BOOKS
The Amazing World of M.C Escher (Author: National Galleries of Scotland 15 Dec. 2015)
The Lord of the Rings (Trilogy) (Author: JRR Tolkien, Published: HarperCollins 2012)
Meaning in Architecture (Author: Goerga Baird, Charles Jencks, Published: Barrie & Rockliff : The Cresset Press 1969)
The Book of Drawings + Sketches in Architecture (Author: Chris Van Uffelen, Published: Braun 2014)
Glass and Print (Author: Kevin Petrie, Publisher: A & C Black Publishers ltd 2005)
The Thames and Hudson Manual of Wood Engraving (Author: Chamberlain Walter, Published: Thames and Hudson 1978)
Rules of Summer (Author: Shaun Tan, Published: Hodder Children's Books 2013)
The Edge Chronicles 1: The Curse of the Gloamglozer (Author: Paul Stewart, Chris Riddell, Published: Corgi Children's 2006)
Klee (Masters of Art Series) (Author: Constance Naubert-Riser, Published: Outlet 1998)
ESSAYS/ ARTICLES
The Three Faces of Utopianism Revisited (Author: Lyman Tower Sargent, Published: Penn State University Press 1994)
WEBSITES
www.museothyssen.org
www.hauserwirth.com
www.tyukanov.com
elderscrolls.bethesda.net/skyrim
adamart08.blogspot.co.uk
adam.bethsoft.com
www.artnet.com/artists/sigmar-polke
www.uwe.ac.uk/sca/research/cfpr/research/enamel/Artists/Davina/davina.html
www.shauntan.net
johnpuglisi.com/flash.htm
http://www.tate.org.uk/
GAMES
The Elder Scrolls V: Skyrim (Bethesda 2011)
FILMS
Tarzan (Director: Kevin Luma, Chris Buck, Released: Disney 1999)
Sunday 4 December 2016
Monday 28 November 2016
Reflective Statement
During this unit I have learned a lot of things about my art work and the way I work. I have looked at illustrators and novelists for my main research body this term. I have started to figure out my practice, taking a lot of pressure off myself; stopped trying to fit in to my idea of a 'fine artist'.
I feel that because my research was not so limited, I have started to see how I fit in as a whole. I feel as though I have really worked out a lot of the kinks in my reasoning, by not worrying so much about why I've put a certain pencil mark in a certain place. I have been worried about my illustrative nature for a while, but now feel I am able to use that in any upcoming projects. It seems increasingly easier to talk about my work, with the introduction of terms like 'Utopia' and looking at the form of artists like Mondrian, who I would not have previously considered.
These realisations and the work I put into making them, come at the cost of my work with various processes though, I believe I got too bogged down with the 'why?' aspect and it held me back, especially at the beginning. Although there is normally a lot of confusion at the start of a project, I feel as though my momentum only appeared half way through, and I could have experimented a lot more. While I did work with 3D to an extent, I would love to go further with it next year.
I am choosing to see this unit as a base. It was needed, successful in most ways, and has helped me to figure pout a lot of things. Next year I will apply all that I have learned, will attend workshops for the techniques which I find interesting and relate to my style. I want to go further into screen printing as i find the process fascinating and am already starting to picture the work I could create. In regards to 3D work, I wish to apply my illustrations to the cold hard materials I enjoy working with; plastics, metal, glass etc... How exactly this will happen though, I am not yet sure. I will begin further research over Christmas to have a more set idea for when I get back, perhaps printing onto different materials would be a good way to start?
So, in terms of developing my practice, I believe I have been as successful as possible so far. My practical work and skills have, if not suffered, been on pause; yet my head seems more sorted than ever. I certainly feel more confident about being here and am definitely excited to use more processes next year.
I feel that because my research was not so limited, I have started to see how I fit in as a whole. I feel as though I have really worked out a lot of the kinks in my reasoning, by not worrying so much about why I've put a certain pencil mark in a certain place. I have been worried about my illustrative nature for a while, but now feel I am able to use that in any upcoming projects. It seems increasingly easier to talk about my work, with the introduction of terms like 'Utopia' and looking at the form of artists like Mondrian, who I would not have previously considered.
These realisations and the work I put into making them, come at the cost of my work with various processes though, I believe I got too bogged down with the 'why?' aspect and it held me back, especially at the beginning. Although there is normally a lot of confusion at the start of a project, I feel as though my momentum only appeared half way through, and I could have experimented a lot more. While I did work with 3D to an extent, I would love to go further with it next year.
I am choosing to see this unit as a base. It was needed, successful in most ways, and has helped me to figure pout a lot of things. Next year I will apply all that I have learned, will attend workshops for the techniques which I find interesting and relate to my style. I want to go further into screen printing as i find the process fascinating and am already starting to picture the work I could create. In regards to 3D work, I wish to apply my illustrations to the cold hard materials I enjoy working with; plastics, metal, glass etc... How exactly this will happen though, I am not yet sure. I will begin further research over Christmas to have a more set idea for when I get back, perhaps printing onto different materials would be a good way to start?
So, in terms of developing my practice, I believe I have been as successful as possible so far. My practical work and skills have, if not suffered, been on pause; yet my head seems more sorted than ever. I certainly feel more confident about being here and am definitely excited to use more processes next year.
Aluminium Print
I got the large drawing printed onto brushed aluminium as a last resort, due to the time restrictions I was experiencing, but I have absolutely fallen in love with the piece. I believe it looks very similar to printing plates and (though smaller than the original) it is quite large scale, which adds a contrast to the traditional feel of the material.
Glass Painting- Final
I am extremely happy with how this piece turned out, though I would have preferred to use screen printing in some way. The actually aesthetic of the painting is actually quite simple compared to the original drawing, and perhaps a detail etching would have looked amazing. However, due to time restrictions and funds, this was the best I could do with what I had. It really freed me up to work in loose glass painting, almost like working with the chalk, it reminded me of the works Adamowicz produces before the final image; almost like concept art for a game. While the colours are quite bold, there is a relationship between them and I think the whole scheme works well.
In regards to form, the piece has the same as the original drawing, quite flat and layered, almost sectioned out. So in a way, it does relate back to Mondrian and Leger.
Glass Painting- Floating City
While I was planning on screen printing the large drawing onto the large square of acrylic, I heard that screen printing was booked up until the Christmas break. So I began to look into other ways of pulling everything together. I look online and ordered the image printed on brushed alluminium, which I think will look amazing and put any who view it in mind of my literary influences and the processes used in printing. While this would be the perfect piece to round of this project, it will sadly not arrive until the day of the deadline. I will just have to wait and see.
What I will do, however, is use the process I created my firt real piece for this unit; glass painting. I will use the large drawing as a base and paint onto the acrylic. Using a few different colours to add shading and depth will be the biggest challenge however. While I havent used colour so far or really touched on the idea for most of this project, I will try and stick to the fantastical nature of the rest of my work. I will look into the artists, like Sigmar Polke, who used an almost psychedelic colour palette in their pieces. Perhaps, I will simply continue to focus on the formative style of my work, using Fernand Leger or Piet Mondrian as a base for colour, which would only really give me the primary colours to work with, but we shall see how it turns out.
What I will do, however, is use the process I created my firt real piece for this unit; glass painting. I will use the large drawing as a base and paint onto the acrylic. Using a few different colours to add shading and depth will be the biggest challenge however. While I havent used colour so far or really touched on the idea for most of this project, I will try and stick to the fantastical nature of the rest of my work. I will look into the artists, like Sigmar Polke, who used an almost psychedelic colour palette in their pieces. Perhaps, I will simply continue to focus on the formative style of my work, using Fernand Leger or Piet Mondrian as a base for colour, which would only really give me the primary colours to work with, but we shall see how it turns out.
3D Blocks- Final Images
These are the final (completed) images of the 3D blocks, based on Escher's work, my own sketches and fantasy architecture. While I will like to eventually try out different compositions for them to work as their own 3D piece, I think I have gone as far as I want with 3D for now. Next year I'd like to try the same basic idea again; find a way for my etching and illustrative practice to blend and merge with my 3D work and use of different materials.
3D Blocks- Image Plans
I have decided to use the chalk drawings from my etching plans as source material for the blocks. The etchings will, when the blocks are assembled, be smaller parts of a whole, so do not require too much thinking about. While this is true, the chalk drawings I have created are all following the same flow, having the same subject matter with a few variations. I believe all the different styles and subjects of the drawings will add an immersive element to the blocks, giving any viewers a chance to discover new drawings depending on the angle they look at the piece from. The various drawings, when collated and etched all onto the same medium, will form a narrative with no particular order or sense, but will hopefully appear to be part of a cohesive whole.
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