Year 1 Fine Art. F1030

Painting Module. 15C

My Project

Create a body of research that will develop into a series paintings. One of these should be done on the prepared canvas to be made during the wood workshop sessions in weeks 4 and 5

Your research should be generated from the theme of –

Structure – Space – Time

You must work from observation in the first instance and allow the work to develop. Below are prompts and examples for each theme;

Time: decay/renewal, movement, crowd, still, individual, journey, something happening, change of light, travelling, change of position, conservation, scanning, day / night, over a period of time, driving, changing narrative, family, skin/surface, opinions and ideas, old and new, process..

Space: Microscopic, urban, personal/private, close up, decommissioned, vertiginous, crowded, outside, infinite, domestic, obsolete, retail, geographic, decomposing, demographic, wide angle, claustrophobic, expansive, internal, macro, specific space or environment..

Structure: routine, architecture, traffic, motif to represent self, 24 hrs, portrait, journey, route, retail park, data interpretation, catalogue, process, habit, organisation, possession/s, gathering, collection/s, museum, curation, life style, ordering..

The above lists will hopefully help you to think about your approach – they are just prompts – what is important is your visual interpretation of a subject that interests you, your ability to sustain it over 11 weeks and your ability to understand your artwork in a contemporary and / or historical context. Evidence of your project underway needs to be available at all the taught contact sessions over the next few weeks (because we will want to see it). So its important to get it underway, from week 1

A group crit will be held during weeks 7,8,9(provisionally). Be prepared to say how you approached this project and what decisions you made. Your work should consist of drawings, small colour studies, collages, notes and information regarding other relevant artists and their work.

The work should be inventive and visually interesting and should show your enthusiasm for the area in which you decide to work.

Composition, light, colour and paint application as explored in the first few taught sessions should continue to be considered. Refer to the small paintings in the workshops to help inform your decisions & approach.

please make sure you have a record of the:

3 x the small boards from week 1 the primary colour/mark & surface painting

4 x white paintings from week 2/3

Your large paintings from weeks 4&5

Research into at least 3 artists suggested for these weeks

Learning Activities

This module provides a sound knowledge of procedures for researching, constructing and developing paintings. There is a particular reference to colour, composition, paint application and various traditional and contemporary methods of making paintings. The teaching will consist initially of short ‘workshops’ followed by theme or subject-led projects. It will offer practical experience and develop a growing awareness of the criteria for critical evaluation of results.

There will be a short course in the Wood Workshop that will enable you to prepare canvas and board ready for painting. Induction through WORK 1000 is a prerequisite for this course.

Throughout the teaching there will be considerable opportunity for individual interpretations of themes and subjects and students will be introduced to the working practices of other artists to illustrate and develop critical understanding. The main

purpose of the module is to extend your experience of Painting and to develop critical awareness in evaluating work done. It is intended to encourage the recognition of and confidence in the development of individual ideas and work processes.

First ideas

I want to look into the times we are in and how that’s changing the structures of how we live and the spaces around us.

A new Icon?

Within this series of images shot in a repetitive structured way to play with the idea of repetition. Exploring the times we are living in and how our surroundings have changed day-to-day in these easily forgotten spaces. Now becoming the ‘new normal’. In less than a year I feel the mask has become a new global icon. Though a crazy amount of repetition. The vast majority now knows what a square rectangle with two curves now means, Mask.

An Art Icon

Most people in western culture knows arguably associates this can with art now. Regardless of how much or how little is known about this piece. Andy Warhol the artist behind the piece played around with the idea of repetition. Creating artwork from objects within his time. I personally enjoy the uniform structure of his this art piece being so many of the same with only slight variation withing the text used. Over time as he focused on iconic images he himself became an ‘icon’ blending the structure on where an artist starts and art beings.

Notes made after watching the film.
Disconnected character
Repetition
Colours used not a natural palette. secondary colours mostly
Factory
Controlling character
Alien-like persona
Loved the imperfections within his art
Used people as objects in his video work like how other artist use brushes to canvas
I don’t think he always knew what he was doing he just did
Self-portrait
He became a part of the art
The art and life blend together
He created a creative community
60’s 70’s
Almost killed by actress
Had rises stars around him in ‘the factory’
Screen tests shot actresses still as if he was filming a still object
Used video more than I thought he did
Moved to more conventional work in the ’70s
Was hated by the older art world in the early ’60s
Arguably over-hyped in the art world and a false Icon now
Only human with flaws like any other human

I love the way over time the colours used in my opinion evolve a new take on the same image and pushes away from the original structure used.

Reputation and bold colours. A total contrast to the artwork created earlier in the century by which typically had much more natural structures and colour tones used.

Painting workshop

I really enjoyed this workshop. Really helped me to think about painting differently and that you can be a lot freer when creating not only have to stick to a sort of set preset structure within my head.

I wanted to play around with self-portraiture colours, negative colours structure and now this can change over time.

Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities. Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eyesore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.