Getting to know my object continued

Eventually found time to continue 'getting to know my object'.  Having been disappointed with how I had presented the first sketches in my sketch book decided to work on good quality watercolour paper for the second 'batch'.  These could then be mounted in the sketch book and be removed easily in order to extend and develop further if required.  They could also be mounted with space around each, thus giving them each a more visual identity.  I did not adhere so religiously to using Colin Crumplins 'Hommage a Queneau' images as reference.  Continuing working with ink only I produced a considerable number of sketches of further components of the oak tree, some of which are shown below.

The spontaneity and simplicity of this image really captures my imagination

This image was worked over and created using layers - very decorative!

I felt that I had created a diverse and interesting range of imagery using one media.  This exercise could be extended much further.  Perhaps I could produce a pamphlet book a la Colin Crumplin.  So far I have made approx. 36 sketches, so only another 64 to go! It has been a good starting point to this individual area of study.  Now I need to get in the studio and start the process and see where it leads - another new journey into the unknown.

Below are three experimental sketches using two colours of ink.  Created and presented horizontally I feel they evoke the atmosphere of the oak in Autumn when leaves are changing in colour and falling to the ground. These were created using various methods, blind monoprint, line drawing and overlaying of washes. Quite small in scale I feel they could be developed and extended on a large scale.

A couple of further sketches using ink.

 

This was an impromptu moving, accidental photograph of the sketch below  - interesting result.

Getting to know my object

Now, a few weeks in to term and have at last found time to spend in the studio getting creative.  The proposal has been revised and completed. Had a very inspiring tutorial with Angie Cockayne who is just so inspirational and encouraging - its a process in itself! I expressed that I would like to take approach of 'getting to know the object' - the English Oak Quercus Robur, wanting to draw from observation and photographs so as to get to grips with shape and form.  This is an approach I have used before during my Foundation Degree when I developing a project around the silver bracelet my mum had given me.  Angie suggested I reference Colin Crumplin's 'Hommage a Queneau' a small, concise book,  where using pencil only he draws different interpretations of a cup to examine style and meaning.  All are drawn on 12" square paper. This references Raymond Queneau who told the same anecdote in ninety nine different ways and Crumplin's book contains 20 selected images of a cup with an inventory of a 100 drawings which are displayed at the end of the publication. I do not intend to do so many images and will execute all drawings in ink.  This decision has been made so as to align with my proposal of utilizing traditional Eastern media for creating imagery and keep me from wandering into other expressive media - DISCIPLINE and DEFINING my practice

Below are some of the oak leaf images.

Ink drawing using cedar bark brush

Transfer print direct from leaf

Cross hatch drawing

Stippled stencil

Wax resits method

Wet on wet method

Varigated wooden comb

Bark on tree trunk

Wet on wet echoing dimensions of tree

Tree and branch formation using brush and straight edged pen

This is a close up of one of the oak leaf images using combination of ink on wet paper and then a wet wash on left hand side of image. I love the folds on the left.

I was disappointed with my planning when creating images in sketch book, placing four on one page creates confusion.  It would have been better to have isolated each image on a separate piece of paper. Also, placing images back to back on sheets of paper was a mistake should I wish to develop individual images in a different way, i.e. cutting and reassembling.  Lesson learnt.  Having now isolated them in photographic presentation has heightened the different approaches and each now stands in its own space without interference and detraction.  I am looking forward to exploring further components using the same media - just wait for the acorns, the whole tree and perhaps the root system!

First steps back into practical creativity

Where to begin? The Oak Tree, my chosen subject to investigate.  Such a dominant tree in the English landscape and something which I have been very aware of when I am out walking in the fields surrounding the village where I live.

I chose a significant sized oak tree with a circumference of 3.2m.  The tree was located directly in the field directly opposite my house.  Armed with rucksack containing roll of lining paper, graphite stick, drawing pins I battled with a high wind to secure the paper round the circumference of the tree.

I then worked my way around the tree, using a graphite stick making a frottage from the rough surface of the trunk of the tree which also was host to an ivy at one point.  This created a variation in the mark making.

A few days later, using the same tree, the exercise was repeated using a wax candle to make the frottage. This was then taken back to the studio where a wash of ink was brushed over the entire image with the wax then being removed with a heated iron.  

Close up of wax resist frottage presented horizontally

The fun then began with concepts of presenting the images in a studio environment.  There was a great contrast with the light, almost airy marks created using graphite stick and the wax resist which was dark and was a more realistic representation of the oak tree trunk bark.

            

Interesting to perceive how work interpreted in such a different way when mark making presented vertically and then horizontally.  Connecting to the ground firmly when cylindrical rolls placed upright and taking the form of 3d ceramic containers/vases.  Whereas the work when pinned high on the wall cascaded down and gently rolled onto the floor creating a more transient movement.

   

     

Early stages in the project so just feeling my way and using whatever is at hand to get some marks on a surface that relate to the subject. Below are a few experiments using art application on Ipad, generated from my photographs. Two created using layers and the third freehand.

                                   

First attempts at brush and ink referencing photographs, cropped and presented horizontally.

Its has been a long time away from the studio and I am eager to continue with this investigation. Creative time is at present hard to find which can be frustrating when I have so many ideas buzzing around in my head. Trying hard to apply my ACT approach and be mindful.

Final and Fifth Year of Study!!

Yes, this is the final and fifth year towards completing my BA (hons) in Creative Arts.  One more module - Individual Practice/Self Directed Study.  The time has come to get practically creative again.  It's been a long time out of the studio consequently that first step into the studio is a wee bit daunting.   

No change in that I have had many ideas in relation to this module and it has been challenging to hone in and get my hooks into one concept.

Concepts considered:  Following on from my rather playful dance videos that I often make whilst on holiday to entertain my husband John I could expand this and create dances that respond to different natural environments.

Jane Eaton Drawing and Dancing (Vela Luka, Croatia. The Bell Tower).

Being a practitioner of Tai Chi I thought of using the physical sequences that are so connected to nature, energy etc. - drawing the body gestures on a human scale using line. Here again repetition is a constant in Tai Chi.  This could be approached with support on a vertical or in a horizontal position. I was particularly inspired by Trisha Brown drawings (dance choreographer and visual artist) in relation to both these concepts.



Trisha Brown Drawing/Performance

I am very interested in using this method to create work.

Tony Orricco drawing using his whole body - very interesting approach where whole body is connected to the ground.  A very physical and quite exhausting way of making work - but great way of making marks.

It is very important that the study area reflects my own personal essence and following on from my previous study modules I have developed an interest in making work that connects to the ground. This idea has been generated by my continuing enquiry and research into Japanese culture, in particular to Zen Buddhism/Taoism which has such a strong influence within Japanese and East Asian cultural arts.  I wish to engage with the horizontal approach to making work, using repetition as a discipline generating and emphasising our contact with reality. I also wish to explore presenting work that physically connects to the ground and could be multi-functional both outside and inside. This approach is very different to the Western model of art, where elevation/the vertical/status appear to be so prevalent and dominant.

"The arts of Zen are not intended for utilitarian purposes or for purely aesthetic enjoyment, but are meant to train the mind, indeed, to bring it in contact with ultimate reality".  D. T. SUZUKI

 
Inspired by the natural environment surrounding my village in Wiltshire, a place where I walk with my dog every day I have made a direct connection with the great oaks which are dominant both in their stature and their numbers within the area.  They will provide the subject for research and exploration within this module.

The English oak is indigenous to the UK growing naturally after the ice age and not planted by humans.  'The tree of life' - rooted so firmly to the earth, tall, strong, broad, flexible, encompassing, durable, dense, provider, replenishing, cyclical.  Its components express such a variety of textures, contours and has many metaphorical associations with humans. The oak is also significant as an emblem/symbol associated with British identity.  In addition, many other connections, e.g. myths and legends, paganism etc.  I perceive it to be a great stimulus for creativity.

Working with brush and ink, print and oil on various supports, monochromatic experimental and exploratory images will be developed. 

My aim is to develop individual pieces of work which can be further extended and utilized/transposed onto other materials and included as a component within a practical application.

Book Reference: The Zen Art Book  The Art of Enlightenment by Stephen Addiss & John Daido Loori. (Adapted from The Zen Art Box Shambhala Publications 2007)

Examples of contemporary abstract ink and brush from various internet sources

Creative Project - more images

A few more images from the project.  Some drawn with right hand, some with left hand, each one is quite different, the subject remains the same, but the results and mark making continue to vary with each drawing.  All are created within a prescribed number of parameters. i.e. white cartridge paper 130gsm A3. Carbon pencil 6b.  Line only and within a designated time limit which reduces/increases week by week from 45 minutes down to 1 minute. 

(I must get rid of that irritating yellow date text on each image.  Need to look in the cameral manual to find out how to do it.  I am such a dinosaur when it comes to modern technology). Result, with help from my son Matt is has been done.  Application is date stamp.

Each image has a data sheet which is written up directly after drawing is completed. This has proved to be very time consuming and often very challenging to complete.  Below is a sample of the text that has been written for Image 2.

Date and time of day: 20th November 2013 11.35 - 11.40 a.m.

Subject:  Life size self portrait

Medium:  Carbon pencil 6b

Drawn with right hand/left hand. Line only on white cartridge paper 130gsm. Light from right, seated, looking direct into mirror.

Emotional state of mind:  Bright and positive, light has improved.

Thoughts:  Another creative project drawing session is completed.  Coffee time and then a few hours tackling dissertation.  Time management good today and there have been no unexpected/interruptions.  Aware that I have continuous neck strain.

Critique and Evaluation:  Predominantly continuous line in minimum of sections.  Started with guideline marks, quick glances at reflection and drawing quite rapidly. There is a soft texture on all line, which indicates less pressure.  I like the overall shape and once again I have made the recurrent decision of drawing hair and eye! It is compulsory.

It is 'leafy', organic type of depiction, that's me identifying certain shapes with leaves, cracks and crevices in rocks, etc.

      Image 2