Using Katherine Grosse’s outside sculptures as inspiration, I wanted to hang my paintings outdoors to see if it would have the intended affect. I feel as though this has been successful. The canvas, though still visibly large in size, now appeared small in comparison to its surroundings. An aspect of my work that I would struggle to obtain if I placed my work inside a room. The intended outcome from this, is that the viewer, after seeing how small the large piece of work appeared in a large landscape, would then compare that to how small they are when compared to their surroundings. Much like the figures in my paintings.
The only thing that I would like to change for my exhibition is the display. I need to measure the placement of the eyelet holes more accurately and to cut around the access canvas to tidy up he display.
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. I have then turned it into a cushion to lift the piece from the ground, much like the Quran, to show respect for the religion.
Based from my zine project, I have began creating small booklets/zines, using the wooden blocks I was using at the start of this year. I have found that in each block print, different people can see different landscapes which I find fascinating.
I have made a variety of small zines, some with only the landscape block prints and some with text that I have cut from magazines. The texts suggest a type of atmosphere or landscape which encourages the viewer to see the marks of paint the same way I see them. The images I see are not always the ‘right way round’ and my placing of the text means that the viewer has t rotate the book, forcing them to look at the print from a different perspective.
Although this differs from my subject work at first glance, it shares similar traits. Both require the viewer to imagine a landscape that is not completely there, therefore both require a lot of attention. However, my larger paintings have a purpose of making the viewer feel small in their surroundings, whereas the small prints mean that the viewer must look closer, and get more involved and become a part of the piece, in order for the print to be anything at all.
I took a canvas board into the woods with me along with some oil paints and a pallet knife. The aim of this was so to be completely immersed in the landscape and to paint while I had the feeling of being small and part of the landscape. However, painting on such as large scale outdoors and with oil paint has many disadvantages such as transporting the painting. I struggled to manoeuvre the canvas board, and consequently dropped the painting into a pile of leaves. I also struggled with the strong wind blowing the board, and people passing by, particularly with dogs (not on a leash) that would interrupt me. Although, there are a number of benefits to painting outside, I do not feel as though this was successful and I would like to look at ways that I can portray how I feel while travelling, without bringing my oil paints outside.
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.
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?
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.
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