Sunday, 4 December 2016

Bibliography

BOOKS

The Amazing World of M.C Escher  (Author: Micky Piller, Patrick Elliott, Frans Peterse, Published: 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)

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.

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.

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.

White Line Drawings

These are a couple of the etching plans I created, which I thought would really work well as pieces on their own, reminding me of the appearance of etched plates used to print in old books. I want to frame them in simple black frames, so as not to take away from the images.

I enhanced the flash glare on this image on purpose, as I thought the reflective appearance of the black background appeared to be similar to that of metal.
This one I kept as high contrast as possible as I really like the simplicity of the image.

Wednesday, 23 November 2016

Small Etchings

Using the book of sketches, I have created these etchings. I think they've turned out pretty well, somewhat due to the practice I had doing free hand drawing in my black book. The images look as though they're scenes from book, which was the aim, so I would love to try and print with them next year as I get more into that process.



RESEARCH Paul Noble/ Lyman Tower Sargent

Paul Noble (Mall- 2001-2, left) is an artist who creates massive drawings usually featuring a form or architecture, whether realistic or otherwise. Most famous for his work on designing 'Nobson Newton', a fictional place, rendered in fine graphite lines (much like an architectural drawing), they seem like quite nice places to live. Yet, on closer inspection, one can see darkly funny details and an almost sinister view takes hold.

Lyman Tower Sargent, an American academic, has a many interesting theories on what a 'utopia' actually is. I was originally planning to go more in depth with this idea, but for now, I will continue finishing up my practical. I believe this was bee a good starting point for my project after Christmas (think of this module ending as a pause).

Large Drawing- analysis using tutor notes

This idea Wayne mentioned of a Utopia, created by artists like Paul Noble, has helped me massively in realising why this piece says everything I think it says. It is so evocative of the fantasy idea I have in my head and appears to be its own world with its own culture. This utopian feel coming from the picture, comes mainly from the way I think about my drawings; they are simply places I want to go, unachievable target destinations, I draw them as an escape for myself. 
This also links to the idea of the picture being a text in and as of itself. I do not find it necessary to have this written statement next to my work, like Tolkien's images for his books or Tyukanov's little descriptions, because I get something very personal from it. I think that is how I want it to be for others viewing anything I create.


(Look at Lyman Tower Sargent- the social and political meanings of Utopia...)

Monday, 21 November 2016

Wayne's Tutor Notes

I have struggled with this image of how a fine artist should work and all the ways I don't fit into this idea I have had in my head, but we discussed this in a way I've never thought about before. Wayne suggested I look at the work of Paul Noble (Mall- 2001-02, left), who has said of his work 'town planning as self-portraiture'. Which, as I have touched on, is akin to the way everything I am really goes into my drawings. They do not require a 'text' to go with them, as with much illustration.
  1. 1.
    a picture illustrating a book, newspaper, etc.
    "an illustration of a yacht"
    synonyms:picturedrawingsketchfiguregraphicMore

  2. 2.
    the action or fact of illustrating something.
    "by way of illustration, I refer to the following case"
    synonyms:exemplification, demonstrationshowing, instancing;




Jon Baldessari (Stonehenge (With Two Persons) Orange- 2005, left) is someone who, I was told, is very of the idea that anything is a text, and that is how Wayne said he views my work;  I put a lot of myself into it. My work does not have the need for this external source, it is not a comment on anything but myself in a way.





The formative style of my work was also brought up, Piet Mondrain (Composition with Large Red Plane, Yellow, Black, Gray, and Blue- 1921, left), for example, paints extremely abstract geometric lines and colour, which graphically, is how I set up pieces before I begin them. This was also said of Fernand Leger's Workmen (left, below). Where it is abstract or surreal, yet has the form of something real. I have managed to put references to use in explaining the way I work, something I never successfully put into words before. It was a really big thing for me to not be scared of 'Fine Art' and for once be able to turn the language to my advantage.









Olivia Plender (The Masterpiece Part 4- 2005, right) was also mentioned as someone who does not need a 'text', she creates art which appears to be pages from comic books, but does not use words. Linked with Baldessari in this way, she does not need an extra 'text'. My work is similar in this way, yet she uses something 'cool', like the Pulp Fiction (1994) movie, I use something 'warm'. Since Wayne said this I've been trying to figure out what he meant, but I believe it just links back to this idea of a utopia, where the world in Pulp Fiction is anything but.

Wednesday, 16 November 2016

Sergey Tyukanov- Black Etching (Back up work)


I have some small pieces of acrylic, which Sergey Tyukanov's style reminded me of, simply because of the intricacies and size of the piece, which I would like to etch onto. Using a black book and chalk (a medium I find quite quick and easy to mass produce work in), I have planned out many possibilities for these etchings. (I could also use the images as a source for my 3D blocks).







I then used a white fine liner to sketch out the more detailed plans. This process was extremely useful as I normally work over a drawing when etching (onto glass or transparent perspex etc), but this time do not have the option.










Thursday, 3 November 2016

Floating City Drawing

The influence, as far as aesthetics go, was very much taken from Illustrators like Chris Riddell and Sergey Tyukanov. Yet it has the same basic principle as most other works for this project. I originally started it as a plan for a large etching, but with timing concerns and the print workshop coming up this Friday, I will look into printing the piece (and ask about screen printing onto the large piece acrylic as a nice round off point to the project). I wanted to create something which would help me get through my research period, yet it evolved into something more. There is so much of myself in this picture and my love for both architecture and fantasy both come through. Whether that is simply because of the time I put into the piece, I am not yet sure.

RESEARCH Jon Puglisi (Tarzan) and Chris Riddell

Chris Riddell is the illustrator who worked on The Edge Chronicles by Paul Stewart. After reading the book I truly believe the unique style of spindley, rough illustrations really made the view I had of the world spectacular. Unlike with most relationships like this between artist and author, I find one really over shadows the other. While the images are amazing and valuable to the writing, this is not so true with the positions reversed. I got the feeling the writing only provides more details for images in the book, almost like when you see the movie before you read the book. Not, in this case, was that a particularly bad thing, the images formed such a unique style and form that they shaped the way the story played out in my head. So in some ways, certainly not all, even with a novel, having both images and text can be too much.

The images themselves (left, below) are so delicate and so unique they have this preciousness to them, I have rarely seen anything so animated yet detailed.


John Puglisi is the man who created Tarzan's parent's treehouse (left), and while I have not touched on animations or films so much, seeing them as too simple in a way, finding this image has opened my eyes to the possiblity of further research. The precariousness of the structure screams fantasy and much like Riddell, it appears to be something to be looked after. The treehouse itself was meant to be the best of a bad situation for the family, but represented their future together. This comes through in the sheer complexity of the design and the (limited) luxury of the homemade house in the jungle.

RESEARCH Shaun Tan

Shaun Tan is an illustrator who worked with horror and fictional books from a young age. While he now works with political and social books, his subject matter of fantastical imagery has persevered. His work is both narrative and imagery; he writes and illustrates his books himself. Like Tolkien, there is a symbiotic relationship between the two aspects, not really one without the other.

The drawings themselves are very surreal more than fantasy, while he does include architecture in his books, it is the surreal almost dadaist images in the book Rules of Summer- 2013. The books is based on two boys, and doesn't really have a linear narrative, but consists of a set of bizarre rules for them to follow and how they overcome these situations, like 'never leave a read sock on the clothesline' (Never leave a red sock on the clothesline- 2012, above). The images feature huge creatures and strange situations, which all appear seemlessly to be the imagination of the young boys. In this respect Tan has succeeded in creating a magical world for the two boys and anyone reading the book. Although without the text included, I can see the collection of images seeming extremely random, yet aesthetically similar.

400 WORDS Tolkein

While most know JRR Tolkien as the author of The Lord of the Rings series, he also illustrated a collection of his ideas for how the scenes and settings should look. I found a book of his original drawings, Pictures by JRR Tolkien (first published in 1979), including the original monochromatic sketches and their coloured versions, watercolours and logo designs.
The Trolls (Below, left and right) is probably my favourite of the pieces, because of it's unique mark making and the dark, high contrast palette used. I think it is akin to my work in that I use alot of different lines in a stylistic way, but with dots. I would like to try this technique with my etching on the black acrylic, to somehow mimic the darkness captured. It almost reminds me of a negative photograph.


























It was something someone said in my group crit that really got me looking at these: 'its almost Tolkien level architecture'. I began to think about what exactly that meant- I think it was while the pieces in Tolkien's books work because they are part of a story, my pieces are the story. I believe the impact of being able to create your own story for these worlds is just as powerful as having a novel with images attatched. What Tolkien has managed though, is to create drawings which completely match the feel of the books and encompass everything they contain; the mismatch of architecture, the mismatch of cultures and people; and the vast, complex histories that spread throughout the land within Middle Earth (in this way it can be compared to Skyrim).

I think it also means my most immersive drawings, much like Tolkien's, do not simply contain a building. The most successful of his pieces show the landscape, but not in an obvious way; in one where the ladscape appears to be an extension of the buildings. I think it adds to the realism of certain fantasies, that people in these books and games decide to build things in the most impractical of places, simply because they can; it's not real. I say that, even knowing this is entirely the point, floating cities and undergound countries are entirely possible in the worlds that artists like Tolkien have created.


(The Front Gate, below, left, Lake Town, below, right)


RESEARCH Davina Kirkpatrick

While there is not much to relate to with her work, Kirkpatrick's techniques and processes are really interesting. She was one of the artists I found in the book Glass and Print, and she mostly works within an architectural setting or 'commissioned glass projects for architectural contexts'.
I really love the idea of printing onto glass, and will perhaps take my project that way with my large drawing and the acrylic I have. For now, I'll leave this as a passing glance at her works, as I am not going too in depth into printing before Christmas due to the introduction being so late in the term, and there are only a few bits of info on her on the UWE website.

(Signing the River, below)

Wednesday, 2 November 2016

Post Silk Screen Printing Thoughts.

I immediately fell in love with the process of printing, but am unable to continue until the introductory workshop on the 25 of November.  so I looked at some other ways of printing and working with glass. I would like to create another large drawing though, to both show my development since this print was concieved and to parhaps etch onto this large piece of acrylic.

While I am still planning the large etching, I am thinking of printing onto the piece. I have found a book called glass and print, which follows on well from the printing I have done. I will search the book and perhaps find further inspiration by looking into artists in this area. while the process of printing onto glass might be quite complex (further research required) I could perhaps print onto the plastic instead of an etching.

One artist who did catch my eye was Davina Kirkpatrick, someone who works on glass mainly in a architectural setting.

I also found a book called Wood Engraving, which mainly focuses on the literature aspect of printing, looking at victorian book illustrations and the process from the 1930's, and a lot of the processes in this book reflect the styles and techniques of other artists I have been looking at.

Silk Screen Printing

I have decided to use this image to create prints from and familiarise myself with the process.

Tuesday, 25 October 2016

RESEARCH Sigmar Polke

Sigmar Polke was a german painter and one of the artists mentioned in our group crit. His works are very psychadelic and colourful and this would be the reason he was brought up when looking at my large painting of the Venetian-esque buildings.

Looking further into his work though, I also discovered a few paintings which show almost photographically detailed drawings, yet overlayed with loose colour and pattern. I have not really touched on the use of colour within my work, as it has not seemed terribly relevant when drawing buildings. I do seem to have a habit of putting everything (including most aspects covered by colour use) into the strokes and marks I make, besides, 'everything looks better in black and white'. (While I personally have a soft spot for colour, the idiom exists for a reason, it being more straightforward and definitely simplified). I will, however, make colour associations when making my etchings on the sheets of acrylic I have, although simplified perhaps. While Polkes use of colour in these images (above) is very subtle, even subtle colour does have meaning.

(unable to find image names)



400 WORDS Adam Adamowicz

Adamowicz was one of the concept artists who worked on Bethesda's The Elder Scrolls: Skyrim, he worked on the architecture in the game, which embody the cultural and visual aspects of the in game world. He adhered to the text (The Elder Scrolls series), which has thousand of years worth of fictional history and in depth regional culture when creating his buildings. I think all of my works both contain and, to some extent, are this possibility; of history; of a dreamworld with its own reality and laws. While he had this very specific group of sources for his pieces, they also came from somewhere in the real world, Skyrim having a very strong Viking motif. This cultural influence is something which I have not looked into specifically but have used as more of a secondary source throughout my project.

What I find interesting in his works also, is that he does not have this luxury of a figurative style, and relies heavily on the culture and also the landscape, much like Alan Lee in his work on Tolkien's books. Skyrim contains many mountainous regions and he uses these to create his architecture, or even vice versa? Perhaps they are one in the same, much like the architecture in the real world is shaped by the landscape and the people who live there.

This is what I find so interesting about the whole idea, that Adamowicz has used a plethora of existing history to create fantasy. While I supposed that is what I have done by looking at their artists, what is so appealing about fantasy is that it can come mainly from within. When I put down my worlds on paper, I create the history, the people who live there and the culture. While this is sourced from real cultures and people, it is also an extension of myself.

This would probably be the most modern take on fantasy drawings and architecture I have looked at, and seeing these sketches and paintings rendered in full 3D is something I find really exciting. It is also that element of playing god and having complete creative control, even if the concept is not overly specific. I would like to create something like this world with my 3D blocks, still harking back to Escher's pieces and my original research, but creating a small version of a world, like the one featured in Skyrim.

(unable to find title, below, top) (Markarth Exterior View, below, bottom)




3D photographs

Escher relation- These are photos of the blocks I have made to experiment in 3D.

varnish/ etching idea- while I do not have the time to create a much larger piece, I am extremely happy with the way these blocks turned out. They have given me a way to combine my ideas of etching and printing with 3D work. I would like to stain the pieces and etch scenes or city scapes into them, creating a world in the blocks as most of my relevant artists have done in their work. The varnish would be a dark one, following on from the cubism ideas and the simplistic unfocused view I have on colour during this project as a whole.

This overlay of my previous drawing best demonstrates this idea.



Tuesday, 18 October 2016

RESEARCH Allan Lee/ Tolkien

JRR Tolkien wrote the Lord of the Rings series, but he also created his own visual representaions of the worlds he wrote about. I have looked at a book of his own sketches, and was astounded by the style and detail. All the pieces in the collection appeared as though out of a 30's printing press for a classic novel. (The Trolls, below)


While researching Tolkien's works, I initially found a copy of a version Lord of the Rings illustrated by Alan Lee. While the pieces are detailed and wondrous to look at, they are quite photographic, as they are based on scenes from the films (The Black Gate, below). The concept is there, yet the imagery lacks a certain creativity, Tolkien's and my own seem to get this world across in a more abstract way, giving a feel to the worlds through the techniques and styles, rather then relying solely on imagery.




























400 WORDS Escher

Escher was the sparking influence for this unit. I initially looked at his work for the surreal architecture, feeling that it was akin to my ideas about fantasy architecture and also I really enjoy the way his pieces play with the viewers perception. I found the technical, mathematical representation of architecture very satisfying to look at and also how the element of the almost playful was introduced with the impossibility of the layouts.

This is something I am very keen on replicating; not so much the playfulness, but the personality, despite the technical, repetitive way I draw. I hope to do this with my blocks, which in themselves are very simple, repetitive and geometric. What I can add to these blocks though, is entirely up to me, so they are a very good base to work on in this respect.

Whilst I was initially interested in his work with buildings and impossible architecture, this quickly grew into the possibility of using tessellations within my work. Escher created huge murals of evolving, flowing images (Metamorphosis II- 1939-1940, above), which involve both archiecture and tessellations. These elements physically blend into each other, which got me to thinking how I could blend them in my own way, but also by 'free association', which I hadn't previously considered before reading Micky Piller's thoughts (The Amazing World of M.C. Escher). The entire metamorphosis is a tessellation (a term which is not as strict as it sounds). Perhaps photography is a good way to plan this, yet it links back to this idea of adding my style to the blocks, which could simple be achieved by etching on to either a few or all of them.


Escher first looked at tessellations when attedning the School of Architecture and Decorative Arts in Haarlem, where these technical skills were a major focus. His father, having worked in Japan, and the objects he acquired during this time would also have influenced his work in this area, according to Micky Piller. So even though my main influence from Escher was not his work on impossible architecture, his work with tessellations still comes back round to it. What looking at Escher really did for me was help me to see all the woven links between archhitecture and art, helping me bridge a few of the gaps I was worried about, initially, in my practice.

400 WORDS Sergey Tyukanov


Sergey Tyukanov is an illustrator who works in different mediums, including etching, to create strange and wonderful architecture. While not simply fantasy, in so far as being used in an actual story (and having an extra touch of surrealism in there as well), he designs city scapes or simply floating groups of buildings in different shapes. These shapes include, and mainly consist of cutlery, china and other objects you would generally find your kitchen. Animals are also featured, with cities growing out of their backs, though landscapes and natural form do not feature very heavily, which sets him apart from this general rule I have picked up on from other artists.

What initially interested me in his work, was the sheer amount of detail he pours into them, far surpassing the limited intricacies of actual architecture. His piece Castle of Time- 2007 (right) is based on Neuschwanstein Castle (left) in Bavaria. Tyukanov says his castle is 'so light and air-like that it lifted off the ground', which obviously came from the experience of seeing this elegant structure with its spires high up in the mountains. This element of realism is ever present in any buildings I draw myself, using foreign architecture as a starting point, simply because it is exotic, and therefore fantastical.



 What I find most intriguing about Tyukanov is that each piece on his website is attatched to a short paragraph which tells the story. For instance, with Flying Dutchman- 2007 (left), 'a wandering ship that had been travelling forever and will never reach its destination'; or Coffee Pot- 2007 (left, below), 'in this world of metamorphosis one can see ordinary things turn into houses'. This reversal of the typical illustration trope of an image to accompany a text is another take on the way my drawings tend to exist on their own.
Tyukanov has told the story of his pieces, not so specifically as to distract from the image, but to enhance it, much like novelists use illustration in their books. I could apply this to my piece (below). For instance 'The attack had left the city shaken, but the river was flowing again', or something equally vague. Yet when I apply this to my own pieces, I feel it is so unnecessary, it does nothing but make me cringe. I think this is because each image I create is an entire scene, layed out before the viewer, there is so much going on and also nothing at all, while Tyukanov's seem to fuel the need for a story, having but one subject. 
















LECTURE 18/10/16

Ben Owen

perfomance/ music/ gigs

cubic residency-
work from care home- vulnerable people wit dementia

'the pink room'
from prologue to twin peaks (film) David Lynch

band a part- goddard, narrator speak for the characters thoughts, music foreground/background emphasis

black cat white cat- costa rica, music is its own character- breaks the fourth wall, it interrupts and inteervenes.

caro diario- non (cant see source) and digetic (source is known) sounds, fictional documentary about film making, pasolini.

walter murch- writings on editing, pyhtagoras talking about resonating planets, check up theory

stan douglas- double sided screeen, performance and outtakes, representing the community of jazz in aris, that directors like goddard were a part of.

cameron jamie 'massage the history' humping furniture- the strand

While the talk with Ben Owen was extremely interesting, as is was all about sound and video work, I believe there is not much to relate to my practice however. The pythagoras theory he mentioned was what interested my the most. It is the theory that he planet resonate with each other and we humans pick up on this, for creating music, art or anything really. also relating to 'waking up on the wrong side of the bed'. This is as best as I can understand the theory from touching on it today.



Monday, 17 October 2016

Crit outcomes

Jerwood drawing prize image (look at artist perhaps, research)

games, Minecraft, literary influence relating to games and Duchamp/ Minecraft. Alegaro Boetti

Artist to look at- Sigmar Polke.

After coming out of the group crit I feel so much better about my direction and the work I am creating. While I was worried I was going into a too illustrative pathway, my peers and tutor all like the origins of my ideas; the literary influence. I need to look further into artists/ illustrators who worked in the style for novels and fantasy. I think I have become too bogged down with Escher and his geometry, while it sparked my interest, i must allow myself to move on. I also became a bit too obsessed with finding meaning in my work straight away, worried I was getting too close to architecture, I kept trying to find meaning in it, to make it architecture as art as opposed to just architecture. I realise I am only interested in architecture on a shallow level, in a very stylistic way. It is the fantastical aspect of the project and the detailed way I work which compliment each other and interest me.


On the subject of gaming and fantasy, the 3D blocks I wish to create put my group in mind of  Minecraft, where anyone can create their own scenery and architecture. This is also what i want to get from my sketches, the audience applying their own story.

3D- Maquette Plans

Using this basic model of the tessellating shapes from Escher's work, I have developed the idea into creating a rearrangable cityscape. While I could take this further and create a bigger piece, I wish to somehow apply the detail of my current technique (etching onto the blocks perhaps).

Could also use the blocks, rearrangable as they are, as a source for layouts of future sketches, before setting them as I want and apply details?