a chat with Emma and we discussed my progression onto the layered landscapes, she loved them but said that not all of them worked stating that some of them looked too artificial which I could agree more with. When talking about the different pieces she really picked up on one piece and said that it should be the piece that put on my wall. I am not 100 percent sure if I like this print as much as the others due to the fact that I think the shades are too dark and dramatic and that It gives off less of a sublime and uncanny feel and more of a spooky connotation, as if you looking into the deepest pat of the ocean and there are creatures of the unknown in the distance. Overall, I don’t think it has enough of a calming presence – it is too aggressively dominant.

I think I am going to create more landscapes that try and capture both a tranquil but alarming quality.

In this chat, we also discussed my plan for both blurring the landscapes and converting them into black and white imagery. When I showed her a few that I had done we came to conclusion that some of them worked and the sublime was actually enhanced but in the majority of the others the black and white effect made it look flat.

This them only increase my curiosity – why is it that in some of the landscapes the black and white works but in others it ruins them? Is it due to the tone of the original image – if the tone is lighter when will it look good in black and white and if the tone starts out dark then it looks flat and too dark?

We also then talked about the blurring and it was a similar convocation, what I found was that the majority of the images that I had done so far looked best when they were only half blurred. When blurred they create this painting like tone, as if it is a painting from Monet. As lovely as this is I don’t want my landscapes to be mistaken for a copy of the classical sublime where artists force the concept of the sublime down you and you feel like you are so small compared to the vast landscape when viewing the painting.

 

The plan from here is to go and create even more layered landscapes experimenting with tone and colour saturation.

Wednesday1st may

Had a one to one with Garry this morning which was so helpful. When talking though my work we discovered that I am being way too general in terms with what my intentions for my art are. I think with all the research that I have done my opinion of the sublime has been altered into what others like Kant and Burke believe the sublime to be. I then had to really think as to what it is I want to personify. I came to the conclusion that I want there to be a sense of the sublime with in my work but I don’t want it to be the main focus. I think that when looking upon my created landscapes the viewer should feel a sense of unknowing and unease. As If they are not quite sure what is going on but that the image fits as a whole.

Garry then brought up the point of my work linking to the uncanny which is interesting because I did not intentionally lead my work towards this outcome. The uncanny being something that seems normal with a twist. This I think fits my work perfectly, the fact that the landscape is unnatural as to the placement of the land and the sea but the concept of the sea connecting with the land is completely natural and normal. Furthermore, the idea of the uncanny I think links in with my theme of the sublime. The two concepts I think work in harmony with one another and I would like both to have an element in my work.

When showing my layered landscapes to Garry he found then both interesting but also complex. What he picked up on was that the images were either too dramatic and therefore lost the mystery or the landscape was too bleak and didn’t have enough going on. What I also found insightful was the piece that Emma liked he did not which helped affirm the style I want to carry on in my landscapes. He said that the piece looked flat and even though had a lot going on it didn’t have the essence of sublime of the uncanny to it.   

This then made me think about the type of work I should be creating, I think that I should use images on the lighter colour pallet that lean more towards the pastels and oranges. Rather than the stormy dramatic blues and greys that some of my photography have.

 

I carried on creating more of my layered images this afternoon and found that I was continuously using the same sea scape photograph that I took, the photograph depiction the beach at dusk. I think that this is interesting because I wouldn’t normally associate dusk with the sublime I would relate it more towards the beautiful which is not something I initially wanted to convey. However, I do think that I works really well as it creates a tranquil atmosphere among the landscape. When I paired it with a rocky canyon image the two harmonised perfectly as the dark tones of the canyon mixed with the light tones of the water and the red tones of the dusk sky on the sea scape blended with the blues of the desert image to create this moody atmosphere. Giving of an uneasy aspect to the image, suggesting that something is about to happen (pathetic fallacy).

fullsizeoutput_4237.jpeg

I really like the way that the sea merges with the landscape, I think that it almost looks like there is something under the water, as if something is lurking under the surface. This then highlights the uneasiness of the landscape but the sky I think brings that calming sublime element to it.

I think that this is my favourite landscape that I have created so far and think that it would be good for my final wall piece. However, I do wonder what would happen if I were to slightly blur it to emphasis the uncanny element to the piece.

Screen Shot 2019-05-02 at 18.56.59.png

the effect of slightly blurring the landscape I think has emphasised the uncanny. The fact that you are still able to see the image as a whole is key as it doesn’t lose any of the subliminal effect on the viewer. Overall, I would say that this landscape Is mainly calming but with an overwhelming sense of the abyss. I don’t think that you can ignore the sense that there is something alarming and greater than you under the water’s surface.

 

Comparing the non-blurred image to the blurred image I think that I prefer the blurred landscape, simply due to the face that it’s a little more complex on the eye. It is easy to look at and pleasant to look at which I think only adds another layer to the landscape. I would say that the blur acts as an additional layer to the piece due the fact that you have look though it to get the landscape beyond it.

It is almost a trick on the eyes as it makes you relax when viewing it and I don’t think when viewing it you are initially aware of the layers beyond it.

However, when looking deeper into the image you become more and more aware of the complexity of it. This I think is indicative of the feeling of the sublime when you first look at a magnificent landscape you don’t realise how complex it is as the beauty overcome the complexity of it, it is only when you stop admiring it that you realise how vast and complex the landscape really is.

 

For this reason I am choosing to use the blurred version as my final wall piece that I will be presenting on Tuesday.

  

thursday 2nd May

I went into the studio today and started off by going thought the criteria for the course. This was not as helpful as I thought it would be, I think that I need to sit down and rewrite it down. If I rewrite it in a way that I can understand I think it will be more helpful, but the teachers standing at the front of the classroom stating what it means at 100 miles an hour was more stressful than helpful.

The one section of the criteria that I am struggling with is point 7 I don’t know where we are meant to show the range of considered strategies. Are we meant we meant to show that in our sketchbooks or our reflection. I think the overlap between our sketchbooks and our evaluation Is really confusing. I am putting details and thoughts in my sketchbook but is that enough.

Also, the fact that we get graded on our lowest mark is really stressing me out.

The one key thing that I think I need to double check is that my research is reflected in my work – the link needs to be clear but not deemed to be copying.

 

I then moved on to prepping my space for Tuesday by panting my wall and clearing out all of the existing art and brushes that don’t need to be there.

 

I am struggling to work out how big to print off my final piece I don’t know if I should go small like I did with my Lethaby piece which was A5 or if I should do a massive print and make a big statement with it.

I think because they are blurred they can’t be too small otherwise you will not be able to see them well enough and the whole effect is lost. It needs to be of a sizable scale so that you are able to see the layers underneath the blur.

I think that A1 may be a bit too big and could distort the image by making it pixilate a bit, therefore I think that A2 would be the better size as it will still have the same power of being large scaled but hopefully will not deform or stretch the image.

My only concern is that I don’t want it to look like a poster on a white wall. I want it to have some depth to it and I want people to be drawn to it. I really don’t want it to look flat!!

 

friday 3rd May

Printed off my final piece this morning, I'm really happy with the way that it had turned out. I chose to paint it on wallpaper paper so that it doesn't look so flat on the wall when I present it. I am hoping due to the thickness of the paper that it will almost elevate the image. 

the image itself has printed really well, I was concerned that because it was blurred it would look slightly grainy when printed out, but it doesn't, the finish itself is actually really crisp and has captured the effect of the blur really well - so much so that you are still able to see the details of the other two layers underneath the layer of blur . normally when I print of images they don't look nearly as good just I would that this look just as good as the digital version - if not better because it is more tangible. I went for the A2 print because I think that the A1 would have been too dominant and my wall space at archway is not that large. so leaving it A2 I hope will give it enough white space around the image so that the scale looks good. 

the idea of scale I think is sill really important when linking it to the sublime because I want it small enough that there is a lot of white open space round it - the emphasise the vastness of the landscape ( almost in reverse of the actual landscape) by having a small image you are then more aware of the greatness of the landscape. 

it is almost ironic to have a mountain range depicted so small but think that its really affective because we has humans can never get our heads around how great they are so why bother trying to scale it up - its impossible and it will lost the delicate beauty that they have. 

however, I can't have my final piece too small because of the blur layer, it needed to be big enough so that you are able to appreciate the thing as a whole, not just a confusing small blur.

 

I also completed my outcomes portfolio that will go alongside my sketchbook and final piece, In this I have documented what I think are my most successful outcomes of project - paintings and photographs and digital prints. 

I have ordered them chronology so that my latest pieces are at the back - the same order that they will see it in my sketch book. I think that there is a lot of photography elements to my unit 7 which I hope won't be a problem. 

I am really proud of all the photography that I have put in my outcomes folder and hope that they resinate with the markers as much as they do with me. 

I have also placed a label on the bottom of the sheet so that they know it is my photography and not just someones I have used. 

Saturday 4th May

went to archway first thing to set up my final piece and to drop of my portfolio. I chose to pin up my print with nails in all 4 corners, I like the minimalist look to it and think that its really fitting with the theme of the print. I am a bit worried though that it might fall down from now to Tuesday as I didn't hammer them in all the way - just hope that no one touches it!!! 

I also put all of my paintings in my portfolio but I put them on the other side on the portfolio to my sheets because I thought that they wouldn't see the small wooden paintings in between the A1 sheets so I but them in chronological order on the other side with the big MDF piece behind the portfolio. I really hope that they see and look thought the paintings but also see the connection between the prints and the paintings. 

I have put the paintings and prints on my outcomes page in chronological order so hopefully if they look at that then they will see where they fit in. 

other than that I have just tweaked some of my research and added to my bibliography - which confused me a little bit as I am not sure if exhibitions should go in the bibliography or not. I am also planning to create a new folder for exhibitions that I have seen that didn't really fit in with my project for example the Tracy Emin exhibition I went to. the exhibition that I have been to that relate to my project I am just putting into my research. 

think I am basically there now just need to go over everything again tomorrow and finish of the exhibition folder off.  tomorrow I want to go over my work while looking at the mark scheme and see if I meet all of them to a Distinction level. am really aiming to get a distinction so that when I apply to unis again it makes it a bit easier. 

 

Sunday 5th May

have finished all of my workflow and sketchbook !!!!! 

only thing to do now Is to check over it with the mark scheme along side, think that I need to rewrite the mark scheme so I know where each point should be highlighted - be it in my work flow ( reflection or research ) or my sketchbook or ppp 

going to do this tomorrow with a fresh head because I feel delirious right now. 

hopefully everything will match up I can can get the best grade possible. 

I have put a lot of work into this project so if I don't get a distinction I think that I will be disappointed in myself.