Visit to Rachel whiteread exhibition
Conveniently this exhibition linked very well to my 'painting at the edge of the world' starting tomorrow, in particular two of the three day projects, 'painting without paint and painting with light'. I found the entire exhibition somber and ghostly, yet what impressed me most was the placement of the casts, drawing and sculptures. The relationship between the colours of the resin molds that sat next to each other were stunning, it gave me the idea to place light blues and pale mustard yellows together and other colour combinations on canvas that I wouldn't usually combine (1,2).
The second thing that I will take from the exhibition is the reflections of the transluscent resin molds onto the wall. This will be extremely handy in the painting with light workshop as I know have an idea of the consistency, translucency and colour that works best to create interesting bubbly shadows. (3,4)
Finally this exhibition has given me the idea to use softer colors for my 'painting a corner piece', I often have used more aggressive reds or pinks, yet I liked the softer translucent pastels that were in this exhibition, especially how clear they were, I will try and achieve this with layers of translucent pastel glazes rather than directly mixing two colours together.
Amy Stephens- I love Amy Stephens work for its clever and minimal use of colour and line to interact with the surroundings yet draw your eye exactly where intended.
Visit to Everything at once- Stanley Whitney
Thoughts on Robert Rymans interview
Things to embrace in project- no inward aesthetic, all outward. No illusion.
- We often need a narrative or meaning as a way of justifying a painting/artwork- and the use of paints.
- We have been brought up to believe that paintings are supposed to provoke something.
- Rymans work- almost just like looking at a piece of furniture, you don't look for meaning you just appreciate it as an object in space.
- Putting something on the wall is a transformative gesture- it gives the thing power- becomes physically and spiritually higher in the viewers eye.
- Robert Ryman is definitely not an abstract artist- as an abstract painting is always an abstraction of something.
Press release, from visit to Painting in the Digital age
Tom Friedman- Though known primarily as a sculptor, it is this toxic green mix media painting that I will take aspects from to combine with andy denzlers sculptures, to create both a 3d and 2d work of my own.
Interview with Andy Denzler
Isolaed section already looks like a painting, has provoked an idea for next stage of project.
dense mix media painting has a cinematic and vintage quality. As I am also drawing from old photographs my palette is similar
Lilah Fowler's work inspired me to take these ' in situe' photographs of my sculpture seen to the right. Her work values the surroundings which give the impression of a 3d painting.
GeeGee Collins- This work reminds me of my glazing technique used in multiple paintings throughout the project. The colours created by so many layers are still crisp and bold, gold leaf is given the same worth as the paint by being on equal layers.
Visit to Everything at once- Ai Weiwei
Press release, from visit to Painting in the Digital age
Andy Denzler's distorted sculpture ha inspired me to add a 3d element to my filtered photographs, however I will add to this by mixing both a painting and clay forms together.
After taking my photographs I wanted to capture that small circle shape using dense paint, its so abstract yet we read it as factual
Refocusing on obscure shape
One of my 'in situe' photographs of my sculpture.
Kristof kintera- This work has clear visual links to my red sculpture due to its colour, finish and use of illusion. Kintera's work is humourous yet doesnt try to recreate anything, the value is given to the original object.
Visit to Everything at once
The 'everything at once' exhibition felt like the equivalent of going to at least five exhibitions in one day, I spent 2 hours there and thoroughly enjoyed all the work. I often appreciate video or installation work a lot more at a gallery as i am more distanced from that medium, therefore the work is always more shocking and impressive, however there were a few pieces that interested me which were extremely relevant to my recent project, including Stanley Whitney's paintings, Ai weiwei's tree trunk, Haroon Mirza's sound and light installation, Allora and Calzadilla's wall work, Richard Long's performative mud work and finally Nathalie Djurberg and Hans Berg's mixmedia videos.
Visit to the Sophia contemporary gallery
I saw a two room exhibition named, ‘Painting in the Digital age’, With impressive paintings and prints seen on all sorts of surfaces, it was one acrylic on canvas painting by Josh Reames that stood out. What resonated with me was the use of just one medium, such a variety of textures and effects collaged into one painting to create an alluring and powerful effect, it was completely unlike the other paintings that I usually favour, yet his extensive manipulation of the one medium that I wanted to adopt for this project, in particular the second half, where we focus on material.
Visit to the Sophia contemporary gallery-
Gerhard Richter- Despite having a lot of the same concepts and ideas behing Richter's paingintgs, I find visually that I don't respond well to the colour palettes he often uses. Hoever I prefer the softer tones of this painting.
My experimental photographs overwhelmingly remind me of Wohlegumth's oil paintings. There is something eerie yet beautiful about the blurred snapshots that are then distressed and interrupted with blobs of paint to suggest they're in fact old photographs. I want to also suggest this as my thick oil painting of the circular shape mentioned earlier lacks any emotion. This is perhaps due to the style and colour palette.