Collection: Part 2

Research

Thoughts after reading The Interaction of colour

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Arielle Bobb Willis- Using Fashion photography for Colour composition ideas for paintings/ 3d paintings

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Paul Lee- About work, cans.

The tactile quality of Lee’s materials provoke an intensified mode of viewing. Their familiar textures are set in jarring juxtaposition: the cool smoothness of metal, rough squishiness of sponge, and dull softness of paper, triggering a longing of touch in physical memory. Through this sensual fetishisation of everyday consumer objects Lee’s sculptures explore the nature of personal identity, their disposable nature highlighting the ephemeral transience and guilty pleasures of desire.

Brendi LW- off website

Project in development for Oculus Rift and Youtube 360

Rather than one or the other, human-made and biological are one in the same

Organics chosen in visual focus are moss, fungi and coral polyps– these were selected conceptually because they are all able to produce asexually, existing in various biomes and unique in shape and color. Synthetics (plastic, acrylic, vinyl and polyester) are chosen as the simulated growth materials in contrast because of their extensive manufacturing and incapability to exist without interference and processing. 

Biome also puts a focus on size comparison. The microscopic and minuscule  parts of plants are blown up to match the size of it's whole. 

This project asks how do we create/combine/harvest when we have no physical or ecological restraints and questions of the boundaries of material definitions in virtual form. 

If virtual reality is treated as an extension of our reality rather than a replacement do we replicate experiences or recreate with fresh collages of memory and information? 

 

Lisa Wright- Sensual use of colour, how layering the red onto the painting completly alters the mood

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Photos of Julia Crabtree and William evans 'Gullet' exhibition

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Fashion photography- Good colour relationship for a painting

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Fashion photography- Good colour relationship for a painting

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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.

 

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Notes from 'Specific objects' Donald Judd

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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.

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Visit to Everything at once- Stanley Whitney

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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.
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Press release, from visit to Painting in the Digital age

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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.

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Interview with Andy Denzler

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Wendelin Wohlgemuth

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Isolaed section already looks like a painting, has provoked an idea for next stage of project.

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Manipulating old photos using acetate as a filter

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dense mix media painting has a cinematic and vintage quality. As I am also drawing from old photographs my palette is similar

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Josef Albers- colour study

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Jen Stark

This clear hanging structure reminds me of the glazing process, yet deconstructed. Given me the idea of creating a Holly Hendry style layered structure, but using these clear colours to show the effects of the translucent colours on each other.

Arielle Bobb Willis- Using Fashion photography for Colour composition ideas for paintings/ 3d paintings

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Paul Lee

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Brendi Lw- Gives me ideas on colour pallettes as well as howto create these structures in a tangible form.

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Photos of Julia Crabtree and William evans 'Gullet' exhibition

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Notes from 'Specific objects' Donald Judd

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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.

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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.

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Visit to Everything at once- Ai Weiwei

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Press release, from visit to Painting in the Digital age

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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.

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Wendelin Wohlgemuth

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After taking my photographs I wanted to capture that small circle shape using dense paint, its so abstract yet we read it as factual

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Refocusing on obscure shape

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Manipulating old photos using acetate as a filter

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Joself albers- colour study

The green and pink colour study has given me the idea to further a painting by doing a duo that investigate this theory. By altering the amount of certain colours 'the vibrating boundaries look different.' I will create a predominantly green painting with bits of red yellow and blue, then on another canvas I will invert the green and red, so that the red is the dominant colour. I will see how this affects our interpretation of the paintings.

Jen Stark

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Holly Hendry- This piece has given me the idea to do a large scale clear sculpture that has the same presence as this, yet more delicate colours.

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Paul Lee

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Brendi Lw- Gives me ideas on colour pallettes as well as howto create these structures in a tangible form.

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Ernesto saboia de albuquerque neto- changing the impreesion of the material. Focusing o the materials not an interior illusion

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Julia Crabtree and William evans 'Gullet' exhibition

This exhibition has had a huge impact on my approach to creating work. The translucency of the objects, their colour relationships and tangibility alter how we interpret the entire installation. These are all things that i try to raise in my work, with it being somewhat successful in my most recent project using foam and wooden blocks. Seeing this exhibition I want to further push these ideas using larger scale yet differing from this work by playing with colour in a more focused way. 

Photos of Julia Crabtree and William evans 'Gullet' exhibition

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Notes from Interview with Katharina Grosse

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One of my 'in situe' photographs of my sculpture.

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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.

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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. 

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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.

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Visit to the Sophia contemporary gallery-

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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.

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Andy Denzler

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Wendelin Wohlgemuth

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.

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Manipulating old photos using acetate as a filter

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Manipulating old photos using acetate as a filter

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