This is the final stages of my blue/sorrow painting. I added extra layers of light blue oil paint over the top of the layer - the ones I had covered in sand grains - so the levels showed up and the CD fragments that were attached to my piece. I also carved a few fragments of my creative writing into the piece, only a few bits though because it was already a busy - plus I didn't think there was much to say about it. It was self-explanatory, at least to me. It has an element of winter about it, it is appropriate as it reflects moments of sadness in my unconscious mind and memory but also in a rather beautiful way I think. Meloncholy but quite peaceful somehow. I always feel silenced after I have been very upset and I think this piece reflects that. 

 

 

 

 

Projecting Images

I managed to get hold of a projector today so I decided to see how my acetate images would look when projected over my paintings. I tried out my images on my red painting first, using images I thought would look best then I tried them on the blue one. Some of them worked very well and the colours/lines were very defined yet other did not stand out as clearly. I was really pleased with the result of the butterfly images and some of the landscape pieces when projected on the painting - also the figure image was interesting too as it added to the theme of being within the unconscious. The use of colours in my paintings and the writing carved into them worked well when combined with projected images - they looked like a collection of thoughts/images and depths of the unconscious. The works were used to show elements of my unconscious as I wanted the project to be personal as a way of expressing myself yet I think that all the aspects of the installation I was trying out, create an atmosphere of the unconscious, or thoughts/images from the brain. I think because of the projection of images, the audience can connect with the work better as it takes something personsal to me and creates an atmospheric area with the use of lighting, inviting the audience to step into the work, step into the mind. I am hoping some of this is relatable. Even if it is not then I will work on so my pieces can be connected with. The projected images also show an element of memory and fading images...? I want to express the idea of the fragility of the mind, the delicate element of images and fading moments - nothing is completely containable but some elements can leave imprints. - words/images/colours etc.
I did try layering the images as well but it didn't work very well as the images were not defined and didn't show up as individual or combined images like they did when I layered the acetate - I had an idea, if I wanted to use layering, I could layer up the acetate and spotlight the pieces so that the layers would show up or even use a light-box that I could probably get some Argos or Hobbycraft. I like the use of layering and it was unfortunate that the acetate layers didn't show up when projecting - but the use of the projections on the paintings works as layering in itself and I want to show levels of the unconscious using this technique.
Quite pleased today :) :)

Tomorrow

I plan to go to gosta green to get some more tracing paper prints - images I previously editted. I want to get some more acetate prints too, I want some in A4 and A5. The A4 pieces I will use to paste down over mirrors I have to see how the images will look over reflective surfaces. I am quite excited to see how the pieces will look over mirrors and over paintings I've done.
Hopefully it will all go good.

Last few days

I had tutorial which, although I was dreading it, turned out very useful. Despite the fact the comments confused me some what, I feel some of the suggestions helped me think about my work in different ways. When looking at my work people questioned why I had used photography - I didn't bother saying that it had been previously suggested to me - and I said that it was to create different illusionistic effects to portray the theme of images/thoughts of the mind. That was actually the reason and not just made up to sound good in the tutorial, it was also to try out something different. I felt last year I wanted to explore photography a little more but I was too shy or worried or something because I was concerned the images were inadequate.

Anyway, the group made suggestions such as trying to paint onto acetate as, although I am mix-media, I have always been drawn to painting. They were saying that I would need to find a way to make my painting and photography link together - they suggested projecting the images onto the work (which was one of my earlier ideas), they suggested I could try and print images onto my work. I had an idea of using mirrors/reflective surfaces - I thought about reflecting one of my paintings in a giant mirror(s) that could be placed in certain places around a space. I am excited about that idea as then my work could become more of an installation :)


IDEAS:
I need to think of ways my painting and photography can connect -

Projecting images
Acetate over paintings
Tracing paper over paintings
Hanging images infront of paintings
Collages
Reflecting paintings/images

I'll add to the list when I can think of more.

10/12

Today I am doing some editting of the images I want to print onto acetate/tracing paper and ones I want to project onto the walls/floor.

I want the images to be more defined and the colours to be brighter - it is important that the images are clear enough to create a successsful transfer onto the acetate or the tracing paper.

07/12

This time I am not writing at 1 in the morning.

Today I went back to gosta to print off some more images on acetate - some of them worked really well but some of them were less successful. I think the images of figures did not work so well, landscape seems to work better as it expresses a dream-like quality and an unknown location which is intriguing. Also the more abstract and organic the image, the more interesting as these pictures can be layered on top of each other to create new images - layering acetate on acetate.
I will work on editting some more images over the weekend to get the colours and sharpness just right so that when I print again on acetate or tracing paper the images will be more successful.

Right now I am working on my sketchbook and journals as I want my documentation up to date - but as usual the printer is playing up a little.

07/12

I finally managed to get some prints done! It was a real effort to run around trying to find people to help me at gosta but finally I got it done :)
I did several large prints (A1) onto tracing paper and two smaller prints (A3) onto acetate.

I used these images for my prints - I am really pleased with how they came out, especially the ones on acetate. The final image out of the images above really worked very well because of the depth of perspective as the image seems to look 3D at some angles. I am also interested in layering the image together as the transparency of the levels will create mixtures of images and a sense of depth through the layers (levels of the unconscious through imagery - is the intention of the work).

When printing the images onto tracing paper, the technician offered me a lot of advice regarding the editting of the images as well as different types of paper and techniques to use. He suggested that I obtain a roll of tracing paper rather than using separate sheets - this would be really interesting and useful as I can then create really long prints that could stretch up the entirity of a wall space in my studio. I could create giant layered pieces! :)  He also told me the best tracing paper to use for large prints would be the thicker density stuff, preferably 160 in density - much less than that would cause the paper to ripple with the amount of ink used.
The technician helped me with the ink levels used - we first tried less ink so that the paper would not ripple or curl up but the image was rather faint so we then used the recommended amount of ink to see how it would turn out - it was all a lot of experimentation. The image was a lot clearer and worked much better when held up to the light as the colours did not fade as much - the sheets of tracing paper I used were of 160 density so it was fine to use more colours, even if some of the images did curl up it was easy enough to flatten them out.

He also suggested ways I could sharpen the images - as the images will come out fainter on tracing paper as it is grey-coloured - methods such as altering the noise distortion on the images. The noise distortion is basically what makes the image less clear, he told me that often JPEG images are fainter than raw images as the program document merges similar colours together, therefore "blanding" the colours. The main colour to try and reduce is yellow as it creates a blur - he suggested looking at "unsharp mask," "smart blur" and general noise distortion on Photoshop - of course focusing on reducing the yellow. The most subtle changes often produce the best results so I will be doing some experimentation to make the images sharper and more defined. I will check out online tutorials and youtube instructual videos for using photoshop and altering distortion.
By the time all the images were printed that I wanted I was exhausted - after rushing around and waiting in so many queues I was ready to die! But I wanted to get the prints done on the acetate I had with me. I was told to go to the Student Guild where I found out I could print on acetate there - thank god! The acetate I had, however, was not suitable for the printers there as I was told that it can only be used by ink jet printers but fortunately they provided acetate for me. I got two images printed off in A3 - the top image and the bottom image of the ones above. I was thrilled by the result, it looked so proffessional and really beautiful with the transparency of the colours - exactly what I wanted. The top image worked the most effectively because of the organic elements to the image/also it looked very dream like and mysterious. I think I will need to edit some of the butterfly images I have to make the images more defined so they show more contrast on acetate.

I plan to go to the Student Guild tomorrow to print off a few more images on acetate - as it took me all week to figure out where to go, I want to make the most of it! Also the more images, the more experimentation! I also want to find out if I can print on a larger scale - I could only print up to A3 from a USB file but I wonder if I had a printed image then I might be able to get a bigger image. I will find out tomorrow...
Despite the fact I feel awfully drained I am very happy that I managed to get some of the work printed - running around like an insane person does pay off!

Vanessa Marsh

http://beautifuldecay.com/2012/11/06/vanessa-marshs-multi-layered-silhouette-photographs/

This artist has created works using layers - drawings onto clear acetate. She creates landscapes using layers of images making the pieces look 3D and as if you looking deeper into the pieces to see things revealed. This work has a sense of narrative which I find really intriging - I create narratives with my work, my writing in particular, so I wish to draw inspiration from these works to find different ways I can make my narrative pieces all the more interesting and expressive.

“Within the series I am exploring not only the working of memory and imagination but also our contemporary relationship to the landscape, where we might find ourselves in the future and how our feelings towards the landscape often center around ideas of dislocation, need and yearning.”


I am interested in layering more of my images - I have tried writing onto some of the images and then adding layers on top so only some of the writing is readable. I always work with the idea of a veil - things only partially seen - but maybe I could try and provide something clearer. The clarity of these pieces is very elegant and inticing - maybe I can experiement with distortion and clear images.

Clair Rossiter

http://clairrossiter.blogspot.co.uk/2012/04/pretty-acetate-prints.html

 

Photographs printed onto acetate.

 

I am intrigued by these pieces by Clair Rossiter. She has printed photographs onto acetate - and even the blurred images work really well, possibly better when creating a sense of illusion.

The pieces almost seem to be made up of lots of different images, as if the photographs are created by leveling images. This is a technique I have been using with tracing paper, but if the acetate printing goes well then I can use images on acetate and layer them to create a bizarre picture - made up of different elements of each photography piece.

I also like the tones of the photography - it gives me an idea of getting different coloured acetate or even painting over/drawing on the acetate once it has been printed on...It would be interesting to write on the acetate, also there is the idea of projection still.

If I could create really interesting design/words on acetate/plastic then it would make a really interesting projection - either onto the floor, wall or ceiling...ceiling is interesting? It would direction the audiences' gaze around my work/different directions/cause disruption/distraction etc. I will work on the designs/sketches I can create on sheets of material - especially if I still cannot get any of my work printed off...

RESEARCH: Vivien Blackburn

http://vivienb.blogspot.co.uk/2007/12/digital-images-artists-books-fine-art.html

I have been looking at using acetate and see-through material - I wanted to see how other artists used these materials. I found an artist that uses acetate in a book which I found very interesting as I have been working on my own book of collected images and creative writing. I wondered if I could write or print words onto the acetate to make into pages - or even have images printed onto the acetate that I put over writing in the book.
The artist used a lot of her personal life to create the work, she photocopied her hands and used photoshop to edit the images to create the desired effect. It seems that she wanted to express her own experiences in her book, she felt overwhelmed by family life and uni work so she decided to produce work that expressed that hectic life.

"I used acetate for some pages, to layer lists of words and images so that images changed as you turned the pages, starting with 3 or 4 layers of printed acetate over a paper page, giving multiple versions as you move through the book."


The artist also used some poems and words from Shakespeare to express how she was feeling - I have used a few lyrics in my work but it is mainly important for me to write my own work as I need to feel I am truly releasing the emotions into my work - using the Freudian technique of the Stream of Conscsiousness (or Free association writing) to unload feelings and stresses I have or have had and are stored in my mind. The work is used as almost a therapy to rid myself of unwanted feelings or images but it also works to express hopes and dreams I have and visions for the future. I realise that, as this is very personal, some audience connection can be lost which is why I am using reflective surfaces and intriging imagery to help the audience communicate with the work - see themselves and their own inner feelings within sort-of-speak. I want to show a sense of layers of the mind, how images/thoughts/memories/dreams are piled on top of each other in the mind - the division between the hidden unconscious and the revealed consciousness.

I am thinking I may need more photographs in my work to express what I want - the artist used images that represented how she felt, e.g. "...the windowblinds like prison bars with the looming tower block nearby blocking the sky."

I often use images that mean something to me or represent somewhere I have been, for example an important memory etc. I like the artist's idea of using the blind and clock references to show time ticking away for her, but I do think some of the images are too obvious - she uses lots of clear texts over the top of the images to narrate it which is good but I find it too blatant. I like using texts that suggests feelings and memories rather than creating a sense of a title. Having said that, I have titled some of my creative writing - I use titles when I feel it is appropriate to create a collective of writing, in particular to express a certain memory or situation, when it isn't just about general feelings.

I like the combination of images/patterns/writing. It is inspiration for both my creative collective book and my work onto acetate and mirrors. The transparency of the layers is something I want to capture - I want the audience to be able to peer through the layers to see different levels of writing or images. I have used glass paint on mirrors but I want to use paint or other mediums on acetate or tracing paper and other platics. Maybe thinking of sealing in materials under plastics?

Printing

I am attempting to get some printing done...waiting...

4/12

Holy hell. Okay, well my plan didn't quite work out. First of all I had to buy the materials in which to print on and by the time I had done that and organised everything that needed to be done it was too late to travel to gosta and get them printed before the lecture began...at least I obtained some printable acetate :) I will use it tomorrow when I attempt AGAIN to print off at gosta green!
Also I gained some useful information about where I can buy large amounts of printable acetate - a website or actually going to a shop in Digbeth. And I also found out that I can do some prints on tracing paper and on other kinds of semi see-through materials that I can buy from Margaret street.
Man...I need to just one thing at a time though - it's killing me.
I don't think I will bother making a plan for tomorrow, no point. I'll just see what happens and hopefully I will produce some interesting pieces.

Plan for the next few days

I have discovered that if I use fixative on the reflective sheets (once they have been printed on) it seals the image better. Although the quality is still not completely smudge-free...I plan to work on that.
I want to bring a selection of materials to gosta green tomorrow that I will attempt to print onto. I will ask the advice of the technicians to see if there is a better way to make the ink stay on the surfaces. I will first go to Spectrum to find acetate, gloss paper and also any kind of see-through paper that might create interesting effects.

03/12

I managed to print on reflective card!! It worked really well, the images were very clear and detail as well as the colours being reflective...it worked perfectly! :) I cannot wait to try this on a larger scale, it will really look interesting and bizarre. I am thinking of perhaps writing things into the card before printing onto it and seeing how that looks. The levels of image and writing will create a sense of depth - as if you can look through the image into something else entirely - I will need to experiment more with layers and deciding which looks best. There is the fear of creating too many layers and distorting the orginal images so it will just be trial-and-error for now.


Unfortuantely, so far the reflective card printing has not dried yet and smears every time it is touched...hopefully it will dry but if not then I either cover the image in smoothed-out cling film or encase it in a picture frame or just put glass over it. The effect is really good and dazzling to look at so I would hate for it not to be used - I'm sure there is a solution somewhere!

Also I went to gosta to sort out large scale printing and was told that if I could provide the materials I wanted to print onto then they could do it :) I said I wanted to use tracing paper but also other forms of see-through/semi see-through materials. The IT guy suggested I check out materials such as screens that are used at bus stops...the possibilities are endless! I will look at different materials I can order online - some materials I can obtain locally so I can try them out then before using them on larger scales. I am really pleased with today, the information is very useful and makes me feel a little more at ease. At the moment I am working on layering images and combining them with hand-written prose. I want to develop the sense of layering and levels of the mind - fragments. I am doing all these on reflective and see-through surfaces, e.g. plastic sheets and small mirrors etc. I plan to work on small paintings perhaps this week to layer photography over the top of - I am using layers of photography at the moment printed onto tracing paper. My larger paintings will be useful when printing large see-through screens/sheets which can be attached to these expressive pieces. I feel better than before about my work.

Week 03/12/12

I have created some smaller pieces so far using my photography and reflective surfaces. I used small mirrors, some reflective card and photographs printed onto tracing paper. I used these materials to create a sense of layering - so that you can look through the photography into the reflective surfaces.
My next stage of development is printing onto large scale, e.g. A1 or A0, to create large photography pieces that I will layer over reflective surfaces or over the paintings I have already done. I want to do this to create levels of the unconscious, layers of the mind - looking at the depths of imagery, emotions, thoughts and dreams etc.

I will print off some more images onto tracing paper to work with - decide which pieces I want to use. I will select images that have things to do with my memories, certain things that I hold emotional value too but also images that have a great depth of detail as I want some interesting images that the audience can look through into the reflective mirrors or cards.

I plan to go to gosta green in the week to sort out different size images I can print off - I am hoping that it won't be too difficult to get images printed onto tracing paper/plotting paper or any type of paper that can be seen through. If gosta green doesn't offer the options I want then I will head over to Bourneville to see if they can help me out. :)
Hopefully it will work.

I am want to create different kinds of layering - maybe using objects...Funnily enough this was one of my original ideas when my project was on the very broad subject of dreams. I keep having this idea of using a type of wire or even brambles (possibly fake if it's easier) to create a layer over the top of a piece of photography. The idea of sealed-in thoughts, things hidden in the unconscious, things that sometimes I don't want to be seen by others...secrets and half-revealed dark thoughts. I like the idea of doing a personal project because, although on some level in can make my feelings vulnerable to critisim, I have come to realise that anything bad felt can be dispersed by using the technique of sublimation - taking bad feelings and making them into something creative. Positive transformation of unpleasant memories or thoughts :) Although not all my thoughts are of bad things, often the worst feelings come out if I just relax and let my unconscious release things I want to get rid of.

I do get worried that my tutor or other artists will not take my work seriously...think that it is something placid or just an "emo" idea...but I am determined to communicate with the audience using the imagery and the visual effects as well as put across my thoughts and images I have or have connection with. I do feel more positive about it than before - I was concerned about being too caught up in my mind, but having put things in perspective I believe I can create a connection and a level of mystery with my work that will intrigued an audience and open up the context a little better. It is just a case of experimentation and working out with surface I want to work on. The boards were too solid to represent layers really...mirrors and see-through surfaces show a level of depth, depth of the mind.

I mean, what the hell? I'll create something interesting in the end because I am putting so much effort into my work. :)

Tree image

The fragility of the mind...

Tutorial help

After discussing different ideas with my tutor, I am interested in working on different surfaces - mainly reflective/transparent surfaces, e.g mirrors, glass, mosaic, tracing paper etc. Looking at the idea of creating sensory elements for the audience, the work is personal to me but I want the audience to connect with the work and feel as if they are experiencing something of their own. Lost in the unconscious...

I have the idea to work onto mirrored surfaces, covering/painting/morphing the reflective surface but leaving some areas exposed so that a reflection can be seen - seeing through the piece, not sure what is being witnessed, levels/layers etc. I want to work on how I can do this, plan out what I need to do to create this effect - rather than just trying to do everything at once.
Mirror boards...
Visual illusions...
Even looking at projections of photography.
The projection of imagery also draws my attention to lighting when considering an installation.

Surrealism?
Sensory?

After having a confusing time I am planning to explore another area a lot more in my development of work. i want to have a look at my photography a lot more - experiment with different ways to display/present and create an installation with the works. In particular, looking at transparency.

My paintings were interesting and good for letting out emotions in relation to my unconscious but they were not very useful in helping me to communicate with my audience...I do really like the effects they create, the markings and writing is something I really love about them as they are so personal that it makes me truly connect with my work and feel emotions have been purged. However, the pieces are almost too "solid" when trying to portray a level of the unconscious. The unconscious is a separate layer to the mind from the conscious mind and the thick boards seemed to not show such a fragile concept of the unconscious mind's thoughts/ memories and desires. During a group tutorial, the group understood some of the concepts I wanted to put across but these were only on a surface level e.g the writing written in the paint, thickness of the oils, markings/textures etc. All features pointed to an expressive piece but it was not progressive. It didn't show anything new. Maybe it would have been interesting to create smaller ones...however the size was relevant at the time and the pieces are not all lost - they will show their use in time.

I am trying not to feel really bad about my work, I feel like all the pieces I try so hard to do are just all useless. So far most of my paintings have not worked out how i want them to...I wonder whether I am working in the right direction at all. I keep trying to remind myself that it is all a development process but I guess often it just feels like my work is not very good at all or coming to together as anything. I will keep trying, the more I experiment the better it will get...hopefully.

It's all a case of experimentation so if I have progressed more through experimentation then it can only be a real gurd thing :) Just need to catch up on documentation...need to get a new book!

8/11

I mainly spent the day deciding what I wanted to do for my following pieces. I was going to work on my second painting but as the first layers weren't dry yet I decided against it - I wanted them to be more concealed/dry so the texture would still remain when I added more paint to it.
I did some sketchbook work such as working on artist research and updating my notes - also I worked on my Collective Writing book by just adding a few extra pictures, some writing and doing a small amount of stitching. I decided that I did like the idea of using some stitching in my work but I don't want to use it too often - I think a subtle amount will look good but I don't want a book full of threads! I think it looks too cliche' so I will use it sparingly and to sew in images or just to work on fabric a little.

My plan for tomorrow is to create small installations with the fragments of items I have - I want to use my "CD collections" to create a mini piece on the wall. This is just an idea to begin with to get the ball rolling for more pieces. I want to use the following items: bottles (alcohol containers) which I will use both as items and as holders for smaller things, pages from books, natural items, items of clothing. I plan to create small installations/photography pieces using these items - just trying out ideas and compositions. If the pieces don't turn out so well then I will use them as demo pieces and probably include them as photographs in other pieces. I have fabrics that I have dyed that I will use as floor pieces or backgrounds for my installations - also previous paintings that didn't work out as well as I wanted. All pieces will be used as development as the project is about the unconscious then the progress of the work is important to show the stages of my mentality.

07/11

Today I worked on my second large painting - I began with using a bright blue colour straight from the tube (oils). I found this painting to be quite meloncholy even though it was so vibrant the colours I used I associate with solemn feelings and memories. I normally use paint brushes/tools to paint with but this time I found myself wanting to use myself in the painting. I used my hands to smear paint (using latex gloves as the paint stains really badly and also I didn't want fingerprints to show up and ruin the texture). The process of painting with my hands was really strange - it was really enjoyable to do but also I felt repulsed by how the paint rolled over my hands and how it was smeared around the piece. I found it interesting how I had mixed feelings while doing this piece - the expression I wanted to portray with the piece mixed in with the method I was using.
I smeared the blue paint around mainly in swirls around the piece, covering over all the primed service. Once I had created the desired consistency on the surface I let it dry and conceal slightly. Then I used some purple paint and did the same swirled pattern on top but I mixed in some sand particles to create a textured effect. The colours blended slightly so the entire piece became a luminous royal blue - I think this really complimented the other large piece I had done.

Next stages of my practice

For the next few days I have developed an ideal plan (realistically) for what I want to achieve.
Firstly, Painting - I want to develop my next painting tomorrow, even just the first few layers so I can get a feel for the next piece. Plus the painting techniques really help me to get an insight to my unconscious and help me to release my emotions into my work more freely - partially because it's abstract and, of course, expressive.

Installations - I want to have created a few designs by using photographs of my painting(s) and deciding what items I have associations with - this is mainly to get an idea on what I can include for my larger installations.
For the smaller/temporary ones, I want to have a few designed pieces and some practice installations using some of the items I have listed previously. This will be worked on mostly on thursday/friday while I will use tomorrow to collect the items I have at hand but mainly to record what it is I need to make my installations.

Photography - I will review all the pieces I have so far and decide which I can use as independant pieces/ as part of installations and which ones I can scrap (although all failed attempts will still be documented). I want to know by this weekend what pieces to work on next.

Overall so I don't become too overwhelmed - my main focus this week is gathering installation items to make small/practice attempts with and to work on my next painting.
As the installations will be documented the photography will coincide with that and fit in naturally.

06/11

I have started a new large piece, another half sheet of MDF (9mm). I plan to create another oil painting that will become part of a larger piece made up of several large paintings - like surrounding walls.
I decided to begin on another piece as I get very bored working too much on the same pieces. I will use the same technique with my new piece - basically showing an insight to the unconscious by doing an abstract expressive piece. I will probably do a piece using blue tones, although all my pieces seem to begin with blue/purple colours. The colours I use have specific meanings to me - association with emotions/thoughts.

Installation work
I am still deciding on what items to use in my installations. I have an idea to create small/demo installation using containers e.g. fish tanks, ordinary boxes or crates etc. There is still the issue on items to include.
Item ideas -

Natural items such as folige, rocks and interesting dried plants because natural elements have a lot to do with my memories and I associate certain emotions with the natural world (partly to do with my childhood and beliefs).

CDs/CD inserts because I have a lot of connections in my unconscious with music/ association with songs as these remind me acutely of memories and certain feelings. Sometimes the exact association is unclear but I have particular emotions or thoughts/imagination that occur when I listen to certain songs.

Books/pages because I do a lot of creative written works and I have connections with certain texts.

Items from particular memories because obviously these have connections with my unconscious.

Imagined association this would be items/mini sculptures that I imagine when I have certain feelings.

Photography this will be particularly important as visual items (especially non-obvious imagery) expressing things I feel but in a more illustrative way when compared to the abstract paintings. Also I am considering projecting certain images onto the paintings or the space near them.

Fabrics because I first began with the ideas of using fabric - mainly because of the association I pin on it to do with the unconscious. The idea that the unconscious and conscious are very close but still divided in a sense - by a kind of veil. The veil represents thelink between the two mental states and how easy it is to switch between the two, e.g. when day dreaming. Plus this also links in with my collected dreams because of the layers of dreams/layers of fabric.

 That's all I can think of for now.



 

Week 29/10 - 02/11/ Developing my practice

This week I have been developing my large painting - I worked on it all week to get it just how I wanted it which took forever! I'm not entirely sure if it is finished yet but I am happy with the result for now - I reached a natural stopping point.
I used a technique where I just let myself paint without thinking using large quantities of thick oil paint. I like using oil paint because it's thick consistancy lets me make a mess and experiment with different textures and patterns I can make. Also the fact that it dries slowly if something I find useful for my practice - I like creating mixtures of colours within each layer byletting the colours blend together as well as layering on thickly some tones that I want to show up more vividly. I generally love the texture of the oils and I think this is important for my project as it's all about expressing what I feel inside and within my Unconscious - this way I am comfortable with the medium and enjoying the process thus making it easier to communicate my emotions through art.

I had worked into the painting the previous week to get some base tones for my work - I had first begun with dark/cold colours such as blues and purples. I felt these colours communicated how I felt as I picked them to express particular feelings and thoughts I was experiencing at the time, e.g. the blue tones always feel very meloncholic to me. As I had previously used the oils on the board they had half dried/concealed - this was perfect for building the layers as I could work over the top of them and create a sense of levels of the unconscious with colours as well as being able to blend certain areas where the paint was only partially dry. As I worked on my piece I let my natural responses take over and decide what tones/textures to develop next - it was an exhausting process both mentality and physically!

When I had worked on the colours enough I decided to work on the textures more. The direction of the brush strokes was important to express the array of emotions - but I tried not to think too much about the process and let the piece come together naturally. When I tried to control the process too much I found certain elements ended up becoming less successful and these sections would have to be developed again.
This progress linked in with the idea of the Stream of Consciousness or Free Association Writing theory - a Freudian theory as well as well known element of expression and insight to the psyche - basically this outlines how by allowing one's self to write without thinking it will eventually show an insight to their unconscious and things that possibly the person may not have realised they felt. My painting process touches on this theory - replacing writing with painting. Although I do the writing also as an artist - which is why I decided to include elements of the written word in my practice. I am interested in how the two art forms can be combined in different ways to express a sense of my unconscious. My writing expresses how I feel in a more structured way than by painting which is why I wish to explore ways of linking them together - in particular using fragments of writing in my word.
My first idea was to explore projecting writing onto painting - an idea I will still look into - but after my tutorial at the beginning of the week my tutor suggested that I try writing into the paint. I wasn't keen on the idea at all but I thought I'd experiment. I began by choosing fragments of my writing to carve into the layers of paint - suprisingly it worked very successfully. Mainly because the writing was crudely carved and half unrecognisable - this showed a sense of the hidden unconscious and how it appears to be the more secretative part of the brain. I carved in more fragments of writing - all linking to how I felt - structuring them around the piece. I marked the letters using a pencil and a pallet knife and as I carved into the paint it revealed all the different colours and layers beneath the top layers. I also began scraping at the top layers of paint to show through other layers beneath to mix in with the carved lettering. Once I was satisfied with the markings I left the painting to dry for a day so it would conceal again and then I used a smaller amount of oil paint to go over the surface to bring out certain areas and highlight the words. I also mixed in a bit of sand with the paint so that the top layer would dry with a texture - this was also to formate the idea of the top layer of the unconscious being the closest to the conscious mind and the thickest "barrier."
I am pleased with the progress and I plan to create more pieces using these techniques. I want to create a sense of "walls" with my paintings and then create a form of installation inside the space that will be framed by the large paintings. I also have the idea of using small items/fragments of items in my paintings to make them "3D paintings." These items would be ones used for my installations or similar to them.



Installation

 I still am unsure about what items to include in my installations - I am working on including CDs that I have bought as blank copies which I am in the process of burning particular songs onto them that have some effect on me - that conjure feelings and emotions in relation to my unconscious, e.g. sometimes I am unsure of why they have an effect on me, some sort of association etc. I plan to use these to create an installation - one which will be tempory and photographed for documentation and possibly one for a more permenant piece that will be linking to my final collective of work.
I am also working on a book of collective written works which will be included in the final installation collection - I want the book to used as a contextual and visual piece. The book will be an insight to my unconscious and show where my ideas have come from as well being a piece of art itself. I will have the book propped open - I have an idea of using some form of miniature sculpture to hold the piece open so the writing can be viewed and the book can be seen as a piece itself.


Overall I am pleased with the progress of my practice. The next stages will be the development of my installation pieces - beginning with the tempory ones. Also I will be beginning another painting next week - a large one, possibly slightly taller than the last one - which I want to develop more texture on.
 Looking back on my photography pieces that I began at the beginning of the project - I plan to go through the collection again and work on the next pieces I want to take. I will work on the pieces I have and decide whether I will use them as individual pieces or as a combination with some other piece. Some of the photographs have been used for my collective writing book - as illustrative pieces. I want to also work on more photography, looking at it from a more personal level by photographing places that I have connections with and also photographing myself in different ways to express my emotions/thoughts. The set up/locations for the photography will also help me to figure out what to use in my installations. I also have ideas to project the photographs onto the floor or onto pieces of work and the idea of using the print room to produce some pieces onto fabric is also an option for me.

http://www.marjolaineryley.co.uk/html/frameset-guitna.html

Art article

Development 25/10/12

First day trying out my new project direction:
I feel far more positive about my work already and I feel I can really get involved fully in what I am doing.
I used oil paints today (my favourite medium) and painted a half a sheet of MDF with the first few layers of oil paints. I wanted to express my emotions in my work, to get in touch with unconscious emotions and feeling I basically just let myself paint and relaxed into a pattern of just letting it all flow out. I poured a lot of my emotions into my work my refering back to dreams I had recored in my "Collected Dreams" book (uncosncious imagery) and general feelings I was feeling at the time. I let it all come out in a similar way to how the "Stream of Consciousness" works, according to Freudian theories. This basically means that you let feelings/emotions come out where doing a form of art and see what the results is - gives an insight to your mentality or current mental state. Freud only did this with writing - I am want to experiment with doing this with artwork - namely painting. I also have my own written word that I will included in my work somehow. It is important for me to include this as it is my way of expressing myself and showing an insight to my own unconscious mindset. Plus I generally want to combine the two art forms. :)

New Project Proposal

Having nearly died trying to figure out what to do and how to be happy with my work, I've realised the only way I can fully enjoy and be involved in my practice is if I indulge in everything I feel I've wanted to do from the beginning.
I've realised that my work so far has been productive and interesting but I need to do more expressive pieces to be truly happy doing art. I am going to develop my project in a different way - I have decided to change my project to the, not unrelated theme, of The Unconscious. This links in with the theme of dreams which I first begin with but opens up a whole new spectrum of things I can do and experiment with.
Not only is this subject more broad but it also allows me to do work in ways I am happy doing - work that expresses themes from my unconscious mind. Basically emotions/imagination from my unconsciousness. I am going to do my own personal take on the project - working on expressive abstract pieces on a large scale, extending into installation pieces. Also I will include my own creative writing in my work - this will link in with my thoughts from the unconscious as it shows an insight to the "Stream of Consciousness" which is a Freudian method to show the thoughts/emotions of the unconscious part of the mind. This is also in relation to the dreams I have - images and thoughts from the unconscious. :) :)

Melissa Diaz
(http://morningpassages.com/tag/installation-art/)
Installation; mixed media

Melissa Diaz received her BFA in painting from the University of Central Florida: It was there that she learned to incorporate painting into 3-dimensional work, leading to Installation Art and alternative showing spaces in Orlando. During her stay, she co-founded an artist collective {Thread Orlando inc.} Melissa went on to continue installation while finishing her final thesis requirement for her MPS in Art Therapy from Pratt Institute in New York.
“I create all of my pieces on site, having no clear idea of what the outcome will be before I arrive: I trust in the process and work in a purely intuitive manner. My work is all about the viewer experience, sharing, playing and fun!”

Artist: Mary Temple

Mary Temple  (http://walyou.com/shadow-illusion-art-installation/)
Shadow art.

Artist Mary Temple has created a series of light installations that are called, oddly enough, “Light Installations.” It’s actually a clever optical illusion. Temple has painted the walls to look like they’re shadows being cast on the wall by the light.

Temple’s latest installation is called “Northwest Corner, Southwest Light,” installed at Rice University in Houston, Texas. Temple took photos of surrounding trees to use as a reference, then projected the photos onto the wall, where the shadows were painted in.

Artist Research 23/10

Leandro Seto; Performace Art, Painting, Installation


This work is just amazing! I love the combination of lots of mediums. The work is constructed in collective spaces where lots of different things are all displayed together.

Video/performance/installation by Leandro Soto

The Orishas series of installations dedicated to the Yoruban Orishas in Cuba are performative actions. The artist creates the installation using objects of everyday life, charging them with sacred meaning. The artist opens his creative process to observers during the installation, responding to questions about how and why he is performing that contemporary ritual.

Artist research 23/10

I'm not sure where this would come into my work but I liked the look of this piece by the artist Adam Cvijanovic; Colossal Spectacle.

I liked the way the world framed the space and created a sense of being surrounded or being within the work...I want to create a sense of being within my dreams in some way.
I've always included painting in my work so this piece caught my eye, also it was the sheer size and unusual colour choice. It does seem to have a sort of dream-like quality about it...mainly because of the perspective. The paintings are coupled in sections of the room but all the images link together to create a larger piece; I like the idea of creating fragmented pieces that ultimately produce a larger piece. I could experiment with my photography and ways I could connect the separate images together.

Artist research 23/10

 

MAGRITTE

 

 

I looked at this artist because of the level of surrealism and sheer obscurity. I like the idea of things seeming not quite real although the images are constructed in such a way that they seem to express another reality. The one inparticular piece that I like is the third images down as it shows two people kissing but there faces are covered - in my photography I used fabric to cover the faces of the people in my dream images. The fabric was used for many reasons; one reason was I wanted to expressed the sense of anomality of the dreamer, the dreamer is just the spectator even though the events revolve around the dreamer they are still not in control (unless it is a lucid dream). Also I used the fabric as it represents levels/layers of dreams, the way that the dreamer is caught "within the ravels" of their dream and almost held between different dreams - seeping through each one into another.

I am inspired by this artist to create more painting/mixed media pieces that could be included in larger works as well as individual pieces. I developed some photography after looking at this artists work - altering colours and distorting them so that they appeared to have a more dream-like quality.  

 

 

 

 

 

 

 

23/10/12

Current ideas:
I have taken a series of photographs, two sets of photography; one that shows images of people, the another is images of landscapes (namely woodland areas).
I chose to take these images as they relate to my theme of dreams; I took the photographs of the people as I wanted to show different views of what it's like within the ravels of a dream. The landscape images were to express different locations of places in dreams (the dreams I had collected in my journal).
I used photoshop to begin with; to edit the images and to combine them together to show the surreality of dreams and the unusual construction associated with mind imagery.
I want to use these images, either as individual pieces or combine them in a collage or installation pieces; I want to create a kind of collection of works.

I had an idea about creating a type of hanging mobile. I would included lots of bits and pieces on it, a whole collection of items and things that reference the dreams I want to portray. The paintings I did at the beginning of the project, I plan to use in some way...possibly photograph them and use them as part of the mobile or use them as a background piece?

So far my ultimate goal is to use as many materials as I can think of to express the theme of dreams/surreality. My first plan is to extend the photography and use a variety of different ways to manipulate the images, e.g. working on top of the images, using photoshop/photo-editting, using the print workshop and print onto different fabrics. I wish to included written word in my work...although this will take some consideration at what is best to include and which is the most effective way of combining images and writing - experimentation is needed.

Random thought: I am interested in the way the work is displayed...I want to experiment with different ways I can display the work in my space. The idea of boards intrigues me as it was my original to display work around the space to show "windows" into the dreams, and I am still interested in using frames/framing techniques in my work.
Although I am interested in creating small installations I do want a final larger piece to include elements of things I have collected.