Thursday, March 22, 2007
I've made a start on the tonal paintings we have to do for Laura's class. I do not like the piece too much. After Wendy pointed out the hanging meat in it, my vegetarian side surfaced! As a picture anyway it leaves me quite cold. It's just not my style of painting, but I can see the usefulness of the exercise, and perhaps my detachment with the piece will be a good thing as I will see all elements of the picture rather than those that appeal to me.
Wednesday, March 21, 2007
Critique of Sculpture Painting
At first I was quite apprehensive about tackling an object this large. However, I was made more confident by the fact I enjoy objective work and especially painting.
When I have tackled objective pieces in the past, I have always made lots of sketch references and often detailed drawings of the subject before beginning the painting. However I was conscious of the time limitations with this so I began by doing a rough charcoal sketch onto the unprimed canvas and then using it as a guideline for the painting. I also took a photograph to work from at a later date.
In many ways the experience of painting large scale was similar to any style of painting. As you work on a smaller section however, you have to be aware of the painting as a whole. It is much more pleasing when you stand back from your work to see the pieces collaboratively. I also feel you get a fresher eye and much more freedom with larger pieces, because you are forced to move back and survey your work much more regularly.
The surface was extremely hard to work on but on reflection I think it may have made us work more fastidiously. Indeed, the frustration itself, made us more likely to step back and view the work as a whole.
The sheer amount of white oil paint I have gone through- two tubes and counting – and all diluted with one bottle of linseed oil, really is incredible but then I suppose, so are the works in progress.
I can see that making us not just put paint to the usual surface made us “think outside the box” as it were. It definitely opened my eyes to the various ways of making a painting.
At one point Laura told us that she didn’t feel any of the paintings were complete. An interesting point and one that refers back to the Berger essay: “once in a Painting”. In the essay Berger states that a picture is finished “not when it finally corresponds to something already existing – like the second shoe of a pair – but when the foreseen ideal moment of it’s being looked at is filled, as the painter feels of calculates it ought to be”.
Although I think probably everyone felt that their paintings were not finished themselves, it does make a worthwhile point; Do the artist and viewer always have the same view of when the picture is complete. Obviously here Laura had an advantage that she knew what we were aiming for, what our starting point was, as well as her own mental preconceptions of what the pieces should look like, but I just wonder if I’d have seen, say, Edvard Munch’s “Scream” all the way through it’s development, if I’d have preferred it at a different stage.
When I have tackled objective pieces in the past, I have always made lots of sketch references and often detailed drawings of the subject before beginning the painting. However I was conscious of the time limitations with this so I began by doing a rough charcoal sketch onto the unprimed canvas and then using it as a guideline for the painting. I also took a photograph to work from at a later date.
In many ways the experience of painting large scale was similar to any style of painting. As you work on a smaller section however, you have to be aware of the painting as a whole. It is much more pleasing when you stand back from your work to see the pieces collaboratively. I also feel you get a fresher eye and much more freedom with larger pieces, because you are forced to move back and survey your work much more regularly.
The surface was extremely hard to work on but on reflection I think it may have made us work more fastidiously. Indeed, the frustration itself, made us more likely to step back and view the work as a whole.
The sheer amount of white oil paint I have gone through- two tubes and counting – and all diluted with one bottle of linseed oil, really is incredible but then I suppose, so are the works in progress.
I can see that making us not just put paint to the usual surface made us “think outside the box” as it were. It definitely opened my eyes to the various ways of making a painting.
At one point Laura told us that she didn’t feel any of the paintings were complete. An interesting point and one that refers back to the Berger essay: “once in a Painting”. In the essay Berger states that a picture is finished “not when it finally corresponds to something already existing – like the second shoe of a pair – but when the foreseen ideal moment of it’s being looked at is filled, as the painter feels of calculates it ought to be”.
Although I think probably everyone felt that their paintings were not finished themselves, it does make a worthwhile point; Do the artist and viewer always have the same view of when the picture is complete. Obviously here Laura had an advantage that she knew what we were aiming for, what our starting point was, as well as her own mental preconceptions of what the pieces should look like, but I just wonder if I’d have seen, say, Edvard Munch’s “Scream” all the way through it’s development, if I’d have preferred it at a different stage.
Scupture Painting
I have rarely had the oppurtunity to work large scale before and so found this a refreshing, though challenging change! It was very difficult to try to get the paint onto the surface of the canvas, and worked out being rather expensive, but the effect I have acheived with it so far have been promising. I managed to stain my uni carpet and my sink with the paint aswell which will seriously add the the cost!
Which reminds me if anyone has any idea how to get oil paint stains off white ceramic I would love to hear it. I have tried various bleaches, white spirit, turps and linseed oil so far as well as a metal scourer to no avail, I'm going home tonight to try vinegar...
Introduction To Blog for Painting and New Media
I will be answering many of the questions we were asked within a system of small essays I have written on various aspects such a the essays, my own projects and how my ideas have developed.
Thanks
Thanks
Tuesday, March 20, 2007
Tuesday, March 13, 2007
Photos
I will be putting all my pictures from both the life drawing classes up as soon as I have borrowed my partners camera long enough to have them photographed and uploaded. Hopefully the difference will be apparent.
Life Drawing
I really enjoyed the life drawing experience today. Although I was feeling quite poorly
due to recovering from glandular fever. In a way, the lack of being able to be controlled really forced me to be dynamic with the lines. Although one of the feet on the last piece was dodgy :p
I compared this lecture with last lecture and the improvement between the two is vast. I have definately become more willing to be free with my lines in this project. When I first arrived I was a very tentative and detailed worker, I have learnt that I can do much more with a painting if I stop being afraid of it.
When I paint for pleasure, which I do very often, I still do many controlled pieces, but I am now not afraid to try new things and not worry if they are awful. I learn alot from my mistakes now, and my work has improved a great deal in my mind. I feel like the freedom has inspired me to be much more creative and I find myself constantly thinking of new things to do and looking at every object in a new light!
The work that i would not have been sure about before because of it's "technical" ability I am proud to like now, often more than a very acurate piece. It has made me want to discover new techniques and really discover my own style.
due to recovering from glandular fever. In a way, the lack of being able to be controlled really forced me to be dynamic with the lines. Although one of the feet on the last piece was dodgy :p
I compared this lecture with last lecture and the improvement between the two is vast. I have definately become more willing to be free with my lines in this project. When I first arrived I was a very tentative and detailed worker, I have learnt that I can do much more with a painting if I stop being afraid of it.
When I paint for pleasure, which I do very often, I still do many controlled pieces, but I am now not afraid to try new things and not worry if they are awful. I learn alot from my mistakes now, and my work has improved a great deal in my mind. I feel like the freedom has inspired me to be much more creative and I find myself constantly thinking of new things to do and looking at every object in a new light!
The work that i would not have been sure about before because of it's "technical" ability I am proud to like now, often more than a very acurate piece. It has made me want to discover new techniques and really discover my own style.
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