tag:blogger.com,1999:blog-73679821201251546732024-03-14T01:25:33.512-07:00Jane's BlogAnonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-7367982120125154673.post-59740356989698456162015-10-27T04:42:00.002-07:002015-11-07T04:23:47.276-08:00EXHIBITIONS and studio work<br />
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My work is currently showing at the Black Swan Open Exhibition and the Greenhill Cottage Gallery Southwick.</div>
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Please see links below:</div>
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http://www.blackswan.org.uk/</div>
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http://www.greenhillcottagegallery.com/</div>
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Here are a few recent sketches, experimenting with different processes to represent the tree. </div>
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<a href="http://1.bp.blogspot.com/-6tq15FZj4KA/Vi9iJS6RSoI/AAAAAAAABaI/kt2cnvito3Y/s1600/Tree%2B3%2BB%2Band%2BW%252B%2Bauto%2Bcontrast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="372" src="http://1.bp.blogspot.com/-6tq15FZj4KA/Vi9iJS6RSoI/AAAAAAAABaI/kt2cnvito3Y/s640/Tree%2B3%2BB%2Band%2BW%252B%2Bauto%2Bcontrast.jpg" width="640" /></a></div>
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<a href="http://2.bp.blogspot.com/-8B1v9muIEvo/Vi9h6U1AGWI/AAAAAAAABZ4/RZNsDw0RfKw/s1600/Tree%2B%2528Lines%2Bon%2Bplate%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="354" src="http://2.bp.blogspot.com/-8B1v9muIEvo/Vi9h6U1AGWI/AAAAAAAABZ4/RZNsDw0RfKw/s640/Tree%2B%2528Lines%2Bon%2Bplate%2529.jpg" width="640" /></a></div>
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<a href="http://3.bp.blogspot.com/-A8GkzZqszJo/Vi9iKZCAmjI/AAAAAAAABaQ/wkrcXVDsa60/s1600/Trees%2BMonotype%2Bon%2Bpaper%2BB%2Band%2BW%2B%252B%2Bauto%2Bcontrast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="354" src="http://3.bp.blogspot.com/-A8GkzZqszJo/Vi9iKZCAmjI/AAAAAAAABaQ/wkrcXVDsa60/s640/Trees%2BMonotype%2Bon%2Bpaper%2BB%2Band%2BW%2B%252B%2Bauto%2Bcontrast.jpg" width="640" /></a></div>
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<a href="http://4.bp.blogspot.com/-53oAoylrGzc/Vi9h4hRt1QI/AAAAAAAABZw/iAzKOQO4EvY/s1600/Tree%2B1%2BB%2Band%2BW%2B%252B%2Bauto%2Bcontrast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="368" src="http://4.bp.blogspot.com/-53oAoylrGzc/Vi9h4hRt1QI/AAAAAAAABZw/iAzKOQO4EvY/s640/Tree%2B1%2BB%2Band%2BW%2B%252B%2Bauto%2Bcontrast.jpg" width="640" /></a></div>
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<a href="http://1.bp.blogspot.com/-H_Z4k8GyQaI/Vi9jyEIJ3GI/AAAAAAAABac/VQBDkXKp1J0/s1600/Tree%2B2%2BMonotype%2Bon%2Bpaper%2BB%2Band%2BW%2B%252B%2Bauto%2Bcontrast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="338" src="http://1.bp.blogspot.com/-H_Z4k8GyQaI/Vi9jyEIJ3GI/AAAAAAAABac/VQBDkXKp1J0/s640/Tree%2B2%2BMonotype%2Bon%2Bpaper%2BB%2Band%2BW%2B%252B%2Bauto%2Bcontrast.jpg" width="640" /></a></div>
Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-51821985326430795952015-10-20T02:23:00.005-07:002015-10-26T02:36:43.583-07:00Studio Work 19th October<div class="separator" style="clear: both; text-align: center;">
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A good amount of time in the studio which is somewhat of a rarity these days as external commitments have priority. </div>
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I worked sitting on floor direct onto a big 'plate' which was not such a good idea as full of aches and pains the following few days. The first image was made referencing a sketch I had made which on reflection was not a good idea as I felt the image was too prescriptive, rigid with hard edges, lacked any mystery - pretty picture, lacked spontaneity. Positive comments are quality and variety of marks which were made using various 'tools' for moving the ink around and good contrast of lights and darks. I feel that the 'Eastern aesthetic' is not so well represented here.</div>
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<a href="http://1.bp.blogspot.com/-b5wyK_7RIDk/ViYFu595F2I/AAAAAAAABYg/H9E2hQMDUM0/s1600/Bent%2BBoughs%2BMonotype%2Bon%2BJapanese%2BPaper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="http://1.bp.blogspot.com/-b5wyK_7RIDk/ViYFu595F2I/AAAAAAAABYg/H9E2hQMDUM0/s640/Bent%2BBoughs%2BMonotype%2Bon%2BJapanese%2BPaper.jpg" width="640" /></a></div>
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The image below I worked direct onto white cartridge paper with ink with much the same outcome as one above. The small single spiral on the trunk of the tree is a celtic symbol. (This perhaps needs to be made using a broader line).</div>
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<img align="left" alt="single spiral" height="80" src="http://www.ancient-symbols.com/images/symbolsonline/single-spiral.jpg" style="background-color: white; font-family: Verdana, Arial, sans-serif; font-size: 12px;" width="78" /><span style="background-color: white; font-family: Verdana, Arial, sans-serif; font-size: 12px;">Single Spiral - The single spiral is one of the most common symbols of the Celtic culture. The spiral was actually the figure that had the spiral folds of the same line. This symbol stood for the radiation of ethereal energy. There are however many different meanings of the single spiral. Some of the most prominent ones are, birth, growth and death, or expansion of the consciousness, its perseverance and knowledge.</span><div class="separator" style="clear: both; text-align: left;">
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<a href="http://4.bp.blogspot.com/-jzw-s6zheGY/ViYFw8UFeTI/AAAAAAAABY0/P-BEGxUHV5A/s1600/The%2BMighty%2BOak%2BPrinting%2BInk%2Bon%2BCartridge%2BPaper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="http://4.bp.blogspot.com/-jzw-s6zheGY/ViYFw8UFeTI/AAAAAAAABY0/P-BEGxUHV5A/s640/The%2BMighty%2BOak%2BPrinting%2BInk%2Bon%2BCartridge%2BPaper.jpg" width="640" /></a></div>
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The third image was very spontaneous. Experimenting with a few washes and strong marks using water based ink on paper which I then worked over using oil based ink . The initial ground was rather dark so end result lacked contrast. - could work back into to lighten area beyond the trees to give more perspective and indicate light beyond the branches- some light coming through on the right hand side of the image. Figuratively it presents a wood of trees stripped of their leaves which now lie in a dense carpet on the ground below.</div>
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<a href="http://1.bp.blogspot.com/-9vs_Bfsy6ic/ViYFwdGrOgI/AAAAAAAABYs/utKtLBWuaTc/s1600/The%2BLeaves%2Bhave%2BFallen%2BMixed%2BMedia%2Bon%2BPaper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="416" src="http://1.bp.blogspot.com/-9vs_Bfsy6ic/ViYFwdGrOgI/AAAAAAAABYs/utKtLBWuaTc/s640/The%2BLeaves%2Bhave%2BFallen%2BMixed%2BMedia%2Bon%2BPaper.jpg" width="640" /></a></div>
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Residue marks on plate of first image evoked a much stronger response for me, much more atmospheric and mysterious narrative with the form of the tree being shrouded in mist. An additional small plate was inked up and marks extended in various areas. The following five images are photographs of the plate.</div>
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<a href="http://1.bp.blogspot.com/-qICQKWJeGSo/ViYHq7dX4mI/AAAAAAAABZc/r29GeblH_AI/s1600/Photo%2Bof%2Bresidue%2Bimage%2Bon%2Bplate%2B-%2B%2Bmanipulated.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="http://1.bp.blogspot.com/-qICQKWJeGSo/ViYHq7dX4mI/AAAAAAAABZc/r29GeblH_AI/s640/Photo%2Bof%2Bresidue%2Bimage%2Bon%2Bplate%2B-%2B%2Bmanipulated.jpg" width="640" /></a></div>
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Final two images are photographs taken during cleaning up of plate and working back into residue oil. Simple vertical wiping of plate and then quick mark making using finger to remove ink which produced a simple atmospheric image. </div>
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The residue marks I feel reflect more of a cross cultural aesthetic.</div>
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-12134039797267036852015-09-16T02:48:00.003-07:002015-09-17T04:40:14.578-07:00Experiment referencing Colin Crumplin Dyptych<div class="separator" style="clear: both; text-align: center;">
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Using Colin Crumplins approach of making work I painted random marks on Japanese paper using oils. The paper was then folded and a print produced adjacent - the butterfly technique. Further paint was added and the process repeated. </div>
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The idea is then to seek out some form within the image that corresponds to another 'found' image. In this instance the strongest link for me was fighting crows. An image was sourced and I then produced a scaled up drawing from a photograph of two fighting crows. These were then cut out and placed underneath paper and a print made by passing the roller over the paper.</div>
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It was a first and not particularly successful outcome. Not enough variation of shapes, tone and line in the top image and lack of clarity and definition in the image below. This could work better using thicker paper cut outs of the crows - it is all a bit messy and does not present the distinction and delineation of imagery in relation to the reasons why and to what purpose work is created in this manner. </div>
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Also, this way of working would be unable to remain within my area of study into the oak tree due to the process. Still deliberating about this approach in relation to my practice and subject area. </div>
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<a href="http://1.bp.blogspot.com/-wc20jityVp8/Vfk053oKTvI/AAAAAAAABXw/ZYL7Q1PHqRo/s1600/Acorns%2B1991%2Bby%2BColin%2BCrumplin.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="http://1.bp.blogspot.com/-wc20jityVp8/Vfk053oKTvI/AAAAAAAABXw/ZYL7Q1PHqRo/s320/Acorns%2B1991%2Bby%2BColin%2BCrumplin.jpeg" width="320" /></a></div>
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Acorns 1991 by Colin Crumplin</div>
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<span style="color: #666666;"><b>Method of working</b></span></div>
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<span style="color: #666666;"><b>After covering half the canvas with
acrylic paint by hand, he then flips over the uncovered portion to form a blind
mono-print (the equivalent of a child's butterfly ink blot). The resulting
marks are then 'read', (think of patterns left by frost on window panes, or tea
leaves at the bottom of a cup) and the image suggested used as the starting
point for a new painting in oils. These embryonic 'beginnings' are photographed
and carried around in a small notebook like precious intimate objects until
they 'speak' to him. A second canvas often the same size is then stretched and
an image suggested by the first projected onto it. This may have been found in
a picture library, a magazine or simply by a chance thumbing through a random
book, or be a photograph taken by himself. Unlike its expressionistic and
playful d oppelganger , the second 'hyperreal' painting is executed in
meticulous detail in oil -the paint of artifice and illusion -rather than quick
drying acrylic. The two halves set up a dialectical tension as if between the
left and right sides of the brain. A series of oppositions is established; a
dialogue between the cognitive and the intuitive, the primitive id and the
civilising super-ego, the fluid and the constructed, the child and adult. It is
as if each half needs the other, as in any good relationship, to become more
than simply itself.</b></span><span style="color: red;"><b> </b><o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-mNVgaLg3O_A/Vfk0PJzkmII/AAAAAAAABXg/jLNyCbA6WNk/s1600/Trunk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="http://2.bp.blogspot.com/-mNVgaLg3O_A/Vfk0PJzkmII/AAAAAAAABXg/jLNyCbA6WNk/s320/Trunk.jpg" width="320" /></a></div>
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Print taken using polysterene disc scored with a ballpoint pen. </div>
<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-49524810087620117932015-09-01T10:48:00.000-07:002015-09-01T10:48:04.820-07:00Exhibition<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-large;"><b>RECONNECTING TO NATURE IN A VIRTUAL AGE</b></span></div>
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<span style="font-size: x-large;"><b>An Exhibition showcasing my latest work</b></span></div>
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<b><span style="font-size: x-large;">First-View Gallery Spread Eagle Yard Stourhead</span></b></div>
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<b><span style="font-size: x-large;">3 - 13 September 2015</span></b></div>
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<b><span style="font-size: x-large;">11 - 5 Daily</span></b></div>
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<a href="http://1.bp.blogspot.com/-CA4nYI2zLRM/VeXhvNtwjQI/AAAAAAAABWs/Jxqs6iH0eK8/s1600/Tree%2Bof%2BLife%2B%2528black%2Band%2Bwhite%2B%252B%2Bcontrast%2Badded.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="435" src="http://1.bp.blogspot.com/-CA4nYI2zLRM/VeXhvNtwjQI/AAAAAAAABWs/Jxqs6iH0eK8/s640/Tree%2Bof%2BLife%2B%2528black%2Band%2Bwhite%2B%252B%2Bcontrast%2Badded.jpg" width="640" /></a></div>
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<span style="font-size: large;"><b>http://www.first-view.co.uk/</b></span></div>
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<span style="font-size: large;"><b>https://janeeaton1947.wordpress.com/</b></span></div>
<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-28842365195411343442015-08-18T03:41:00.000-07:002015-08-26T05:23:35.011-07:00Experimenting with oil AGAINIt has been a few months since setting back in the studio. Although I have continued with the ink studies and now have 40 Exercises in Style of the Oak leaf and one additional tree study which now brings the total to 91! I have made a selection of these to produce as greeting cards and await the proofs.<br />
Managed a few hours last week and a good part of yesterday messing about with oil monotypes on rice paper. I need to familarize myself again and learn more of how the media works with different additives, i.e. oil and turps. Working direct on the plate with oil and pushing it around still remains very much hit and miss in respect of the quality of image. However, the process always wins the day and results are unexpected which makes it exciting. I love the unpredictability.<br />
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<a href="http://4.bp.blogspot.com/-RubQT4BhZZ4/VdMLVB-SW0I/AAAAAAAABUc/vP0R2-5Nwfc/s1600/Oil%2B1%2BBlack%2Band%2BWhite%2B%252B%2Bcontrast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="http://4.bp.blogspot.com/-RubQT4BhZZ4/VdMLVB-SW0I/AAAAAAAABUc/vP0R2-5Nwfc/s640/Oil%2B1%2BBlack%2Band%2BWhite%2B%252B%2Bcontrast.jpg" width="640" /></a></div>
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<span style="text-align: left;">Lifted first print above and then wiped ink away and then worked back in. I am pleased with the result and would suggest that it represents an abstracted pot of flowers. Use of turps created good and varying shapes. A good range of textures and contrast.</span></div>
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Smaller works experimenting with different approaches to making variation of textures.</div>
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<a href="http://2.bp.blogspot.com/-6961L2IvV3w/VdSqjlFDDNI/AAAAAAAABVE/Z_oIXEbkaSk/s1600/Oil%2B7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="193" src="http://2.bp.blogspot.com/-6961L2IvV3w/VdSqjlFDDNI/AAAAAAAABVE/Z_oIXEbkaSk/s640/Oil%2B7.jpg" width="640" /></a><br />
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Vigorous, very free mark making produced in a very short time.<br />
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Trying to hard, rather controlled. This was my first attempt from last week. Too much going on!</div>
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This last image created solely by residue oil marks that remained whilst in the process of cleaning plate. A small work which is a wonderful example of the unexpected outcomes when working with this process.</div>
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Worked over this with oil after print lifted. This image is rather decorative and shapes reflect Tree of Life image which was a Monoprint Etching. Repetition, variety of texture and tone are represented. This is the most 'finished' work I have produced as yet.</div>
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https://janeeaton1947.wordpress.com/</div>
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-40196382056074677462015-05-13T02:30:00.001-07:002015-05-14T03:16:15.900-07:00Evaluating Presentation 'Reconnecting to Nature in a Virtual AgeWorking 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.<br />
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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!<br />
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.<br />
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It was a valuable exercise from many aspects, making and defining choices, theoretical analysis and comparison, design, format, clarity of images, typeface etc.<br />
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Excerpt from text accompanying last slide:<br />
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"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. <br />
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This simplicity can be perceived as having a more spiritual aspect with its non-intervention of the intellect".<br />
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The image below is a frottage taken direct from the ground.<br />
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<a href="http://4.bp.blogspot.com/--fe5VJ_He6s/VVMcTRz3hfI/AAAAAAAABSY/JDH4O4NAFZw/s1600/WEB_013_STUART_1973_1_Woodstock-NY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/--fe5VJ_He6s/VVMcTRz3hfI/AAAAAAAABSY/JDH4O4NAFZw/s400/WEB_013_STUART_1973_1_Woodstock-NY.jpg" width="237" /></a></div>
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'I WOODSTOCK NY' Michelle Stuart 1973 Frottage 144 x 62 inches</div>
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The image below has been created using an intaglio frottage process where earth and rock have been applied to the surface of the support.</div>
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<a href="http://3.bp.blogspot.com/-bFWTFnNvkpM/VVMdXdAffmI/AAAAAAAABSg/UnJ3rn6d3Es/s1600/WEB_014_STUART_1973_5_Moray_HIll.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-bFWTFnNvkpM/VVMdXdAffmI/AAAAAAAABSg/UnJ3rn6d3Es/s400/WEB_014_STUART_1973_5_Moray_HIll.jpg" width="242" /></a></div>
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'5 MORAY HILL' Michelle Stuart 1973 Intaglio Frottage on Muslin backed paper. Size unavailable.</div>
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These two images below have been put forward as my final selection for End of Year Degree Show.</div>
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<a href="http://3.bp.blogspot.com/-zIE_8GIDts4/VVMd1nfWPHI/AAAAAAAABSo/d-CZZD_4MCI/s1600/Frottage%2Bx%2B2%2BWall%2BPresentation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-zIE_8GIDts4/VVMd1nfWPHI/AAAAAAAABSo/d-CZZD_4MCI/s640/Frottage%2Bx%2B2%2BWall%2BPresentation.jpg" width="475" /></a></div>
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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</div>
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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.</div>
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-75664817891971313672015-05-12T06:46:00.002-07:002015-05-12T06:46:39.255-07:00Residue and random marksTurning 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:<br />
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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.</div>
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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.<br />
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-41055454658798200632015-05-07T13:12:00.000-07:002015-05-12T07:08:18.943-07:00Concepts for further exploration<div class="separator" style="clear: both; text-align: center;">
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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. </div>
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<a href="http://1.bp.blogspot.com/-W3VoaqsdNqQ/VUu_SY5MUwI/AAAAAAAABPY/5HFzkTspJ_0/s1600/Acorns%2B1991%2Bby%2BColin%2BCrumplin.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="http://1.bp.blogspot.com/-W3VoaqsdNqQ/VUu_SY5MUwI/AAAAAAAABPY/5HFzkTspJ_0/s320/Acorns%2B1991%2Bby%2BColin%2BCrumplin.jpeg" width="320" /></a></div>
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Acorns 1991 Colin Crumplin Acrylic paint and pencil on paper 56 x 70 cm</div>
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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. </div>
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Frankfurt 1945 Colin Crumplin Acrylic and oil paint on canvas 51 x 30cm</div>
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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'!</div>
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A Triptych using from top to bottom, section of oil monotype, ink drawing of bark and pencil drawing worked from photograph. </div>
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Top - section of oil monotype with continuous line ink drawing below</div>
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<a href="http://3.bp.blogspot.com/-9D-0KiHj5Vk/VVH2ZtPh_HI/AAAAAAAABP8/XnT_2E7pvbQ/s1600/IMG_1759.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-9D-0KiHj5Vk/VVH2ZtPh_HI/AAAAAAAABP8/XnT_2E7pvbQ/s400/IMG_1759.JPG" width="327" /></a></div>
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Top image cropped oil monotype, below my photograph edited in Photoshop to present as a painting.</div>
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<a href="http://3.bp.blogspot.com/-Fe-euSX7Sd8/VVH2YYMlQEI/AAAAAAAABP0/T7FiP1UHs6A/s1600/IMG_1758.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-Fe-euSX7Sd8/VVH2YYMlQEI/AAAAAAAABP0/T7FiP1UHs6A/s400/IMG_1758.JPG" width="357" /></a></div>
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Mono chrome version</div>
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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? </div>
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-58474541697116564582015-03-30T08:43:00.000-07:002015-03-31T05:09:24.583-07:00Presentation concepts for 'painterly' monotypes<div class="separator" style="clear: both; text-align: center;">
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Thirteen 'painterly' monotypes were placed side by side in cylindrical form directly on the floor in descending height order from left to right. They each suggested glimpses of the landscape inviting the viewer to examine on a more intimate level. On reflection, placing on the floor rather defeats that suggestion! The number 13 bears no significance in this context and just represents the amount of monotypes produced. These have all been printed on handmade Japanese papers and unfortunately are not good quality clean edged prints. I am going to photograph all in a studio setting with the view to having a couple printed for inclusion in my portfolio. Should I wish to use this presentation format in the future, all originals would need to be professionally printed so as to have good, clean white borders. </div>
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Various numbers of monotypes were placed on the plinth. Once again, 'less was more'. Using one image and curling the two ends in towards each other presented a continuous circular view and also added a new dimension. I felt this was more successful as a 360 degree visibility gave access to the complete image. In addition the narrative could be extended directly to the shape of a tree trunk as well as the significance of the circle in Zen Buddhism. Each image is unique and can be exhibited in isolation. .</div>
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When displayed in this vertical, cylindrical format the <span style="background-color: yellow;">printed monotype</span> can be perceived as tall ceramic vases. I like the concept of printing the designs onto white china/porcelain pots which could be pieces of sculpture, alternatively vases for displaying flowers/plants. (One of the concepts I had considered at the onset of the project with the view to the work having a duality of purposes - printed canvas deckchairs with black wooden frames used or displayed in a domestic interior/outdoors in the summer months). The majority of the works have been created using a long horizontal format, so could not be used in their entirety as designs on deckchair covers unless cropped to vertical shape.</div>
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Below, is one image with ends folded in, viewed from two sides. This presents a strong form, although the paper is light in weight. As mentioned above the cylindrical shape changes where the two ends are folded in on one another - one becomes two!<br />
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-67488422284086766002015-03-30T06:59:00.000-07:002015-04-03T04:32:44.685-07:00Photographing and Evaluating Presentation Concepts- FrottageSaturday 28th March - a day spent in the Flexi space at Dartmouth Avenue in order to experiment with presentation concepts. It is a good clear space with white walls and few windows. There were two free standing lights which were available to use. I took a few photographs using this additional lighting but felt they were not successful and tended to spotlight small areas, create shadow. The photographs are of a poor quality taken with an Ipad and enhanced in Photoshop Elements. <br />
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The emphasis in relation to this exercise was essentially about form, shape and format, the quality of the photography was not a priority.<br />
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There were six frottages in total, taken from two Oak trees and various papers had been used. Five were made using varying thicknesses of lining paper and one was made on Fabriano white 120gsm paper. This created a subtle variant in colour and by placing direct on the floor presented an anti-aesthetic giving a perception of being stored as well as having a direct contact to the ground and the horizontal. I believe the dynamic re storage would change if they were moved away from the wall. Overall, I perceive this as an understated Eastern aesthetic, free of constraints, without status. The shape reflects the vertical of the tree. The presentation could further be extended by varying the shape of the cylinders and experimenting with spacing/grouping. When placed on the table the dynamic changed creating an appearance that was less solid and disconnected.<br />
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Enso (Zen Circle) and Calligraphy by Rankeisai, Japanese.</div>
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18th century (Edo Period). Hanging scroll, ink on paper</div>
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The circular shape also echoes the sign of 'Enso', a concept that is used extensively in Zen Buddhism. It is the idea of the circle or incomplete circle painted in one stroke. This icon is very prevalent in Japan and is meant to resemble enlightenment, strength, elegance of the universe, and the void or the space that connects everything, it can also symbolize the Japanese aesthetic itself. The frottage cylinders can be presented with ends folded in reflecting on the incomplete circle. Here the opening suggest that the enso is not separate, but is part of something greater, or that imperfection is an essential and inherent aspect of existence. It also reflects on the idea of broken symmetry where the principle of controlling the balance of composition through asymmetry and irregularity is an important aspect of the Japanese aesthetic.<br />
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<span style="font-size: small;">This form extended visual perspectives, creating varying heights and a view inside the rolls which could be seen to reflect the age circles of a tree. Again an anti-aesthetic approach which could be presented on the floor.</span></div>
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More formats were explored and presented on the table in the above four images. I felt all of these detracted from the simplicity of form with the arrangements becoming far too complex. Overall they appeared disjointed, uncomfortable - trying too hard to be something else!.<br />
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These two frottages have been made using heavyweight lining paper. Taken from the same mature oak tree the mark making is strong with good contrast. The numerical reference of the number 2 in Zen Buddhism represents our mundane understanding of reality, as reflected in our focus on duality. There are also "2 Truths", relative truth and absolute truth, the former referring to mundane reality and the latter to transcendental reality. Within Christianity the number 2 is also very significant as with the second creation by God of light - hence dark and light. The second number of anything speaks and implies the differences that exist. Presenting these on the plinth gave a 360 degree access to the viewer and contained them in a small area creating focus closer to eye level.<br />
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: small;">Using four frottages references the significance of the number 4 in both Zen Buddhism and Christianity. It represents the four noble truths in Buddhism, the four gospels in Christianity. In addition creation occurred on the fourth day; there are four seasons, there are four natural elements, four phases of the moon, etc. </span></td></tr>
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<span style="font-size: small;">Hung high on the wall, a vertical scroll interpretation </span><span style="font-size: small;">which connects to the ground. Simple and effective </span><span style="font-size: small;">presentation which engages on several levels, i.e. scale, expanse </span><span style="font-size: small;">and variance of marks, echoes the vertical of viewer providing </span><span style="font-size: small;">a direct physical connection. This has been a presentation aesthetic </span><span style="font-size: small;">used in Eastern art. Hanging scrolls are known as <i>Kakemono </i>in Japanese and translates as 'hanging object'. They are said to have originated at the time of the Tang dynasty in the seventh to ninth centuries and developed from similar sutra scrolls. Vertical and horizontal scrolls were created in order </span><span style="font-size: small;">that they could be easily rolled up and transported. Alongside the </span><span style="font-size: small;">geographical of Japan with its high incidences of earthquakes, works of art </span><span style="font-size: small;">were less likely to be lost or damaged. They have had strong connections with the Tea ceremony but over the course of history have come to be appreciated more for their aesthetic qualities.</span><br />
<span style="font-size: small;">(Space in Japan </span><span style="font-size: small;">was limited, they did not have the luxury of huge expansive walls to </span><span style="font-size: small;">hang grand paintings or access to oil paints and canvas as in the West. </span><span style="font-size: small;">These materials were not introduced until the 19th century when Japan </span><span style="font-size: small;">opened up to the West and there was a cross cultural exchange </span><span style="font-size: small;">and influence of Eastern and Western art).</span></div>
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<span style="font-size: small;">Although the four 'scrolls' created an impact by sheer scale I preferred the format of two which was more powerful, four somewhat diluting by overstating - less was more in this instance.</span></div>
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Close up section of hanging scroll. The left hand image reflects elements of traditional Japanese brush and ink landscapes. These two works present strongest contrast in colour.<br />
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Whilst I staying with my 'Irish' contingent in Southern Ireland my son-in-law gave me a book to read. I took it back to my hotel and became so enthralled that I read and made notes until the early hours of the morning. The full content of the notes are on file. The quote below is by Mike Koostachin, Cree, Cunack, taken from the book titled "<b>We Are One - A Celebration of Tribal Peoples"</b> created and edited by Joanna Eede (2009).</div>
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<i>"The trees hold a very special meaning and purpose to all living things. They have provided medicines for our sick and the material to build our homes. They feed our fires so that we could cook our food and warm our children. They shade us from the sun, shelter the small animals and birds and most importantly purify the air we breathe and the water we drink. In return they must be treated with kindness and respect"</i>.</div>
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This is just one of of many quotes that reiterate and reinforce the importance, significance in relation to indigenous cultures who have survived over millennia on the basis of<span style="background-color: yellow;"> harmony with nature and its society. The earth is our foundation, the source of our spirituality as well as our historian and educator.</span></div>
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<i>"I do not think the measure of civilisation is how tall its buildings of concrete are, but rather how well its people have learnt to relate to their environment and fellow man"</i></div>
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<i>Sun Bear, Chippea, USA.</i></div>
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Another day in the studio at home producing three hand lifted oil monotypes, two on Japanese Sumi paper and one on Japanese rice paper. Introduced my wonderful variegated wooden comb to make marks on the first image. This is often a spontaneous gesture that once implemented would be difficult to remove. A good variety of marks in all images. In the second image focus was on mark making without strong contrast to create a light, more airy interpretation. </div>
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Although the marks are no made purely by chance there still remains elements as one cannot predict the outcome. There are so many factors involved, consistency of oil, amount of turps used, strength of marks made, pressure applied, reaction of paper - all elements of 'chance' which I feel are both important and relevant in my approach to work, if not crucial. I acknowledge the decorative elements within the images, but is not nature decorative, does it not embellish and provide a rich tapestry if you have the heart to feel and the eyes to see? It remains a rich typography of the spirit.</div>
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<a href="http://1.bp.blogspot.com/-OcW8kzpU5kQ/VRA4aP--vGI/AAAAAAAABHc/yUxMdCJC_WI/s1600/Combed%2BOaks%2BMonotype.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-OcW8kzpU5kQ/VRA4aP--vGI/AAAAAAAABHc/yUxMdCJC_WI/s1600/Combed%2BOaks%2BMonotype.jpg" height="304" width="640" /></a></div>
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<a href="http://4.bp.blogspot.com/--SrrCrjDUlE/VRA4aNW8tmI/AAAAAAAABHg/cJ7ohC8e3L0/s1600/Oak%2BInterpretation%2BMonotype.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/--SrrCrjDUlE/VRA4aNW8tmI/AAAAAAAABHg/cJ7ohC8e3L0/s1600/Oak%2BInterpretation%2BMonotype.jpg" height="308" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-AJJzgmaR5TI/VRA4a8fdU8I/AAAAAAAABHo/mT84OmIIFKU/s1600/Stylized%2BOak%2BTree%2BMonotype.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-AJJzgmaR5TI/VRA4a8fdU8I/AAAAAAAABHo/mT84OmIIFKU/s1600/Stylized%2BOak%2BTree%2BMonotype.jpg" height="284" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: small;">This stylised form of the oak tree fascinates me. It echoes an element of the Japanese sun design and I feel that I have created some perspective in this image. The tree in the foreground was added after the print was lifted and I had reservations initially as the brush and hand produce a strong contrast to the printed area which often appears at odds and isolated. Initially, I perceived it as a failure, but on revisiting I consider it works! The image portrays the varying shapes of oak trees which is dictated by their environment and exposure to light. I have seen oak trees in the woods near Longleat, Wiltshire which present themselves like tall pine trees as they grow long trunks whilst reaching for the light.<br /><br />I have now produced sufficient 'painterly' monotypes to experiment with presentation concepts in the Flexi Space at Dartmouth Avenue next weekend. These will be recorded and placed on file for reference.</span></td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-47811480550219103572015-03-23T08:56:00.000-07:002015-03-23T10:10:05.498-07:00Ink StudiesWith regard to the small ink studies I have now attained my goal of producing 10 images of each of the six chosen components of the oak tree. Below are the final two sets of drawings showing oak flowers and oak galls. There are now over 60 studies in total. Consideration has been given to producing 100 images of each component at a later date with each of the six components being produced as an Art Book. I shall also experiment with presentation formats, photograph and enter on file for future reference. Time permitting, I also aim to scale up one image and print onto watercolour paper.<br />
This process has been an extremely valuable exercise enabling me to observe and draw from life, thus engaging on an intimate basis. The process of experimentation has provided an opportunity to both explore the medium of ink and to utilise a variety of implements to apply ink on a small scale supports. It has been a challenge to produce different interpretations and I feel they have been successful in extending perception. Some images provide a direct visual identification of the subject whilst others are more abstracted, often representing a single element within the overall construction. Overall, I feel I respond to the more simple 'designs' and also acknowledge the decorative elements within this body of work.<br />
The images each stand alone as an individual pieces of work, In addition they have provided a starting point that can be further extended using various different applications. They have contributed to and increased my awareness of the complexity and wonder of nature.<br />
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There are now 7 weeks before final assessment. I have given considerable thought to work produced to date? What, why and how do I wish to present work? There are three distinct strands to my work. All are linked to my initial proposal and each has an individual approach. I can recognize constraints within each strand, yet all offer opportunity for extension and development towards a final concept which could be presented for Degree Show in June.<br />
I am considering that perhaps the strongest concept is my early approach where I used a direct physical contact with one of the oak tree growing in the field opposite my home. It was a very intimate contact with a tree that I pass by and engage with on a very frequent basis. This physical connection of making a frottage from the bark of a mature oak tree using a direct and simple approach can be perceived as a beginning, a point of departure that extends into many different realms. In this environment one is at the mercy of the elements, the wind is blowing, the sun is shining, there is the smell of muck spreading on an adjacent field. I am aware of birdsong, I engage with people as they pass by walking their dogs, a human contact and interchange - all senses are awakened. The land, the sky, the air, human intervention, the history, the geography of the environment where I am physically present become interwoven within my mind. I relate to the this method of engagement on a more spiritual level as well as an awakening of the senses.<br />
There is a human physical element, a meditative quality of repetition as one works around the circumference of the tree. A simple exercise that when evaluated proves to quite complex both in physical, emotional and and 'spiritual' terms.<br />
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The Quercus Robur, a pedunculate oak is indigenous to the British Isles. Oak trees are often referred to as 'The tree of life' and have a huge spectrum of associations throughout society. I perceive it as an iconic symbol of the British Isles both on an historical, mythical, spiritual and symbolic level. A tree that is prolific, easily recognised and so prevalent within the British landscape provides a complexity of components as well as sustaining an incredible diversity of life form. It is an object which is easily accessible and I have found that by examination and investigation it has provided a great initial stimulus which captures my imagination and provides a new awakening to the natural world.<br />
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Below are three photographs of an ancient oak, the largest tree I have found in my local area. This tree stands alone, majestic in the field adjacent to the Frome Road in a field that lies in front of Southwick Court, the oldest house in Southwick. It is a beautiful and mature specimen presenting both height and width on a grand scale. Its shape formed by the winds, with heavy, bent and twisted boughs almost touching the ground.It is a significant landmark when travelling from Southwick to Trowbridge along the Frome Road.<br />
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The image below shows two frottages taken from a mature oak tree in the field opposite my home. This is an example of the format I am considering for final degree show. It is a simple and direct method of producing beautiful marks using graphite pencil and wax resist to make frottage works and one that has been used throughout art history Currently I am researching various numbers that are significant within christian and Zen Buddhism ideologies as I wish to present a specific number of frottages in a cylindrical form. This will then extend and enhance the number of levels of interpretation alongside the the more obvious references to yin and yang, form of oak trunk and its host plants and age circles as well as connecting directly to the ground by placing on the floor.<br />
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Frottage can be seen to be rather passe and outmoded, yet it has many qualities, seeking out the cracks, fissures and imperfections it is evocative of memory shedding light on the overlooked interstices within our environment. It is an act of unveiling, investigating the obscure, presenting and questioning our perceptions of the familiar. The technique provides a simple, non technological approach which maintains a direct and physical tie to its referent being deliberate and unhurried. </div>
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Compositions depend on chance, random accident where the artist attains freedom from the past and form learnt academia. The limitations of the imagination by the conscious mind are removed.</div>
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<b>ALEATORY means 'pertaining to luck' and derives from the Latin word alea, the rolling of die. Aleatoric, indeterminate, or chance art is that which exploits the principle of randomness.</b></div>
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This can be seen as artists deliberately using chance to escape the conscious mind. Yet there is control and application of mind which is quite apart from a 'happy acccident'.</div>
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<b><u>There is a tradition of Japanese and Chinese artists employing aleatoric methods, many influenced by Taosim and Zen Buddhism. </u></b></div>
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This is particularly significant in regard to my approach of producing work that explores imagery using cross cultural referencing. "Rubbings belong to the indefinable status of 'in between', and embody the transformation that occurs in the transfer from surface to surface" says Allegra Presenti, exhibition curator of the APPARITIONS;FROTTAGES AND RUBBINGS FROM 1860 TO NOW Exhibition at The Hammer Museum, Los Angeles Feb to May 31, 2015. Below are two images from the exhibition.(more information can be found in relation to this exhibition and the artists in my Context Folder.</div>
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<tr><td class="tr-caption" style="text-align: center;">Steven Steinman Shroud of Berlin Museumsinsel 2007 218.5 x 112cm<br />
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Max Ernst Forest and Sun Graphite on Paper</div>
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Chance is a significant word to use in relation to making marks. Chance suggests an unconscious input. Always there will be prescriptive gestures but what occurs when using the frottage method of making marks is beyond our physical control, the object dictates the outcome in conjunction with the materials used. The surface is uneven, irregular and the physical hand is not totally in control, it takes away the artist's imagination and preconceived outcomes.</div>
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-9329135230671813832015-03-04T10:00:00.002-08:002015-03-06T02:40:10.031-08:00Bark Studies - Ink on Paper<div class="separator" style="clear: both; text-align: center;">
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I have recently discovered Ellsworth Kelly plant drawings in a book titled 'Drawn from Nature:The Plant Lithographs of Ellsworth Kelly (2005). This is a publication produced in conjunction with a touring exhibition organised by the Grand Rapids Art Museum, published by Yale University Press. <br />
<b>"<i>To know the nature of things is the basis of humanism"</i>, <i>"the plant lithographs of Ellsworth Kelly capture our interest and awaken our spirit as we move among them"</i></b>. These are two quotes taken from the Director's foreword (Celeste M. Adams). Referring to the pencil and ink plant drawings Ellsworth Kelly states:<br />
<b><i>"In the way that I would draw the plants, they were not nostalgic, not pretty flowers. My drawings were to meet the eye direct". </i> </b><br />
Within my self directed study proposal my aim was to create work that connected me and my audience to nature, to see directly, to engage on a more spiritual level. Kelly is painting as a Zen painter, where brushstrokes are mindful with the simplicity and purity of line in these plant drawings become objects for meditation. Although not versed in Zen Buddhism he began the drawings in the late 1940's at at time when Zen popularisation in the U.S. evolved through the writings of D.T. Susuki. It appears that he was attracted to Japanese calligraphy. He was aware of Japanese paintings and perhaps intuitively understood their spirit. <br />
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<i><b>"You must not copy nature. You must let nature instruct you and then let the eye and the hand collaborate"</b></i> Ellsworth Kelly. It is about a connection to the lived experience. It is about capturing an essence that when one revisits a drawing the moment and circumstances of their creation returns with great immediacy. They show no detail no extraneous detail which allows for a sharp focus on the single plant for. It is perhaps an expressive connection to a bridge to the phenomenal world.<br />
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<tr><td class="tr-caption" style="text-align: center;">Oak III 30" x 36" Edition of 30. lithograph in Series of Oak Leaves 1992/3<br />
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In comparison I have made drawings which extend and interpret my close observation of the oak tree and its components. Each drawing has elements of the element and is a new perception. They are not about a meditative response more about unique responses to an object - the multifarious ways one can observe and awaken a 'new way of looking, a different language'. I am using the bridge analogy from a different perspective.<br />
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Below are images relating to the bark of the oak tree. All worked in Sennelier black ink on Somerset soft white textured watercolour paper - each 15cm x 21cm. <br />
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-3497144418642412182015-03-02T14:16:00.001-08:002015-03-04T08:38:27.609-08:00Oil and Ink Monotypes<div class="separator" style="clear: both; text-align: left;">
The first three images were produced by painting with ink onto gauze fabric and then transferring to paper. Ink was applied with a loaded brush on the cloth and then immediately laid over paper to produce print. The ink bled into the cloth on either side of the brush stroke which resulted in a broken line. 'Chance' mark making! </div>
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The images below were created using the same method as above with a second impression made. This resulted in a reverse image which was less clear - created a more mysterious image with a different quality of marks. The combination of the two materials have produced some wonderful textures which would be almost impossible to reproduce using a direct drawing approach.</div>
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Continuing with the horizontal format two works on Japanese paper were produced in the studio at home. The first was an attempt at creating a language of the tree by including and hinting at the shapes of the different components of the oak tree within a landscape. I am aware that I have made a strong connection to the heavy gnarled branches of ancient oaks which with their enormous weight bend down to the ground. Also included is the strong symbol shape of the oak tree taken from my smaller ink studies. I feel that a language is evolving using both pictorial and calligraphic imagery. Elements of this first work suggest the traditional landscape themes on Chinese ceramics and scrolls. The painting provides several different narratives e.g. the irregular line at the base of the picture could be a path, a tree, a river?<br />
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Below are some monochrome works by Bernard Piffaretti a French painter who produces 'duality' paintings. I have knowledge of this artist through my earlier research on repetition equals difference and have explored this way of working whilst studying for my Foundation Degree in Applied Arts. </div>
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I wished to see what evolved when using this method within a printing process. The image below was made as a duality work painting direct onto an aluminium plate. Divided in half, using oil printing ink a line was made down the centre and then each stroke alternately repeated on either side. The image was referenced from my an early ink sketch. Strong and bold, ones eye glances from one side to another making comparisons with shapes and marks - an exercise in repetition equals difference - one painting cannot exist without the other using this method. This could be interpreted as nature itself where duplication and replication always present a uniqueness. The composition has evolved in four sections, representing the four seasons?Is the tree form reflected in water? Mark making is very varied. The final image has been presented in a horizontal format showing a centre section from the original painting. Can you find the rabbit/hare within the picture? It is rather like a 'spot the difference' game!</div>
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-33606333131171321612015-02-16T04:58:00.000-08:002015-03-02T13:56:54.834-08:00Ink studies and PrintTutorials are always a mixed bag, extending lines of enquiry both in research and practical application, with each tutor expressing their individual opinions and advice. Mandy Bonnell (Print Tutor) had recommended looking at a book titled 'Of Green Leaf, Bird and Flower'. This is a new publication which charts the journeys of Artists' Books and the Natural World. Mandy has contributed several images and a chapter 'Recording of Nature' in which she writes on the exploration of the book as an Art Form. With many artists contributing written articles that link to their own practice alongside the historical development and presentation of Artists' Books this is both a visual feast as well as providing a wealth of different approaches that artists have used to record and express their perception and interpretation of the natural world. The book has been produced to a very high standard with excellent photography and reproduction.<br />
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Following on from tutorial with Mandy I decided to produce small ink drawings referencing my sketch book as per 'Hommage a Queneau' by Colin Crumplin, an idea which was originally suggested by Angie Cockayne as a method of 'getting to know my object'. Using Somerset off white textured watercolour paper and ink my aim is to produce an initial 10 images of each individual component, i.e. tree, acorn, leaf, bark, flower and oak galls. Once complete I will experiment with presentation, format, placement in order to assess and re evaluate. This will provide an opportunity to look at the images together to assess how they work as one piece. Thought has already been given to cropping, resizing and reproducing images using alternative print approaches, i.e. woodcut, photo etching but realistically I feel that time is a constraint and that focus should be maintained around these ink drawings alongside my more painterly monotypes. I have in mind to perhaps produce an Artist Book using an innovative presentation but must confess to reservations around this concept.<br />
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My attempt at a cubist style image of acorn. Mark making is quite prescriptive and controlled. It is an image that resonates with my aesthetic 'eye' with fine line, dark shapes and overlaying of imagery The varying scale and views all contribute to an interesting composition. I plan to crop this image to form a square shape which will perhaps emphasize and introduce the juxtoposition of two geometric shapes and emphasize the form of the acorn. </div>
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<span style="font-size: small;">A very quick, freely painted image which presents some expressive and beautiful mark making.. I had initially seen it as a failure but on revisiting it proves to have some great qualities, There is a freedom within the mark making, repetition both on vertical and horizontal planes with lines breaking up and different distances apart. It has a quiet perspective with varying proportions of tree form and a good contrast of tonal values. I would like to reproduce this on a larger scale but find spontaneous results a challenge to reproduce!</span></div>
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<span style="font-size: small;">I consider this a successful composition and strong piece of imagery. </span></div>
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-36306211089333653422015-02-07T08:03:00.000-08:002015-02-09T03:27:53.406-08:00Early 'painterly' monotypes<br />
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Whilst researching the history of monoprints and monotypes I came across these very expressive, painterly prints by Frank L. Emanuel (1865-1948). They both capture and present a powerful emotive connection to the landscape, moving away from the figurative to abstraction. <br />
He was a lover of traditional art and very much opposed to modern trends in the art world so these two works stand out from his usual representational landscapes, portraits and interiors. Studying in Paris during the late 19th century he would have been aware of other painters working and experimenting with this approach.<br />
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Edgar Degas exhibited his monotypes in the third Impressionist exhibition of 1877 with several artists becoming interested in this form of art thus giving printmaking a status as a result of the creative and spontaneous use of the media. Many artists of this period adopted and adapted this method of working,- Camille Pissarro, Paul Gaugin, Pierre Bonnard, Pablo Picasso, Chagall, Miro, Dubuffet and Matisse amongst them. A common name for them during this period was 'painted drawings'.<br />
It has been suggested that artists experimenting with this type of printing technique were influenced by the early developments of photography with its black and white contrasts and interplay of positive and negative imagery.<br />
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<a href="http://1.bp.blogspot.com/-Sje-Mveg35g/VNY3DZojyxI/AAAAAAAAAwc/5lDtAxx3ROk/s1600/Frank%2BEmanuel.%2BA%2Blowering%2BAfternoon.%2BMonotype.%2B1920.%2B153%2Bx%2B202mm..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Sje-Mveg35g/VNY3DZojyxI/AAAAAAAAAwc/5lDtAxx3ROk/s1600/Frank%2BEmanuel.%2BA%2Blowering%2BAfternoon.%2BMonotype.%2B1920.%2B153%2Bx%2B202mm..jpg" height="257" width="400" /></a></div>
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'A lowering Afternoon' Monotype 1920 153 x 202mm</div>
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<a href="http://3.bp.blogspot.com/-OQGN3U73hVY/VNY3Ddwhf9I/AAAAAAAAAwY/JyvJ2Z9cbrk/s1600/Frank%2BEmanuel%2B(1865-1948)%2BMoonrise%2Bover%2Bthe%2BSea%2B.%2BUnfinished%2Bmezzotint.%2B154%2Bx%2B201%2Bmm..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-OQGN3U73hVY/VNY3Ddwhf9I/AAAAAAAAAwY/JyvJ2Z9cbrk/s1600/Frank%2BEmanuel%2B(1865-1948)%2BMoonrise%2Bover%2Bthe%2BSea%2B.%2BUnfinished%2Bmezzotint.%2B154%2Bx%2B201%2Bmm..jpg" height="328" width="400" /></a></div>
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'Moonrise over the Sea' Unfinished Mezzotint. 153 x 201 mm.</div>
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-16173538212880060172015-02-04T14:27:00.000-08:002015-02-05T03:22:44.876-08:00Printing at Sion HillIt was an effort again to get everything together for a day's printing. Why? There is no provision to leave equipment and materials on site and it is a case of taking and bringing in everything on each studio visit - it is a chore. Added to the equation today was a lunch time break - a meeting at Dartmouth Avenue. This not only interrupted valuable, creative time in the studio,but also made the day rather disjointed. It was frustrating having to break away and then return, I would suggest that these meetings take place early morning or late afternoon so as not to interfere with 'creative flow'.. <br />
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Choice, choice, choice, Lots of options but decisions on what approach to use always remains a dilemma. Keep it simple. Inked up plate and lifted out a simple line to represent the flowers of the Oak tree. Printed onto rice paper by hand which gave a subtle range of tones. Then took second print onto Japanese paper, passed through etching press. This second print, although not inked up again, gave a greater density of black, yet some areas still remained a little lighter due to my messing about with a brush on the plate .Simple composition with variety of shapes and space.<br />
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<a href="http://4.bp.blogspot.com/-J1RUOa4De0E/VNKSEN7binI/AAAAAAAAAvU/LtWiyGAtFlo/s1600/Oak%2Btrees%2Bon%2Brice%2Bpaper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-J1RUOa4De0E/VNKSEN7binI/AAAAAAAAAvU/LtWiyGAtFlo/s1600/Oak%2Btrees%2Bon%2Brice%2Bpaper.jpg" height="320" width="104" /></a> <a href="http://2.bp.blogspot.com/-MSQGzq3_Adk/VNKSWV8lAXI/AAAAAAAAAvc/uBXMkhzNSv0/s1600/Oak%2Btree%2Bflowers%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-MSQGzq3_Adk/VNKSWV8lAXI/AAAAAAAAAvc/uBXMkhzNSv0/s1600/Oak%2Btree%2Bflowers%2B1.jpg" height="320" width="105" /></a></div>
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The print below was inspired by seeing the wonderful new catkins emerging in late January, one of the earliest signs, alongside snowdrops that Spring is on its way, with the day light hours becoming longer. They were situated against the background of the majestic oak tree and created a wonderful representation of the strength and fragility of nature. Some textures were lost as I accidentally used methylated spirits instead of turps to remove and create texture in various areas. </div>
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The image below is a cropped version of the above presenting a different composition. I remain undecided as to which is the most effective!</div>
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Towards the end of the day with 10 minutes to spare before clearing up an experimental and very quickly worked monoprint had unexpected, but rather pleasing results.This was created by using several techniques of negative and positive monoprinting processes. Taken from an early sketch worked in brush and ink this is an image which I propose to take further and introduce within 'the field' prints. This has presented a more interesting proposition to developing the work. </div>
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Photographed on the table with all its history of marks added another dimension.</div>
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-77530099713274409342015-01-26T14:18:00.002-08:002015-02-16T04:41:45.293-08:00Printing in studio at homeAn afternoon in the studio at home was a bit of a challenge. I am very aware of not having a good stable, firm plate to work on. It has all been rather inconsistent with 'making do' and utilising what material I have to use for use for plates. Acetate was suggested as an alternative and I found it produced some fairly reasonable results. However, I was not happy working with this material, being flimsy and light in weight, liable to move when applying ink. In addition the oil slides and is less firm on this surface. Rooting around in the studio I found some sticky back plastic which I cut to size, making a plate 20cm x 60cm. Working in landscape format this plate was reasonably stable but the surface did not provide adequate resistance when applying the ink. Having now experimented with various plates my favoured material is a firm sheet metal. The ink can be manipulated and pushed around more and it remains secure and stable to work on. I have requested a metal plate from the Print Studio at Sion Hill so hopefully the lovely technician Jane will have found one for me when I go in to print on Wednesday. Today's images can be seen below. Again, I struggled with choice of imagery to work but made the decision to stay with trees and branches. The first image was produced taking two prints and worked from a brush and ink sketch of abstracted oak trees with the branch then being printed on top. The single branch was strong and effective and the background shapes echoed the shapes of trees. It was an unusual composition with lots of space to the right of the tree trunk. By transferring the image to a vertical format another narrative was suggested as a path/journey leading to a tree. This resonated with some text written by Henry David Thoreau (1817 - 1862).<br />
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"I frequently tramped eight or ten miles through the deepest snow to keep an appointment with a beech tree, or a yellow birch, or an old acquaintance among the pines". <br />
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The image below was referenced from a brush and ink sketch which I had previously developed in print. This was a second attempt which I felt was less successful. The ink reacted differently on the plate, there were fewer tonal values and the composition a little weak with trees appearing in a row. I am also having great difficulty in keeping the paper clean and tidy which is very frustrating. The paper I used was also different to that I had printed on previously with one side having a very prominent lined texture. At first glance I perceived this as rather distracting but now feel it is not such a failure and can be seen to add interest and cohesion within the composition. There is significant use of repetition throughout the work. I made two prints, one on the textured side and one on the smooth side.</div>
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Below is the image with top section cropped. I feel it is stronger than the original where the complete trees are represented, but has lost some of the more expressive mark making. </div>
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Reflecting on my previous blog entry showing a geographic field design a new concept has presented itself. I thought this could be extended by creating a shaped mount of a field. This would be placed over the plate before lifting a print, thus producing an image contained within the shape of the field and referencing elements of the geographical landscape of oak trees situated on pastures and farmland. The shape could be designed to include the Ogham symbol for the oak tree indicating where each tree grows. </div>
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Experimented with various papers which I had purchased from Print to re work brush and ink sketches. The mark making appeared quite different, more controlled and the paper buckled. One good result on creased rice paper using square ended pen and ink - I love the way the ink responds to rice paper. I will explore this media further alongside brush and ink work on good quality 300gsm watercolour paper.</div>
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-79800721421185365892015-01-22T14:16:00.002-08:002015-01-22T14:16:55.110-08:00Print Studio/Week 3Following on from tutorial with Angie Cockayne my first priority was to examine the variety of paper for print work that were available to buy from the Print Studio. My focus is to start making some finished work on good quality paper. For today's exercise I chose a lightweight Japanese paper to print on, first cutting a stencil that represented a field adjacent to my home. This diagrammatic approach had been prompted by looking at the Indian artist Zarina Hashmi's work (recommended by Mandy Bonnell). This work was very different in style to previous work which has reflected a more romantic and painterly portrayal of the Oak tree. However, I decided to pursue the concept and perceived that this geometric format could be extended in several ways. Small images referencing the Oak tree components could be added around the edge, either by printing direct or making small paintings which could be pinned on. Alternatively it could be used as an anchor work that related to the original concept which had been generated by my walks in the local fields. The stencil was reasonably well cut and clean, but once again I made the mistake of forgetting to reverse the drawing when printing! Three prints were run through the etching press 1) printed on textured side 2) on the reverse smooth side and a third printed onto a larger piece of paper so as to create more space around edges. The textured side produced a darker, stronger edged print and the smooth side was more muted, resisting the ink more, This softer tone reflected and echoed more with the fragility of the paper.<br />
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I have reservations as to this very geometric format, yet I am drawn to the concept of presenting two different styles together. Links can still be forged with use of monochrome palette, calligraphic mark making and subject - it can be perceived as bringing together of the sciences rather than separating them - reference here to geopoetics in that everything in the world is connected. There is also the possibility of combining the two styles. This could extend the viewers interpretation of imagery on more levels - create more questions? All the symbols represent trees, one references the Celtic Ogham symbol for tree, the coffin shape represents ancient oak trees that were cut down during a dispute with local villagers and the tenant farmer who worked the field. This is an agricultural field that produces several different crops each year and the shape of the field has been dictated by the mature oaks that sit on the perimeter.<br />
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The prints were not entirely clean and would need printing again should they be included at end of year Degree Show. Keeping prints clean is always a challenge.<br />
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Below is an image by Zarina Hashmi - 'The Straight Path' 2011 Woodblock on Paper<br />
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-87376995640906846052015-01-16T14:05:00.000-08:002015-01-16T14:05:02.259-08:00Experimental Ink Painting - Two Chinese ArtistsI have been experimenting with two mediums, ink and print, both of which can be perceived as traditional materials used within Eastern artistic expression. Ink has been used for painting and calligraphy for many centuries. It has provided the most extensive opportunity to create a huge diversity of creative imagery over many centuries. However, the 20th century developed and introduced new media and practices to China and the traditions of ink painting began to be examined and challenged. Experimental ink painting emerged and it is within these realms that I have found several Chinese artists that are of particular interest within my research area. Below are two examples of work by Chinese artists where connections both in concept and imagery have provided links to my area of study. Other experimental ink artists can be referenced in my research file.<br />
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Zhang Jiangun (b1955)<br />
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Nature 1987 (Triptych 175 x 288 cm) combines ink drawing and collage </div>
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Zhang explores he richness of ink and is inspired by Chinese philosophy and aesthetics for inspiration. The image above portrays a recollection of memories of river views in China.</div>
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Duan Jiangun (b1970) has worked predominately with oil on canvas but it is her work that was executed in 2008 that interested me. The image below is one example of a series of monochrome ink pieces worked on flattened cardboard boxes,</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Beautiful Dream 7 2008 </span><br /><br /><br /><div style="text-align: left;">
<span style="font-size: small;">The imagery reflects a postcard like landscape. Using a flat silhouette emphasises the picture surface as does the recycled cardboard. Cliched imagery appears stamped as labels on commercial goods. This presents different levels of interpretation - traditional motifs, recycled material plus the vulgarisation of spiritual values linked to a Chinese cultural heritage. Duan uses the surface, sometimes torn, creased as part of the composition and like Robert Rauchenburg offered comment on the cheap materialism of modern 'life'. The embellishment of packaging but without its contents brings attention to the superficial attributes of western culture. </span></div>
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<span style="font-size: small;">This is a concept that I could use to present my own imagery,using ink/print. Creating beautiful monochrome imagery to decorate empty brown cardboard boxes. This would present on various levels of communication - recycling and environment, card made from wood, cycle of nature, spiritual emptiness of consumerism? Nature is free/nature can be a commercial enterprise/nature has been devalued/threatened/manipulated/logo/label promoting nature/empty/empty spaces/take a journey,etc.</span><span style="font-size: small;"> All of these points make connections to nature whilst utilising the materiality to emphasise and provide cross cultural comparisons. The aim and objective being to engage the viewer and create an awareness and reconsideration of the value and enrichment that the appreciation and experience of nature can provide.</span></div>
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-39398894571164104472015-01-15T14:40:00.001-08:002015-01-15T14:40:43.114-08:00Printing -Monotypes II<div class="separator" style="clear: both; text-align: center;">
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Another full day in the Print Studio at Sion Hill. On this occasion I had prepared some preliminary sketches for reference. As there was very little choice in plate size I decided to use acetate as a plate to work on and cut this to size 8" x 18" to be used in a horizontal or vertical format. The acetate responded entirely differently to the zinc plate when applying the oil printing ink with it sliding on the surface. The ink was rather thick and claggy so I added linseed oil to thin - rather too much. The consequence was on running through the press some ink spread beyond the original line on the first print. I perceive the tree as placed too centrally and the print rather weak in density and variation of line. It did however, portray the sense of water below the surface and being absorbed into the roots. The Celtic Ogham Oak Divination symbol was introduced within the root system but I had forgotten that it would be reversed in the printing process! This first print was laboured and again worked to the edges - the root system also referenced peacock plumage! </div>
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<a href="http://1.bp.blogspot.com/-2KEOTq3gFJo/VLguWjZU5NI/AAAAAAAAAsw/Bof9KLZd8Dg/s1600/Withered%2BOak%2Bwith%2Broot%2Bsystem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-2KEOTq3gFJo/VLguWjZU5NI/AAAAAAAAAsw/Bof9KLZd8Dg/s1600/Withered%2BOak%2Bwith%2Broot%2Bsystem.jpg" height="400" width="168" /></a></div>
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The image below was based on a combination of two previous sketches. I enjoyed the spontaneity and expressive mark making techniques employed. Some lovely textures but felt that I should have created more pure space - again I filled the whole page and perhaps provided too much information.<br />
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<a href="http://4.bp.blogspot.com/-Y-YA6pKo4Ao/VLgtqxR1VuI/AAAAAAAAAr8/Zyp4R4o6wDQ/s1600/Trees%2BPrint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Y-YA6pKo4Ao/VLgtqxR1VuI/AAAAAAAAAr8/Zyp4R4o6wDQ/s1600/Trees%2BPrint.jpg" height="297" width="640" /></a></div>
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Taking a section and rotating the image presented a more dynamic and interesting composition as can be seen below. There are strong contrasts both in tone and mark making with an effective use of repetitive shapes and lines.<br />
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<a href="http://3.bp.blogspot.com/-v4hT5VRRX70/VLgtYOF2_UI/AAAAAAAAArE/6RCjxL-0Djc/s1600/Section%2Bof%2BTrees%2BPrint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="http://4.bp.blogspot.com/-oJFU73pzey8/VLguVC4gyAI/AAAAAAAAAsk/qXPyDWzcUFo/s1600/Section%2Bof%2BTrees%2BPrint%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-oJFU73pzey8/VLguVC4gyAI/AAAAAAAAAsk/qXPyDWzcUFo/s1600/Section%2Bof%2BTrees%2BPrint%2B1.jpg" height="320" width="320" /></a></div>
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The following image referenced a photograph/sketch of the trunk of a tree which had become hollow Water had collected and then overflowed down the trunk, staining it in dark streaks. The image was successful in its variety of tones and marks but then presented itself as referencing flowers!</div>
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<a href="http://2.bp.blogspot.com/-Lc44KgRh0ic/VLgtYstKSeI/AAAAAAAAArI/BSQgVD_7xMU/s1600/Tree%2BTrunk%2Bwith%2Bwater%2Bstain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Lc44KgRh0ic/VLgtYstKSeI/AAAAAAAAArI/BSQgVD_7xMU/s1600/Tree%2BTrunk%2Bwith%2Bwater%2Bstain.jpg" height="400" width="166" /></a></div>
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The two sections taken from the above image, once again, provide more engaging and thought provoking imagery in particular the right hand image which offers an effective use of varying shapes, space and contrast. This is more what I am aiming for.</div>
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<a href="http://4.bp.blogspot.com/-mcdMtxgC39o/VLguTPcGrVI/AAAAAAAAAsc/6SwredIoJps/s1600/Section%2Bof%2BTree%2BTrunk%2BPrint.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-mcdMtxgC39o/VLguTPcGrVI/AAAAAAAAAsc/6SwredIoJps/s1600/Section%2Bof%2BTree%2BTrunk%2BPrint.jpg" height="200" width="200" /></a></div>
<a href="http://3.bp.blogspot.com/-tJycwlCyPGU/VLgtlYf1mFI/AAAAAAAAAro/o52zIBgPxdI/s1600/Section%2Bof%2BTree%2BTrunk%2B1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="http://3.bp.blogspot.com/-tJycwlCyPGU/VLgtlYf1mFI/AAAAAAAAAro/o52zIBgPxdI/s1600/Section%2Bof%2BTree%2BTrunk%2B1.jpg" height="200" width="200" /></a><br />
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The image below was created very quickly with the minimum of effort. One brush was used in a swirling method and then ink lifted out and the Ogham symbol introduced (reversed!)<br />
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Less is more and I felt a stronger response to these images.</div>
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<a href="https://3.bp.blogspot.com/-463VtZLWWgc/VLguhsALvzI/AAAAAAAAAs8/TgQNLRTRBi8/s1600/Crest%2Bof%2BOak%2BTree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-463VtZLWWgc/VLguhsALvzI/AAAAAAAAAs8/TgQNLRTRBi8/s1600/Crest%2Bof%2BOak%2BTree.jpg" height="264" width="640" /></a></div>
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In this instance I felt the complete image was a more effective composition with the work not going to every edge.</div>
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Referencing a brush and ink sketch of oak flowers and leaves I produced a quick and final image of the day. The complete plate was inked up and then utilizing various methods areas of ink were removed to create this rather representational, decorative and romantic image. (Turpentine creates some very beautiful textures). Again, I feel there is too much information and I have worked to whole of the surface - this is an approach that appears to be rather entrenched and I feel needs addressing. It is a slow process getting to know materials and how they react on different surfaces. There is a long way to go, lots more practice and experimenting to producing work that has an integrity and resonates with my aims and objectives. Often, I feel that I am not sure what it is I am wanting to produce and it is only be continuing to engage in the process that it will be eventually revealed. The Print Studio offers a huge variety of printing techniques and I am asking questions as to whether other processes may offer more appropriate and conducive approaches to making work.</div>
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<a href="http://2.bp.blogspot.com/-1iwHyG34CQ0/VLguJBwzoRI/AAAAAAAAAsM/68RW7yS4L0M/s1600/Oak%2BTree%2BFlowers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://2.bp.blogspot.com/-1iwHyG34CQ0/VLguJBwzoRI/AAAAAAAAAsM/68RW7yS4L0M/s1600/Oak%2BTree%2BFlowers.jpg" height="640" width="288" /></a></div>
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Below is a sections showing the effect of turpentine splashed onto the ink.</div>
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<a href="http://4.bp.blogspot.com/-HxOX1OHQZE4/VLgtk6rUcHI/AAAAAAAAArk/J-QZQefGebE/s1600/Section%2Bof%2BOak%2BTree%2BFlowers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-HxOX1OHQZE4/VLgtk6rUcHI/AAAAAAAAArk/J-QZQefGebE/s1600/Section%2Bof%2BOak%2BTree%2BFlowers.jpg" height="320" width="320" /></a></div>
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It's been a long time since I have been in the studio and I was aware of a distinct lack of confidence in my approach to creating some 'finished' work. This was my first experience in the print studio at Sion Hill and it was challenging, not only on an emotional level but also on a practical level. In the past I have worked with water based printing ink - this studio uses only oil based inks so this has set a precedence and I needed to explore the media and how it responds to painting direct onto a plate and passing through etching press as well as getting to know the environment.</div>
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In preparation I had experimented in my studio at home with some hand printed monotypes using oil paint, linseed oil and turps. With no particular referencing to my sketches three experimental images were developed working direct onto a long horizontal perspex printing plate. This format echoed the cross cultural referencing of my proposal whilst allowing me to be expressive with mark making by painting directly onto the plate. These were then hand printed onto rice paper. The paper responded well to the mark making. The images progressively loosened up and were less detailed. In the first image everything was there - representational and pictorial. The second image has a softer and more ephemeral feeling with the mark making on the right hand side being particularly beautiful and detailed. This composition created more interest because of the more airy space on the left - there was overall a greater variety of mark making, both in density/sharpness and contrast with the composition being understated. The last image was generated by 'cleaning up process' - using remnants of oil on palette and linseed oil and playing with them on the plate. Tonal values were similar all over and although I responded to the abstract composition I felt it needed developing with darker areas. Overall, it was an interesting exercise in getting to know materials using a figurative approach. I would like to pare down and simplify imagery but have reservations in my ability to accomplish such an outcome.</div>
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<a href="http://1.bp.blogspot.com/-gAGMyj9zui8/VK77i0gBsyI/AAAAAAAAAqE/u0TqDPwlcI8/s1600/Oak%2BTrees%2Bnear%2BWater.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-gAGMyj9zui8/VK77i0gBsyI/AAAAAAAAAqE/u0TqDPwlcI8/s1600/Oak%2BTrees%2Bnear%2BWater.jpg" height="206" width="640" /></a></div>
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<a href="http://1.bp.blogspot.com/-Pio-PFQoM48/VK77kunPgVI/AAAAAAAAAqM/5iRLFOZAobE/s1600/Withered%2BOak%2BTree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Pio-PFQoM48/VK77kunPgVI/AAAAAAAAAqM/5iRLFOZAobE/s1600/Withered%2BOak%2BTree.jpg" height="192" width="640" /></a></div>
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<a href="http://1.bp.blogspot.com/-hSXyn915gXc/VK77ZpotyZI/AAAAAAAAApk/gPyiwNapCJI/s1600/Experimiental%2Boil%2Bpaint%2Band%2Blinseed%2Boil.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-hSXyn915gXc/VK77ZpotyZI/AAAAAAAAApk/gPyiwNapCJI/s1600/Experimiental%2Boil%2Bpaint%2Band%2Blinseed%2Boil.jpg" height="202" width="640" /></a></div>
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The images below, presented in order of creation were made with oil painted direct onto zinc plate and passed through etching press. Keeping to a horizontal format they were referenced from my brush and ink sketches. I was able to retain a dense black which echoed the Sennelier black Indian ink used in the sketches. Some of the more detailed brush marks were lost which could be the result of running through the press on dry 150gsm cartridge off white cartridge paper. I need perhaps to print on damp, heavier paper for more detailed results. <br />
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<a href="http://2.bp.blogspot.com/-sOHqhFQ5G3o/VK77d2NGfTI/AAAAAAAAAp0/57hTEbBzVjM/s1600/Lightening%2BOak%2BTree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-sOHqhFQ5G3o/VK77d2NGfTI/AAAAAAAAAp0/57hTEbBzVjM/s1600/Lightening%2BOak%2BTree.jpg" height="331" width="640" /></a></div>
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The Ancient Lightening Oak</div>
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The following image was worked from imagination, rather decorative but communicates on several levels both in narrative and formal qualities. Could perhaps work better if not quite so central.</div>
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<a href="http://1.bp.blogspot.com/-cZxhDJf8t-Y/VK77a2eZTDI/AAAAAAAAAps/kfDsBIadYxs/s1600/Duality%2BOak%2BTree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-cZxhDJf8t-Y/VK77a2eZTDI/AAAAAAAAAps/kfDsBIadYxs/s1600/Duality%2BOak%2BTree.jpg" height="440" width="640" /></a></div>
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Resilience</div>
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The following image has been referenced from one of my brush and ink sketch. This composition with its simple shapes also provide 'a journey' for the viewer. Again, there is a reservation in that the composition is rather central and has been reversed by the printing process.<br />
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<a href="http://2.bp.blogspot.com/-AcRRKic1h9I/VK77YaHC3kI/AAAAAAAAApc/LY5Y319UAUQ/s1600/Abstracted%2BOak%2BTrees.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-AcRRKic1h9I/VK77YaHC3kI/AAAAAAAAApc/LY5Y319UAUQ/s1600/Abstracted%2BOak%2BTrees.jpg" height="312" width="640" /></a></div>
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This final work became overworked with heavy use of turps to lighten and block out areas. Lacking in contrast but useful to see how different effects of brush, ink and turps can produce expressive mark making/patterns.<br />
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<a href="http://3.bp.blogspot.com/-Z2nCRySW-iM/VK77gA0kxeI/AAAAAAAAAp8/uXerzyzBHD0/s1600/Rows%2Bof%2BOak%2BTrees%2Bin%2BLandscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Z2nCRySW-iM/VK77gA0kxeI/AAAAAAAAAp8/uXerzyzBHD0/s1600/Rows%2Bof%2BOak%2BTrees%2Bin%2BLandscape.jpg" height="640" width="305" /></a></div>
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Boundaries</div>
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Outcome: There is considerable further exploration to be done in regard to materials and printing process. Dilemma as usual is to choose which outcome to work towards - art book (size, format, studies, text)/fine art images that could be transferred onto 3d objects as per proposal? Also a question has arisen as to choice of medium. At present I am recreating brush and ink sketches in print form! Why? Answer, both these media are directly linked to Eastern traditional materials used in making art. I remind myself that they are two entirely different approaches which both offer a unique and dynamic outcome.</div>
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Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-79137993557294833672015-01-05T06:20:00.001-08:002015-01-18T08:09:27.870-08:00HaikuHaving not had an opportunity to get back into the studio to start on some more serious practical work I have at least found time to be creative with words. I have been composing a few Haiku in direct response to my walks in the countryside during November and December. I have used a traditional and common format of 5/7/5 syllables.<br />
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Strong high chill still tree<br />
Fluttering blacks weaving<br />
One buttercup glimpsed<br />
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Misty milk half moon<br />
Crazy white lined ice puddles<br />
Low dazzling sun<br />
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Milky ice furrows<br />
Tread white line crazy paving<br />
Birds and water sing<br />
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The two below were in response to the first snow that fell over the hills surrounding the city of Bath<br />
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Matisse random white<br />
Paper cuts below black lace<br />
Fan horizon line<br />
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White paper cut shapes<br />
Icing sugar furrowed fields<br />
Black fan horizon<br />
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The haiku below were created some time ago in response to some small ink drawings. Presented in book form of 10cm x 10cm exploring the juxtaposition of images and words. A Japanese aesthetic was referenced for book cover and end papers with designs on cloth and paper using a callagraphic line design. This is an approach that I may experiment and develop further within my practice. Responding to images with words adds yet another dimension embracing and extending our sensibility to a particular work.<br />
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White Mountain</div>
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High mighty serene</div>
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Dark storm descending above</div>
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Start straight surface marks</div>
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Terraced Fields</div>
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Orderly layers</div>
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Planting nurturing living</div>
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Sun rain life man's marks</div>
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Winding Path</div>
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Footsteps light soft hard</div>
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Intervention on land</div>
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Up down straight curved marks</div>
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These first tentative steps into creating haiku were in response to nature and man's making of marks on the land. I do not feel confident in how well they portray a feeling. These are more about a visual response communicated in words. The response is to the marks of an abstract image, composing and using words which give a more literal and representational understanding . In comparison my recent poems hopefully conjure up a more emotional feeling and atmosphere that can be related to an experience. </div>
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<br />Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0tag:blogger.com,1999:blog-7367982120125154673.post-14290645066243850832014-12-01T14:14:00.000-08:002014-12-01T16:09:58.892-08:00Responding to tutorial with Brendan BurnsRelaxed tutorial with Brendan Burns who is a painter. I am having doubts whether I am a painter? Much interaction when viewing my experimental images using paper and ink which showed a variety of approaches - acknowledgement from Brendan that I am a painter! Suggestions that seemed to resonate with me were use of materials. Working on what can be perceived as more 'Western' rigid surfaces were discussed plus my rather persistent habit of working up to an edge of paper, filling the space. Acknowledging comments made re materials I set aside a day for experimenting with more translucent fabrics and found some garden insulating material which is semi-transparent with a fibrous content. This material was light and airy, more flexible and could provide more movement as well as reflecting more traditional Eastern use of materials. Working in the kitchen with this material I used wax resist, tie dying methods to create ground I developed oak leaf forms by melting fabric over heat and applying additional ink in random areas ink as well as cutting and burning into fabric. I found I could also create texture by scrunching material up and placing over direct heat. There were some interesting forms, overlapping of material, melted areas and burn holes all relating very much to decay and the dying process of leaves in autumn. The cut and melted fabric echoed the bark of the tree but in a soft, rather romantic way. The big question was WHY? My answer was the focus on how the material would respond and I felt that I was looking towards creating a layer that could be used to work over with another media. The process was more about the interaction of various elements and resonated more with manipulation of fabric within textile design and I reflected on Sue Bradley's lecture and felt this had influenced me alongside my love of textiles. At present I have no intentions of taking this forward in its present form.<br />
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Textures created were dependant on the construct of the material which appeared mesh like, highly inflammable and responded very quickly to heat. The process was exciting but I feel is too far outside my 'remit' - it is a separate journey. However, I have thoughts of using larger scale photocopies of this work as a background and creating layers using different media which respond to my initial proposal.</div>
.Anonymoushttp://www.blogger.com/profile/01323510246073439885noreply@blogger.com0