Wednesday 13 May 2015

Evaluating Presentation 'Reconnecting to Nature in a Virtual Age

Working on my presentation became quite intensive due to three strands of enquiry I had undertaken.  It was important to validate and make connections within the three processes;  to make links from one slide to another.  There were pros and cons to consider. It could have been more straightforward to focus on just one process, thus refining one area and presenting a more fluid and consistent presentation.  On the other hand I felt this was not a true representation of my years work. Presenting each strand in chronological order provided a framework and structure.  However, there was a danger of overload of information which could appear disjointed and confused. Each approach had its constraints and drawbacks.

My extensive research also revealed a wealth of amazing artists that linked to my practice.  The criteria of the presentation with its number of slides, number of artists, time limit was challenging and I had considerable sifting through and pairing down to undertake.  As all my work had been produced in monochrome I used this approach in my Presentation which gave it a uniformity.  I was not confident enough to deliver verbally without referring to my notes which may have made it rather static and lacking in spontaneity. The arrangement of equipment and screen was not conducive and made it physically very awkward to see the projected images.  Equipment should have been placed to the right of the screen and on reflection I would have preferred to stand and deliver!
Unfortunately I ran over time and my last few paragraphs were excluded.  I was disappointed as, although not crucial to the presentation they contained and gave explanations and summed up my use of cross cultural aspects both in regard to the process and the final presentation of my work in frottage. I was able to summarise in a limited way and on reflection felt the Presentation  engaged my audience throughout and was of a good standard both in visuals and content.

It was a valuable exercise from many aspects, making and defining choices, theoretical analysis and comparison, design, format, clarity of images, typeface etc.

Excerpt from text accompanying last slide:

"This final process using frottage has a simplicity where nature is presented directly and not through a filter of language or image.  Michelle Stuart suggests that it is work that transcends what one starts out to do and is somehow transported and takes on a life of its own.  It denotes a physical presence which offers the viewer a more extensive opportunity to make their own own layers of meaning and interpretation.  Hopefully, it does not leave them feeling bewildered, frustrated and empty but somehow more gratified and identifiable with a time and place.

This simplicity can be perceived as having a more spiritual aspect with its non-intervention of the intellect".

The image below is a frottage taken direct from the ground.


'I WOODSTOCK NY'  Michelle Stuart 1973  Frottage 144 x 62 inches

The image below has been created using an intaglio frottage process where earth and rock have been applied to the surface of the support.


'5 MORAY HILL' Michelle Stuart 1973 Intaglio Frottage on Muslin backed paper. Size unavailable.


These two images below have been put forward as my final selection for End of Year Degree Show.


Apparition I (Oak Tree Diptych)  Jane Eaton 2015 Presented Kakemono format. Graphite on Paper, Wax and Ink on Paper.  Frottage  each 420cm x 56 cm


Apparition II (Oak Tree Diptych. Jane Eaton 2015. Presented in Sutra format. Graphite on Paper. Wax and Ink on Paper.  Frottage each 340cm x 56cm.












Tuesday 12 May 2015

Residue and random marks

Turning pages and making discoveries.  I had made some quick sketches of some twigs with leaves that were relevant to some tree frottages created for inclusion in my sketchbook. I couldn't identify the specific trees so thought I would draw them so as to have record for reference and establish name of tree.  Using a permanent marker pen I drew the three sketches below:

                                       

The drawings below are bleed through images created by use of black marker pen on matt absorbent cartridge paper.  The residue rendition has a much more expressive and delicate approach, the harsh lines of the direct drawing are not represented.  These are alive, not static, they echo the transience of nature, fading away, some elements faster than others.





I have also included some photographs of tree blossom that has fallen onto the pavement.  Chance and random where and how they fell,  I had first seen them when the pavement was wet which provided a much stronger contrast.  Photographed in dry conditions, separated from the tree yet presenting a different perception of beauty, fragile against the man made materials.





Thursday 7 May 2015

Concepts for further exploration



On revisiting research on Colin Crumplin I discovered this image which directly connected to both subject matter and the element of the chance mark which has been so significant and an integral part of my three processes. 



Acorns 1991 Colin Crumplin Acrylic paint and pencil on paper 56 x 70 cm

This image particularly resonated with me re subject matter ACORNS!  This presents two distinct approaches to making a work.  1) the top half of the painting is a blind monotype created using acrylic. One side is painted and then it is folded so as to transfer paint to opposite side, thus producing chance and random marks.  Crumplin then photographs the work, carrying the photograph around with him until he finds a second and complimentary image that relates/echoes elements of the first.  2) Another painting/drawing is then created using a much more academic and traditional approach to painting. This is then presented as a whole (Diptych).   By presenting these images together considerable discourse is opened up and the work can be interpreted on many different levels. They involve chance, selection and editorial intervention.  Chance and choice are yoked together to create the inherent tension within his work  It could be suggested that the juxtaposition of the abutted images reflect the eclecticism of a post-modern culture where objects are merely signs, none with a greater value or weight than any other. 



Frankfurt 1945 Colin Crumplin Acrylic and oil paint on canvas 51 x 30cm


Below are some images created using Photoshop combining images from my various strands of work. These present experimental formats and use of imagery 'Hommage a Crumplin'!


A Triptych using from top to bottom, section of oil monotype, ink drawing of bark and pencil drawing worked from photograph.  


Top - section of oil monotype with continuous line ink drawing below



Top image cropped oil monotype, below my photograph edited in Photoshop to present as a painting.


Mono chrome version

This presents an exciting and two fold way of working.  I am drawn to the combative elements with such distinctive and individual approaches, one to include the choice and random mark and the second that offers choice both from found/sourced imagery and the use of media utilised  It presents multiple choices in the second part.and extends the viewer's interpretation on many different levels. - which is more valued? Can it be valued individually or only as a whole?