Tag: my work

Creative Outlets

Posted on Posted in art, artists, culture, doodling, energy, experimentation, life, my practice, my work, notebook, painting, pen drawings, process, purpose art, reflecting, technology, thinking, Uncategorized, unconsciousTagged , , , , , , , , , Leave a comment

13687254_141506512950038_1833900222_n“I think that the very great artists were not trying to express themselves.They were trying to trap the fact, because after all, artists are obsessed by life and by certain things that obsess them that they want to record. And they’ve tried to find systems and construct the cages in which these things can be caught.” – Francis Bacon, Tate Liverpool ‘Invisible Rooms’ exhibition catalogue

I read this quote last night and it has stuck with me as I tried to grapple with Bacon’s analysis in relation to my own work. In my view he is absolutely right, artists are obsessed with life; whether it is the architecture we live in, our own bodies, nature and the natural environment, urbanism, industrialism, consumerism. You name it. We’ve made art about everything. Art in a sense could almost be compared to science. It is a route to discovery, a journey of experimentation and deduction. Much like scientists employing  mathematics in an attempt to predict the movements of particles, artists engage with their surroundings and various mediums in an attempt to express themselves and their ideas. Conceptual art is at the forefront of modern art today, as by utilizing artworks as tools we are able to realise an idea and convey it to a public audience. Yet there is also and will always be the most expressive form of art; art that does not require proposals and adherences to restricted budget costs, art that does not require a white cube gallery space to be displayed in, but art that simply is from the self. Raw, unaltered sketches, drawings, illustrations and doodles. The purest form of expression and that emotional/creative release.

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Doodling culture and the professional art world have more in common than most people initially think as they are both incredibly different, yet simultaneously the same. Yes, in galleries there are large scale installations and elaborate industrial sculptures Jeff Koons style, but it all began in the artist’s mind. It quite likely originated with a little paper doodle or a frantic sketch on a table napkin at the crucial moment of realising the sketchbook was left on the coffee table at home. I feel in a lot of cases there are too many barriers between ‘high’ and ‘low’ art forms, too many words that separate what is classified as good and not so good work. Of course, personal taste and style plays a vital part in these judgements as negotiating personal opinion is one of art’s main experiments; to make people question, to challenge them into realising what it is they do and don’t like is at the core of several artistic practices. In a lot of cases however it is the observers who validate what qualifies as good and bad artwork, who make the official distinction which everyone should follow.

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Like anything else in this world, people are happy to follow trends. Whether that is reading a book that everyone else is reading, engaging with an artist who everyone is talking about, visiting an exhibition that everyone else has seen. Despite the creation of artwork being one of the purest forms of human expression and the most individual and personal entity in human existence, art  is still not exempt from the trap of following what is considered mainstream. In a sense however, this actually makes it more interesting as you could ask the question who do we make art for? In this day and age, with the pace of social media and the digital information we are constantly fed, there is a heightened sense of expectation in artmaking and inevitably, artists react to this. So who do artists actually make art for? Is it purely for themselves as the most raw forms of self expression? Is it for an art based audience who will engage with it in the way that the artist themself has? Or is it for a public audience, whose art background and knowledge is probably sparse? Or does it fall within all of these categories? It’s interesting as in a lot of cases I would say it is a combination. You often make art for different purposes which include selling, giving as presents and so these distinctions in themselves also affect the purpose and thinking surrounding the making of the piece.

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I’m not criticising any of these modes of artmaking. I think art is personal and the purpose of the artwork extends within that personal realm. Each person is different, as is each artwork and artist. I know that my artwork varies a lot of the time depending on audience, how I’m feeling, whether it’s for myself or for display. Given that traditionally and throughout human history art has been hung on the wall in Salons and grand entrance halls for all people to see, it is ironic that my art is actually very private. My doodles are my ‘me time’ turned into physical forms. I find it soothing to get lost in a swirling world of colour and fine lines as I carefully navigate across the page. My performances are less concentrated and more physical expressions of my innermost thoughts which can only be conveyed and released through this immersive and bodily art form. I think the reason Bacon’s quote caught me was because I myself can relate to it quite strongly. Although it is not always a conscious decision, life is fundamentally a core part of my artwork. As Eva Hesse once said “my inner soul art and life are inseparable”.

 

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Posted on Posted in art, artists, curation, degree show, display, gallery, my practice, my work, northumbria university, nostalgia, NUFA16, studio, UncategorizedTagged , , , , , , , , , , Leave a comment

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Tyler Coop

I can remember being in my first year of uni and looking up to the third years thinking it was impossible that one day I would be putting on a show. I’ve always kind of felt that when I looked up to older students even at school; I remember wondering how people sat exams, how people traveled by themselves, how people had the confidence to drive cars, etc etc. All these thoughts feel silly and irrelevant now looking back, because of course you learn and grow and change. I didn’t realise however quite how much an art course would change me. I never imagined I would go down the route of performance art, if anything I’ve always been someone who shied away from the stage and was instead content painting background scenery and doing backstage make-up. Yet during the time on this course I have experimented with mediums I never planned to work with such as sculpture, print, photography, video, projection, all sorts. I’ve really pushed the boat out in ways I never imagined or expected.

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Woon Prize Nominee Sheyda Porter 

I think that’s what’s so wonderful about embarking on a course as practical and creative as this. Not only are you exploring your artistic potentials, but you are also exploring the tools which allow you to realise your ideas. You’re learning so much theory too, with all the seminars, Art History lectures  and of course extensive research and reading meaning my knowledge of the artworld has grown so much. As has my coffee table collection of artist books which are now looking to require a bookshelf…

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Saman Ahmadzadeh

That’s partially the exciting thing however, the fact that my bookshelf keeps expanding. The fact that despite finishing this course, I am nowhere near finished. There’s so much more to explore, there’s so much more to experiment with. Despite all of the nostalgia I am currently feeling, I am also feeling incredibly inspired. Seeing everybody’s work come together in this way is amazing not only because there are some incredibly strong and thought-provoking works, but also because we have witnessed one another’s artistic journeys. We’ve seen experiments in the studio go horribly wrong, or moments where tubes of purple paint explode everywhere (yes, it had to be all over me), moments where you walk into the studio to find your studio floor has been taken over by glitter, glue and sprinkles (I have the best studio pal – we are the messiest bunch together and it’s been great!)

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Rebecca Gavigan & Victoria McDermott

So seeing everything reduced to this clean cut and perfectly executed Show is almost overwhelming. I suppose it must be kind of like being a director and finally watching your own Broadway Show. You’ve had moments where everyone is yelling backstage, costume changes haven’t worked, scripts haven’t been learnt, people are stressing and scrabbling around. Yet on the night it all flows smoothly and could not be more perfect. And in that moment you have a feeling of pride in how it has all came together, in how the stress and tears of backstage have dissolved as the characters dominate the stage. I suppose it’s kind of like that, just instead of one director, there are seventy-eight emerging artists.

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Joseph Crookall

Seventy-eight of us whose work could not differ more greatly from the other. I will always remember local artist Narbi Price saying in one of his talks at Vane Gallery, that the more artwork that is made, the more there is a burden on artists to come. This has stuck with me because it is so very true. A lot of people dispel history and say it’s in the past, it doesn’t matter. Yet in being an artist and making artwork it is absolutely critical you know your history, you have to be so aware of what came before you. I have found this particularly vital in looking at the female body in Performance Art, because the 1960s really shaped a lot of things today in that realm and no one can ignore that. So when Narbi said that, it really hit home and seeing such a broad range of work in the Degree Show alone, it’s resonating with me more than ever and making me excited to push things even further.

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Alexandra Karyn

Panic Attack Series

Posted on Posted in acrylic paint, Action Painting, art, body, drawing, energy, experimentation, my practice, my work, painting, process, studio, technique, the body, Uncategorized, unconsciousTagged , , , , , , , Leave a comment

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Being a creative person is the best thing in times of trauma, sadness and general unhappiness. Being creative provides you with an outlet that may not otherwise exist; a space to release all the inner burdens. I had a series of panic attacks last year as a result of some emotional baggage and initially they were out of control and horrific. They are very physical events that consume your entire body. I’d never experienced anything like them before so it was something entirely new and very unpleasant. However, as usual art came to my rescue and I found refuge in it as an expressive tool. Having experienced the physicality of the panic attacks, it seemed natural to translate this kinetic experience into the art-making process. Consequently I created a series of works, what I call my ‘Panic Attack Series’. 

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Given the process it took in creating them, they could be considered Action Paintings. Action Painting first came into being in the late 1940s and early 50s with pioneering artists such as Jackson Pollock and Willem de Kooning leading the way. Action Painting is a loose and fluid mode of art making in which the paint is dripped or smeared onto the canvas. In this instance I was smearing it on, using my forearm as a brush which given the friction between the paint and paper was painful at times. Yet this pain became part of the piece. Working large scale was necessary as I required the breathing space to expel my negative energy. The works are far from perfect, but I think my vitality comes across especially given the unconscious circular motions I ended up working in. I was surprised to find I visualised my panic attacks as circles and this meant that they went from being a nightmarish experience to a visual object which I think aided my healing process. I was not surprised by the fact black felt like the only suitable colour; darkness and the heaviness of my emotions was encapsulated perfectly in this palette. 

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I also did some smaller charcoal renditions which looked almost like circular sound waves (top right of the above photo). I think the need to get messy was an instinctive impulse I had in these expressive works. Sitting tidily working in a sketchbook would not have had the same impact. I needed to immerse myself physically as well as mentally in the work to be truly unburdened. 

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And it definitely worked. The creation of these pieces was incredibly liberating and I literally felt like a weight had been lifted. My shoulders felt lighter and my head felt clearer. It was as if by creating these works I had expelled this mass of black energy from my system and I was free to start again. 

Body Poses

Posted on Posted in art, balance, body, energy, gym, movement, my practice, my work, photography, portrait, technique, the body, UncategorizedTagged , , , , , , , , , Leave a comment

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It’s amazing when you stop and think about the body; when you register the fact all of your movements are controlled by tiny little messages sent along your nerves and synapses, allowing you to move instinctively without thinking. Transmitting instructions that allow your body to function. These days we are so preoccupied with image, diet, building artificial muscle, losing weight, gaining weight that we forget to think about our core components; the things that actually matter. How our muscles stretch as we bend our arms, how the skin moves with your joints, how our bones click and slot into place as we sit down, how we blink to keep the dust out, how we breathe as our pulse rate changes. All of these small little details are so crucial to everyday life, yet how often do we stop and think about them? How often do we take it all for granted? How often do we truly contemplate the wonders that are our bodies? 

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I have very bad knees, so I am constantly aware of the clicks and the shoots of pain. Yet in a weird way I am grateful to this pain. It forces me to slow down to reduce impact on the kneecap, or stop shin splints. Often I can feel my knee caps clicking and sliding over each other like a machine. I am so aware of these faults in my body that I can’t help become aware of everything else. This is why I love the gym so much, as I enter that space it allows me to open up a direct dialogue with my body. In the gym my actions are entirely dictated by the balance of mind and body; how far can I push certain muscles? How long can I do certain weights? How long should I spend stretching? It is almost as if I go deeper into myself in these moments as the mind dissolves and becomes one with the body. 

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Balance and endurance are core components of my workouts. There’s the will to stop verses the will to continue. As well as being good for fitness and strength, I believe the gym is also very good for the mind. Going on a regular basis takes commitment; continuing on a machine for a certain amount of time takes willpower. It is all a discipline in which the mind and body are intrinsically wrapped up in each other. I often find it difficult to get this across to people, as everyone has their own reasons for gyming, or some people I know don’t gym at all. Investigating my feelings further in my artwork is helping me to better articulate myself. I feel these images and their poses are highly effective in highlighting a lot of how I feel about exercise and its necessity for me in daily life. 

The Power of Image

Posted on Posted in art, documentation, experimentation, my practice, my work, performance art, photography, reflection, UncategorizedTagged , , , , Leave a comment

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Having been looking at and researching a lot of Performance Art lately I have inevitably been thinking about its modes of documentation. How do we accurately record an ephemeral event in which setting and audience were so crucial? The atmosphere of the room and the reactions of the audience are in a sense part of the artwork; the audience in a sense become co-creators of the work, yet this does not always come across in documentation. It’s incredibly problematic and an obstacle for most people working with performance. There are all forms documentation can take; photographs, film, film stills, text, written accounts, you name it. It’s a matter of finding what works for you and the individual piece of work. In a lot of cases one single image comes to represent a performance piece and this becomes the image that gets circulated. I myself have fallen into doing this with one performance I did (pictured above). This one image is the only one that truly represents the piece, especially given the angle of the room and my feet against the floor in this shot. It’s an exciting moment when you do find the perfect document, but the obstacles it takes to get there are often plentiful!

Performance Art

Posted on Posted in artists, body, drawing, janine antoni, movement, my practice, my work, performance art, the body, UncategorizedTagged , , , , , , 1 Comment

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Janine Antoni ‘Loving Care’, image sourced from Artnet.

Having always used and worked with the body as a theme and a medium, it seems only natural that this year I have started to work with Performance Art. This was a movement that came into existence in the 1960s and 70s and is rooted in Conceptual Art. Performance Art is where the artist uses their own body or the body of a model to perform tasks and actions that become the artwork themselves. Famous Performance Artists include Marina Abramovic, Yoko Ono, Yves Klein, Nam June Paik, Bruce Nauman – the list is endless! Pictured above is one of my favourite artists, who has been a huge inspiration since I discovered her two years ago; Janine Antoni performing ‘Loving Care’. This is a work in which she dipped her hair in the hair dye and used her body as a painterly tool. This is in a sense a parody of Jackson Pollock’s painterly techniques and the male-dominated Abstract Expressionist movement, as well as being a social commentary on the domesticity of women. 

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‘Loving Care’ has been a piece that has stuck with me for a while now and I have always been curious to test this idea of extending the paintbrush beyond itself. I recently cut my hair and therefore thought it would be interesting to do a performance which acted as a reversal to that.  I also wanted to make a gesture towards the impracticality of hair extensions and their artificial qualities. I cut my hair really short, so I wanted to extend it really long. I used the stretchy exercise bands that most people use in the gym, partially because they were a practical object to use in this instance and partially due to the presence of the gym and exercise in my work. 

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The white objects I am using are obscure and grotesque limb-like forms that I made out of papier-mâché. This was a very laborious and time-consuming task not only because I made a lot of these objects, but also because of their drying time and formation process. However, the labour was another element to this performance. In it I am not only exploring this idea of body image through the representation of hair extensions, but I am also exploring the repetitive and mundane. Labour is an element not only in the construction of the objects, but also in creating the drawing given how many times I walked up and down the paper.

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There was also an element of pain present as although these objects are relatively light, when attached to your hair and roots they are less so! I had a pot of ink and water that I kept dipping these objects into and my intention was to continue until I had used this up, however the pain prevented me from doing so.

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It was interesting to blend such traditional art materials (cartridge paper and Indian ink) with an act that was so far-removed from conventional painting methods. This mode of working falls into the category of Action Painting, a movement that really took off in the 1960s and is something that I myself have never tried before. There have been moments and elements of it present in my work before, but never in such a direct way. 

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Given the fact that this art form falls and touches on a lot of aspects of performance itself, costume is consequently a very important part and something I put a lot of consideration into. In some cases I have gone for the stereotypical artsy all-black ensemble, but in this instance I wanted to return to the studio aesthetic which I think tied in well with the rest of the materials I was using.

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As well as thinking about what I’ll put on my body for performance work, I also think about what I’ll remove. I am a complete jewellery junkie, always adorned with rings and dangly earrings! I tend to remove all of these elements for the purpose of performance work. However in this instance I kept it all on as I wanted the jewellery to be a part of the work, as an indicator of its constant presence on my body. 

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I think for me one of the most interesting things about working with Performance Art is focusing on and thinking about the objects left behind and how they are imbued both with the trace of human presence and a past kinetic action. What’s exciting is that although the performance is an ephemeral event, the objects left behind hold so much potential for further exploration.

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John Virtue

Posted on Posted in art, artists, colour, drawing, experimentation, first year, ink, john virtue, landscape, my work, painting, studio, UncategorizedTagged , , , , , , , Leave a comment

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I was looking through some old work when I came across these images of my First Year studio. This was probably the one and only time my choice of topic deviated from Body Art and instead focused on the natural landscape. I think I surprised even myself in this shift as there was no real explanation for it apart from my discovery of oil paint. I think I felt that abstract landscapes were a better means of exploring this medium, as opposed to again working with the female body which I was already so familiar with. This shift was also due to the fact I discovered the work of John Virtue (see below).

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‘Landscape No. 707’, 2003-4, image sourced from The National Gallery website.

I fell in love with his whimsical monochrome depictions; how they were abstract yet figurative simultaneously. How he combined nature with industry. The blend of such intense darkness against the stark white also lends a satisfying balance to his work I found. This equilibrium allows the eye to shift peacefully across the page, taking the time to absorb intricate aspects such as texture which are so imbued with the studio aesthetic.

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What I found particularly interesting about Virtue’s work was his ritualistic aspect of his art making. Every day without fail he would walk to the same location to sketch. This of course resulted in an excess of drawings, but the dedication this required fascinated me. So for a while I chose to copy this method of working and walked to a park everyday. It was quite out of my way and in some cases an inconvenience to all of the other daily necessities occuring in my life. However, having this task and this escape also gave me the best kind of zehn I could have wished for. I had an excuse to leave behind the rush and pace of daily life to focus fully on ritual-based art making. 

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I also tried to employ Virtue’s use of the monochrome palette by removing colour from my work. Depicting landscapes and working with oil paint was a time where I was using really vibrant and sunset-based hues, so this removal was a real challenge for me. It forced me to think a lot more critically about texture, shape, scale and all of the other elements that could compensate for lack of colour. I poked needle-thin holes through paper, I worked with impasto and modelling paste, I used charcoal and inks to create that messy studio look. I tried everything and had great fun experimenting, but of course I gradually began bringing colour back into my work. I also sadly had to stop my daily excursions to the park given all my other commitments, but I may some day start that again for a brief period at least. Employing the working methods of another artist was a really interesting and liberating experience for me, as I was giving up all sense of control that I had over my work and instead completely yielding myself to working in a certain way. It was an incredibly enjoyable experiment and is something I think I’ll definitely go back to at some point!

Pink in Progress (Over/Under work)

Posted on Posted in art, Colour Studio Northumbria, CSN, my work, painting, pink, process, time, UncategorizedTagged , , , , , , , Leave a comment

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‘Rizzo’ in progress

Working for the piece for the Pop Up Pink exhibition has made me realise how much I miss painting. Although I love the direction my work has taken and all the exciting things it’s led to that I thought I would never do (performance being the prime example), I will never give up the paint brush. There is just something so special sitting down with and focusing on a material; building on it, contemplating it, analysing the creation process. When I paint, I can not get enough water. I love loose fluid works, drips, diluted colours, layers. 

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My paintings are very time consuming and are very much a long drawn out process, mostly due to the necessity of drying time. If I get to eager and paint over a layer that’s still wet, my effect is ruined. So patience is key. I tend to paint in stages, dipping in and out of a work. I think this is actually the way I work best in most senses, as when I write an academic piece, I have to let it sit for a few days before I go back and look at it again. I tend to bang it out in one go and then leave it for a week and almost forget about it as the deadline nears! But it’s the same when I work with paint. I like to be fully absorbed by the process, but then I also like to step back and leave it. Really think about what I’m doing and how I’m layering it. Sometimes this really doesn’t work as despite my attempts at contemplating, I still over work the paint. 

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This is the most frustrating moment for me, as my paintings are not the kind where you can just cover up a mistake. Once the mistake is made it’s there to stay as the paint is applied so thinly, it would completely ruin everything if I tried to obscure it. So I think this is why I have started to implement time into a piece more over the years. the older I’ve got, the more I’ve realised you can not hurry or push the creative process. Otherwise you put a pressure on it and it backfires with you creating nothing! With this work I feel I overworked it slightly, but hey I’ll know for next time!

The Potential for Movement

Posted on Posted in art, balance, body, eergy, lighting, movement, my practice, my work, photographic studio, photography, stretches, the body, UncategorizedTagged , , , , , , , Leave a comment

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‘The Potential for Movement’, Photograph, 2016

Thinking back to my images taken in the photographic studio the other week, this one in particular stood out to me. It has what I’m calling ‘the potential for movement’. There is so much kinetic energy present here, yet simultaneously none at all. It is completely still; the subject is completely static. Yet in the photograph I am on the brink of moving and creating a fluid action, but at the point the camera captured me the movement had not begun. As a viewer we know an action is about to occur and take place; as no one, despite having fantastic flexibility levels, can hold that position for long! The balance of the body in this image has so much satisfying symmetry to me. This includes the way my hands look as if they are touching my knees, when they are in fact far further forward. It also includes the shadows of my hands along the wall, the balance that my legs are holding, the light dancing across my back. It is peaceful and still but there is also so much potential. It really is a moment captured and frozen in time. 

Happy Accidents

Posted on Posted in art, bathroom, colour, experimentation, my practice, my work, photography, projection, reflection, Uncategorized, water, zenTagged , , , , , , Leave a comment

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Sometimes we spend so much time thinking and planning as artists and conceptual thinkers, that we forget how useful happy accidents can be. Case in point; these photographs. What started as a simple and very basic projection experiment in my bath room, soon turned into something much more interesting. I had not considered ever using it as an art material, yet my shower curtain came in surprisingly handy. It picked up and diverted the light of the projector to create this rippling and water-like effect across the surface of my images.  

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Although it’s presence is very subtle in some cases, I just feel it adds a certain depth to the image. It creates a collection of layers that bring painterly elements to a photographic setting. Looking at these, I felt again like I was painting; constructing the direction in which the layers would formulate; manipulating the imagery to satisfy my intentions. I could not have been more delighted in this accident occurring. I have a theory that half the genius scientists made their discoveries accidentally and then decided to tell everyone that was what their intention all along! I’d probably do that if I was in their boat and ever discovered anything significant. Although, it’s more likely I would pass it off as intentional because I’d be too embarrassed to admit I’d made a mistake!

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In some cases I was so fixated  and fascinated by  the reflection of the shower curtain, that it took more priority then my actual projected images! Consequently ,abstract images such as the above came into creation. Now there is one happy accident! I think the reason I found it all so mesmerising is because there was so much movement within these ‘reflections’, yet they were entirely static. They are highly evocative of water, yet there is not water present. There is only the suggestion of water and the associations of its sound and movements, all of which enhanced my experience of these images. 

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I wasn’t too bothered about getting the camera in focus either, in fact the lack of focus really worked in this instance. Especially in relation to the colours; the soft pastel hues are not a result of editing, merely a result of the lighting in the space. For me there’s something calming about the way the reflection of the curtain falls across the image. I don’t know if that’s because the images themselves are quite peaceful with their blurry lines and lack of forceful energy. Or if it’s simply because the rippling reflection is so reminiscent of water and all of the connotations that carries. The soothing sound of a river gushing, water’s necessity in the continuity of life, the comfort of a cold, refreshing shower. Or maybe I’m just getting carried away with all my contemplation of water. Then again, it’s such a big part of this whole zen thing that everyone’s got going on that why not join the crowd and start listening to waves and water as I fall asleep!