Field projects overview

Over the field module ‘things behind the sun’, we visited three different places, these included; Pembrokeshire which was filled with beautiful landscape that I adored and which inspired by Subject module, Neath Valley which was full of nature and waterfalls and Port Talbot which had the most influence over my work within Field. The hard machinery and industrialisation contrasting to the natural lines of the beach, sea and rock formations inspired to look at human involvement in nature and the effects that has on landscapes. I began by monoprinting, basing textures of nature on my previous 100 images from Pembrokeshire. However, because I did not feel as though I could actually represent nature without using it itself, I began experimenting with using wood and the textures it naturally has. The more I worked with wood, the further I drifted from print and began experimenting with sculptural art work after being inspired by Betty Mcgeehan. I found this very interesting as I am a painter and haven’t worked as a sculptor before. Because of this, I was able to experiment in different ways and expand on this skill, which I wouldn’t have done if I had not been doing this module. I would like to continue to look into wood work as I develop my work as I find it a very interesting material to work with. On the wood that I had required, I started to experiment with how to create man-made textures to create contrast, such as sawing into the wood and burning it while focusing on my thoughts of industrialisation and deforestation, which I believe are key examples of humans influence over nature. The burning and wooden logs represent deforestation, where the sawed lines embody industrialisation. All of these marks contrast greatly to the natural marks and curves of the wood. Putting all of the wood together, along with the contrasting man-made textures I have placed into the wood using assorted tools, I believe that it represents deforestation as the wood takes the form of cut down trees. This lead me to build a tree out of cut up logs to represent how once we destroy nature, there is no bringing it back. I wanted to show the natural patterns within the wood, so sanded down the hard exterior to reveal the smooth natural marks from the wood. I then stacked the logs together creating the trunk of the tree. The fact that the logs don’t fit together only supports the idea behind the sculpture further, almost like a jigsaw puzzle of a forest landscape, highlighting the idea that the damage we cause to nature and landscapes is irreversible.

For my second field module, I visited Morocco over the course of a week. I had already been to Morocco a few months before this trip during Ramadan and I know quite a lot about the culture and religion of the people in Morocco, from the history of the medina and how tourism is a large aspect of their lives. Because my previous visit was during Ramadan, I already had an interest in the Muslim religion and the culture of Muslim people due to the strict rules within the Quran, my interest in this only increased with my second visit. I know that material is very important in Morocco, especially Pashmina and leather, however, I do not agree with the use of leather due to personal beliefs and wanted to avoid things like leather making and activities that involve the exploitation of animals such as camel riding. Due to being a fine artist who specialises in painting landscapes, I am particularly interested in nature and the nature within in Morocco particularly appealed to me. The small sections of tranquillity within the busy city were beautiful and were respected widely among the people. These small gardens as well as a trip up the Atlas mountains inspired me to look at nature within the Muslim culture in more detail and adapt it into my work. After my trip to Morocco I came away with a stronger appreciation for the Muslim religion. I think this is due to seeing  the amount of people going to the Mosques and respecting the environment even when not in the holy month of Ramadan. I paid particular interest in the Arabic language. This started with a visit to the synagogue where I was able to look through the old Hebrew books full of beautiful patterns. I am also fascinated with the idea that they read from right to left unlike in English. However, there is a very little Jewish community in Morocco, so I began paying more attention to the Arabic language rather than Hebrew. It is this that my project was based on, using the Quran as a key aspect to represent the religion. The Arabic language is made up of beautiful patterns, with dashes and dots used to express accents. Putting that with the Quran, which I find beautiful in itself, represents what I find Morocco to be, using stitch to represent the material aspect of Morocco. This is very different to my usual work but I feel that it accurately describes how I felt about Morocco. I chose white fabric for multiple reasons, as it symbolizes purity and peace – often worn when attending Friday prayers. It is also worn when performing sacred rites of pilgrimage and is what the Umayyads chose to wear for their battle standards when they fought the Abbassid during the Caliphate period, and it has appeared on many Islamic flags since

 

These field modules, although very different, link to each other as they both contain elements of landscape and nature, however they have very different approaches to work. Wood work and sculpting is a very heavy and bulkier task, whereas stitching is a very delicate technique, especially when it also includes the Arabic language which is already very intricate. However, it can be considered that since my focus within the woodwork is the original textures and patterns found in the trees, both projects focus on the intricate behaviours of both nature and beliefs.

I have learnt a lot from these modules, and how to approach things differently. Wood work and textiles are not my usual area of work and I learnt many new skills that I can adapt into my future studio practice, such as sculpting, which is a strong aspect of art work when looking at landscapes and natural surroundings, but also how to create small details in a medium other than paint, which can also be adapted into paintings onto multiple materials.

Both projects had some sort of influence on my subject work, (mainly ‘things behind the sun’), due to them both involving elements of being outside completely immersed in my surroundings. It was also where I originally began drawing and painting outdoors using the 100 small images, and what originally inspired me to base my subject work on my travel experiences. I feel like creating art work while experiencing the subject in question, gives a more accurate representation of the feelings and atmosphere. Whereas creating from memory or photos, gives a more literal representation, which was not what I was aiming for.

It was in these projects, that I began to realise my passion for nature. The piece of tranquillity and wilderness away from human civilisation, which is what both projects ended up being about, along with my subject work, where my main focus was to get the viewer to understand and feel the same sense of wonder and peacefulness I experience when surrounded by a natural landscape. However, my field projects took a more political meaning, looking at the effects humans have on the environment or looking into the Muslim belief system, where my subject work was more personal.

Posts for formative assessment

Documentation:

  1. https://alannah3012l5.wordpress.com/2016/12/05/cachoeira-de-afonso-e-f-shute/
  2. https://alannah3012l5.wordpress.com/2016/12/06/painting-from-prints/
    https://alannah3012l5.wordpress.com/2016/12/06/material-project-week-3/
  3. https://alannah3012l5.wordpress.com/2017/03/21/katherina-grosse/
  4. https://alannah3012l5.wordpress.com/2016/12/05/pembrokeshire/
  5. https://alannah3012l5.wordpress.com/2017/03/15/zine-project-photocopier/

Contextualisation:

  1. https://alannah3012l5.wordpress.com/2017/02/27/portable-art-work/
  2. https://alannah3012l5.wordpress.com/2016/12/05/artists-that-link-with-e-f-shute/
    https://alannah3012l5.wordpress.com/2016/12/06/sam-douglas/
  3. https://alannah3012l5.wordpress.com/2016/12/05/framing-the-landscape-jons-lecture/
  4. https://alannah3012l5.wordpress.com/2017/03/21/key-concept-site-specific-art/
  5. https://alannah3012l5.wordpress.com/2017/02/22/zines-and-artists/

Katherina Grosse

katherina grosse

I first came across Katherina Grosse in the Venice Bienalle 2015. She is a painter who uses bright, electrifying colours to create large sculptures.

She’s interested in the shifts of scale between ‘imagining big’ while being compared to the surroundings. She explores the dynamic interplay between observing the world and simply being in it.

This is exactly what I have been trying to get across, but put in a more eloquent way. I do not want my painting to be put on a wall in a white room attatched to a frame. I want it to be outside, surrounded by nature.

My paintings are meant to make people feel how small I feel when travelling, that compared to a large landscape, we’re miniscule. I feel that the only way to do that is to put my work outside so that when they look away from my painting, they still feel like the small person within the image, surrounded by a vast landscape.

Key Concept – site specific art

What is site specific art?

Couldn’t exist anywhere else

What is public art??

Anthony Gormley – Angel of the north 1998

Short lived or permanent?

Relational or participatory?

Physical concept?

Sites of pilgrimage – Holy sites

The Louvre 1787 – Museum of fine art – the white cube

Mike Nelson – in Memory of H P Lovecraft 1999, 2008 – makes environments within  a gallery space

Mike Nelson – I, imposter 2011

Thomas Hirschorn cavemanman, dimensions variable.

Jason Rhoades

Katharina Grosse – colour sheets from Venice biennale 2015  – The painting becomes an installation????????? THINK ABOUT HOW THIS COULD WORK

Deutche Bank, Ohio – WALKING INSIDE A PAINTING

Art the moves though a space

Thin Space- Barrier between the physical world and the spiritual world – Stone henge – 7 Stone ladies

Adam Buick – Votave Jar

Richard Long – A line made by walking 1967

GROWTH – ARTIST IN RESIDENCY ATTIC – CARDIFF —- WOODEN TREE!!!!!!!!

David Nash, Habitat 2016

Zine Project – photocopier

Continuing the Zine Project with James, we began looking at the photocopier and how we can use it in creating art work. Since I’m working on a large scale within my subject work, I was particularly interested in the poster option on the photocopier, able to turn an A4 painting into a large image using 16 A4 sheets.

I chose an A4 painting I made based on the rainforest in Brazil, however, I struggled with the photocopier commands to begin with and printed out 5 sheets of parts of my painting, just slightly bigger, which is not what I intended so I tried again, and succeeded in creating a 16 A4 sheets poster.

When back in my studio, I began laying it out to create the image, but I was fascinated with my failed first attempts and started to mess around with trying to fit them into the larger image, thus creating a slightly collaged and broken up landscape which I found to be more suited to my memory of the rain forest.

This has impacted my subject work as I now want to begin looking at breaking up my paintings of landscapes to represent my memory of places I have visited, where some parts are broken up and blurry because I don’t remember them very well, or maybe not at all, and other parts completely clear as they stood out to me more.

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Postal Project

In James’ seminar we spoke a lot about posting art works to others and adding to them which i found very interesting. Once the seminar had finished, I was paired up with Angie, where we both exchanged addresses and posted 10 questions to eachother.

The aim of these questions was to get us thinking about artwork, to use the questions as inspiration to create work and send it back to our partner. The question that stood out to me in the questions she had written for me was, ‘If money were no object, what would you do tomorrow?’

Since last year, I have been very passionate about travelling and the only thing stopping me from travelling full time has been money (and university). In response to Angie’s question, if money were no object, I would immediately buy a plane ticket to India and go backpacking for a month, from there I would go to Thailand and stay there another month. After that, I have no plans. I would go wherever I felt like going at that point in time.

To show this, I am posting Angie my backpack (to represent backpacking) with a passport and flight tickets that I made from paper, paint and ink.

I also included a bag of Brazillian sweets for Angie to enjoy to represent my travells to South Amrica but also to say thankyou for the biscuits she had sent me in her response to my questions. – I will talk about this in another blog post along with my response to the work she sent me.17342249_10202741354050532_1935588925_o

Summer 2016

Over the summer, I travelled to 14 countries around the world and gained so much experience, learning about different cultures and seeing new artists. Each country taught me something new and increased my ambition to travel. Below are photos of my travels with an occasional explanation as to why I find them relevant to my art course.

Sweden (Gothenburg):

 

Denmark (Copenhagen) – Tivoli opening night had a firework display which was perfectly in sync with a piece of classical music which created a beautiful and impressive atmosphere. The entire show was a creative masterpiece that is a once in a lifetime experience:

 

Morocco (Marakech) is completely different to UK culture. Especially since I was there during the Holy period of Ramadan. Viewing the intensity and commitment people had for their religion was inspiring and the city was beautiful.

Germany (Berlin) was filled with history and culture, I particularly enjoyed visiting Checkpoint Charlie and the Topography of Terror, and of course the famous Berlin wall.

Italy (Milan):

France (Paris) – Had a short visit to the Louvre. Many inspiring artists such as Vincent Van Gogh and Rembrandt. And of course the traditional sightseeing:

Czech Republic (Prague) itself is beautiful, 1 day was not long enough there and I would love to go back. The architecture was amazing, from the houses to the castles and bridges with art work being sold on every street. Managed to make time for a pedalo ride to have an alternative view of the city.

Spain (Madrid) – I have to admit that I’ve never had a true passion for Picasso’s work, I’ve always found it a bit child-like, however, after visiting the Museo Nacional Centro de Arte in Madrid and saw a large amount of his work, including Guernica, 1937 I have begun to really appreciate his work and what it stands for. Reading in detail the meanings behind his works while seeing them up close and personal, it has given me a new understanding of his work and I genuinely enjoyed looking and learning about his paintings.

Brazil (Sao Paulo) – What has got to be one of the most inspirational places for my art experience is ‘Beco do Batman’ which translates to ‘Batman Alley’. The whole street and side alleys were covered top to bottom in Graffiti, each a different style and by a different artist. Many pieces had clear, strong political meanings such as the politician sweeping dirt under a rug while rubbish piles out the other end. Others had more of an emotional meaning using words such as ‘renascer’ meaning ‘lost’. One of my favourite pieces was a pair of wings by an artist called Gatunoxama, where you become a part of the piece by standing in from of the painting giving the impression that the wings belong to you.

Since qualifying as a scuba diver and diving in Brazil, I have a new outlook on life in general, what I want to do, where I want to be etc. I felt it was necessary to include it in my timeline as I know that the love I have for it will eventually have an impact on my art work.

Ireland (Dublin): Book of Kells, Sightseeing