Recently I have been going to offsite show exhibitions at the Hart Lane Studio’s, London College Of Communication and the Memorial community church (which displays over 40 students works from Camberwell 1st year painting). By going to these exhibitions it has influenced me into other forms of materials and processes I could use within the development of my own work. At the wicked not to care? exhibition at Hart Studio’s I really enjoyed the way that the artwork was presented within the warehouse. In a way it gave a sense of old vs new and how they interact with each other. What I have learnt about the materials and processes that the students from Chelsea BA first years have used is the way they have worked with both simple and complex ideas which work so well when looking around the warehouse. Furthermore when looking around the Hart Lane Studios it allowed me to see how the different type of artworks from the idea of paintings, film making, sculptures interacted with each other. In this way that allowed me to see the different decisions that were made into the way the artworks were set out and which ones connected more towards another piece of work.
In addition when visiting the exhibition at LCC I really loved how it liked to the idea of political conditions and the way the students responded to it within different materials and processes such as tearing, working on large scales, creating 2D and 3D sculptures, film making etc. When looking around at the different pieces of work it was great seeing the interlinks between different pieces and seeing how they respond to one another. Both the Hart Lane Studio’s and the LCC exhibition created a very warming environment when going through each section of the exhibition. Furthermore when going to the Long Live The New Flesh exhibition at the memorial community church in Beckton it also created a very friendly environment. I definitely enjoyed the way that the different pieces of work were set out. The main things that stood out with all of these exhibitions, was the vibrancy of the colours, the way things were reconstructed and constructed, the relationship between the person and the object. When having a re-look over the exhibitions it has allowed me to ask myself more questions about my work such as:-
What relationships does my work have with other people’s work?
How simple or how complex would I like my work to be?
In what ways would I like to link two different materials and processes together?
What types of scales would I like to use for my next piece?
What type of environment would I like my work to be placed in and why I have I chosen to place it there.
Here are some photos from “Is It Wicked Not to Care exhibition” 27/04/15. By Louis Judkins, Anndy Allen, Ellie Pennick, Sarah Lynch-Jones and Emma Hart
Here are photos from the LCC exhibition
Here are photos for the exhibition by Camberwell students called “Long Live The New Flesh”
Furthermore I also visited the ‘Unwritten Thoughts’ exhibition by Lisa, Robin and Alisha and the ‘Seize Something’ exhibition by Jack, Nelson, Zachery and Billy. By going to these two exhibitions it encouraged me to see how the different environments interacted with their works and comparing/ contrasting the safehouse (old victorian house) and the Harrow Arts Centre. Also by going around each section of the exhibitions it allowed me to see the narratives and meaning’s that were created within each piece and see how they linked to the titles. In addition it was great talking to the Chelsea BA Fine Art students (first years) because it allowed me to gain a better understanding of the works. Many questions came up such as:-
What inspired you to create this work?
How did you come up with these ideas?
How did the developments of your work take place?
What types of problems did you encounter when creating the pieces?
How would you develop the work further?
Here are images from the ‘Unwritten Thoughts’ exhibition at the Harrow Arts Centre.
Here are images from the ‘Seize Something’ exhibition (Safehouse)
It was really fun doing this workshop at the National Portrait Gallery because animation is something that I haven’t looked much into before so I wanted to see and have a better understanding of how animation is created. This has allowed me to develop my work further because by looking at the Georgian Collection at the Archive. The collection definitely inspired me because of the ways the artists created different forms of drawings, paintings, animations, fashion styles etc to show how the idea of animation could be developed further. Having worked within different techniques of animation which involved the use of drawing with light. This meant using glow sticks and timers which lead to drawing around people using light allowed us to see how we could create different scenes involving the use of light and seeing how they connected to one another. Furthermore by making a range of decisions into how we wanted to develop our scenes of illustration and animation allows us to look deeper into what kinds of ideas we wanted to show towards the audience . Also by working in a range of groups allowed us to express our ideas more widely towards other members of the group.
Furthermore I really enjoyed making filp- books because it allowed us to see how we could experiment with the idea of movement and seeing in what ways we wanted to develop our animated characters further. These materials and processes have allowed me to develop my artwork further because it has allowed me to broaden my mind further into how would I like to develop the idea of movement through animation whether it’s in a video, using within the idea of drawing with light or using acetate with the program called dragon frame. In my view by using the program called dragon frame it allowed me to explore more into how quick or how slow I wanted the animation to be. In my opinion by using this material and process it has allowed me to make a range of decisions into how would I like to structure the animated video, how long would I want it to be and what would the narrative be. I would also question myself with other questions such as:
What connections or responses would the animated video make towards the audience?
What would be the meaning of the animation that I have created ?
How long would I like the animation to be ?
How spontaneous would I like the animation to be?
What would the animation represent?
How and in what way would I like the animation connect with the idea of the Heinz Archive and the Georgian Collection?
What colours would I like to use to hand draw the animation?
Would I like to make the animation simple or complex?
This is a photo of myself drawing some of the hand drawn animations
These are some of the animated hand drawn videos that I made for the easter project (drawn in a frame workshop)
Recently visited the kensington palace area and it’s gardens which I found very peaceful and relaxing. Having visited a new area it allowed me to expand my mind more and not feeling restricted inside. In my view I felt that the visit to the palace and the gardens was very inspiring and exciting to go too. This is because by entering the palace it allowed me to understand the history of what happened within the palace. This experience also helped me to see how it was the home of members of the royal family since 1689. By going around different areas of the palace it helped to see how the palace is divided into two areas- a private wing where the members of the royal had their homes and the historic state apartments. These rooms contained the individual displays which revealed many stories of the palace.
This tour of the palace has helped me to develop my ideas for my work because it has allowed me to focus on both the past and the present and see in what ways they would work together. Furthermore it allowed me to look further into the different materials and processes that were used within the paintings and tapestries. Also the palace demonstrated to me that the different areas were created in a certain way that would fit a member of the royal family for example, King George II, George I, Queen Anne, Queen Mary, Queen Victoria and Queen Mary II. In my view, when looking deeper into the paintings it allowed me to see how the different textures and surfaces combined well together to allow the paintings to respond to each other in such a way that would compel the audience to look at it. Furthermore within using the contextual research provided from the exhibition called ‘Fashion Rules’ helped me to see what types of garments where used for the members of the royal family at the time and for what occasion they would wear it for.
By visiting the exhibition over the weekend, it allowed me to come up with questions such as:
In what ways were the artists inspired to create garments like this?
What decisions did the artists and designers come up with at the time?
How did the artists and designers resolve any issues that came across whilst they were creating the garments and paintings?
What did the artists and designers learn from the materials and processes they used?
How did the members of the royal family feel when they were painted?
What other hobbies did the members of the royal family have at the time when they were staying in the Kensington Palace?
What were the responses of the members of the royal family towards the paintings that were created at the time?
Did they feel any pleasure when looking at the paintings/ the transformation of the Kensington Palace?
In what ways did the members of the royal family feel connected with the Kensington Palace?
What types of theories came up towards the royal family at the time?
Here are some photos from my experience at the Kensington Palace
I have chosen to change my idea for the offsite show because something wasn’t working with the other experimentations that I have recently created. I’ve decided to move from the idea of figuration and focus more on surfaces and textures and look at the idea of movement within this. I have been looking at a variety of different artists who deal with the idea of textures such as Amish Kapoor, Sterling Ruby, Matthew Smith, Richard Diebenkorn, Gerhard Richard and see in what ways they deal with the idea of surface and texture. Recently I have been exploring the roughness and smoothness of textures and surfaces and see in what way they could correspond with each other. I have chosen also to play around more with the materials and processes that I use for example, foil paper, cardboard, ripping cardboard, crushing foil paper to see how the structure suddenly transforms itself into something out of the ordinary.
I have been questioning myself lately on the previous experimentations that I have done to do with the idea of figuration and seeing in what ways I could create something out of the ordinary wit the use of different textures and surfaces. I have been asking myself questions such as:
In what ways would I like to rip the cardboard and how would I like to transform it into something unusual?
How many materials would I like to use and why?
Do I want to make it a simple piece or a complex piece?
Would I like to overlap or combine different textures and surfaces together and why?
How would I like to show the sense of freeness within the piece and how could this be done?
By asking myself these questions it has allowed me to not follow a specific structure which to me would be quite restricted. This is because I felt like within my recent pieces I tended to show the idea of restriction quite a lot and always seemed to pressurise and judge myself a bit too much do to the ways that I created the piece. Within these new developments that I have recently created I have chosen to introduce ideas such as the sense of chaos, destruction, manipulation and freeness and see how the piece can transform itself in this way. Here are some images of the recent ideas that I have come up with. These ideas involve the materials such as, foil paper, cardboard, ripped and areas taken apart on an A2 canvas.
Furthermore I have recently visited the exhibition at the OXO tower gallery based on the Jamaican hidden histories exhibition which was quite fascinating due to looking at the histories which involved the sense of independence. To me this inspired me towards my current development of my work which I would like to have the sense of independence going on within the work. This means allowing the work to create its own role, it’s own structure and it’s own mind set. Here are some images from the exhibition.
During the second day of the easter project at the Whitechapel gallery we developed or pieces further and worked further with both the styles of Ghluam Mohammed and Shimul Saha. By being set a brief based on the idea of focusing on dreams and memories from our childhoods and see how we could transform them. Within the group that I was working in we decided to create a dreamcatcher and change the scale and size of it. This involved using materials and processes such as, feathers, black paint, broken cd’s and safety pins to see how we could create a dream catcher. At first we wanted to use a variety of different materials but then we limited the range of materials that we used because if we had used so many different materials it would have made the piece look very confusing and hard to understand.
By painting the feather black we wanted to create a sense of danger towards the dream catcher. This is because we wanted to add a twist to our work because many people would see a dream catcher as being very small and elegant. When we were creating the piece we made quite a lot of decisions and made sure that each person had a fair say into how the piece should be created. This inspired me because it allowed us to be quite free-minded with the materials we were using to create the piece. We as a group felt that the piece went well because it allowed us to create something that was quite usual due to the way that it was hanging from the ceiling with the use of strong tape and black strong attached to each end of the dream catcher. What I have learnt from the materials and processes that we used is, it allowed us to see which materials interlinked with each other and see how the materials would tell a story/ narrative towards the viewer.
We also asked ourselves questions such as:
Which materials would work well with each other?
What types of sizes and scales would interest us the most and in what way?
How would we create the idea of danger?
What materials would we want to subtract or add in the piece and how would we want to do it?
If we encountered any problems, how would we like to overcome it?
Here are some images from the first idea that we did before we developed it further
Later on in the day we chose to develop the idea further by subtracting and adding elements within the piece to see how we could make the dream catcher stronger. We chose to change the dream catcher that would respond to a question that was placed in the centre which was called “how do dreams communicate with us?”. By doing this it allowed us to add longer safety pins which would be attached to another creation of the dreamcatcher and place the question in the centre core of the dreamcatcher. In my opinion by doing this it allowed us to see a new transformation of the dreamcatcher and in what way the viewer responds to it. Here are some images of the new development.