Author: p2534372

I have always been interested in various forms of art, even from a young age. I developed my interest early on through sculpting with Blu Tack when I was eleven years old and would model figurines from films and TV programs. I had a specific interest in modelling the army of soldiers from the Lord of the Rings using Blu Tack and toothpicks for the armory and weapons. And from the film Avatar, creating Na'vi people using toothpick to create the texture and ripple effect bodies and tones.

It was in my second year at college when I decided to switch from IT & Media to Art & Design, leaving South Leicestershire College to start the B-Tech Enhanced Diploma at North Warwickshire and Hinckley College. I was granted to enter at Level 2 and worked hard to achieve two distinctions in my first year. The switch was the best decision I had made that year and it set my focus to select Fine Art at university. The only university I selected and wanted to study at was DMU, a dream come true!

Artist Talk Interviews

Lala Meredith Vula

Listening on Lala Meredith’s career as a professor of arts/photography, where she’d showcase her forms of artworks used for such potential into sketches when viewing at Lough-borough University.

Lala’s exhibition: “Drawing Together”

Taking a tour with the gallery’s creator-Philip Lindley, who had shown me most of the drawing arts from artists whom to had reflected in Lala’s influence with very curious themes of scientific methods used in abstraction.

I was always fond of doing practical drawings, to be more adaptable of what I could plan on my creation of a design from blueprints and how often to practice with my sketches in my sketchbooks or individual pages as diagrams.

Small screen:

Notebook of Spiritual Mouse:

Shaw’s giant inflatables:

Throughout my visual tour I took my notice of several drawings, that were produce by artists to connect to my primary strengths of sketching with Richard Deacon’s work on multiple line drawings, which was originally been created in sculptural manipulation and reflect with his bending models.

Aesthetica-model:

Here is one of Deacon’s models of Aesthetics’s bending structure, I once sketch this piece into my sketchbook at my previous college in North-Warwickshire, Hinckley because I am fond of being adapted to bending with certain resources that are easy for my term 1 diagrams of cartoon models.

My decision of evaluating Deacon’s development in bending models, is how I was fascinated with unexpected ways in experimenting with abstraction, particularly it could be a reflection to my last years work in foam-gears to manufacture them my all seeing industrial eye model to impact with its theme.

Black/White shapes:

Antripose Lighthouse:

Scottish Promise:

followed by these next drawings during Philip’s tour-guide, are some of their shaded textures which might be spooky but they show me to criticise my strengths of practical colours. To review “The Promises” portrait that tells me about the Scottish couple used in Neo-Expressionism, because it could help me to adjust on my shaded details when I’ve been doing my blueprints of model-making or humanoid movement.

Grapes drawing:

Ruin Building with Swans:

Going through Lala’s last bit of the exhibition, is evaluating with her shaded drawings that are telling me of what she saw in reality, to transfer evidence of life photography into drawings and how to adjust on Lala’s work of deep textures. Followed by Deacon’s recording about his original plans on bending resources, when I am directing my ideas to something new and inspired by their methods into my own drawing inspiration.

Year 2: Art History

Art History

Beginning on my year 2 lecture online sessions at Ultra Blackboard, to discuss writing on which artists had experimented in their periods to help understand with their techniques needed to absorb into my own research.

Followed in this response to study on Clement Greenberg’s lecture of post-war modernism, because it helps me to review on an artist connection to American influence of how I would examine onto these wonderful artworks.

This meant to engaged with a proposal into representations in abstraction, next to criticise facts towards Greenberg’s critic writings set in 20th centuries and how to reflect from my selected lecture onto inspiration of modern painting.

Techniques or artists used for Greenberg’s knowledge in our world:

Cubism
Matisse
Cezanne
Monet
Rothko

To demonstrate on what to write Greenberg’s progress of evaluating most of his fellow artist’s works, at their directive stage of when I could adjust towards his approach to abstract developments and to share my purpose of my primary source with brushstroke textures even if focused on blending or wrestling.

Key elements in Greenberg critics:

Originally it was thought Greenberg is influenced from the written text by philosopher – Immanuel Kant, but to discuss on the means of art/literature together to talk about critics and what it could had my directive way into artworks treated as negative factors that were declared of old masters treatment being criticized.

Artists who are termed – Abstract Expressionists:

Willem de Kooning
Jackson Pollock
Barnett Newman
Robert Motherwell
Marc Rothko

At my critical point of examining on these artists I’ve decided to study on Pollock, because he uses a different form of painting that are messy like dripping in his own way and what I could search into his splashed textures in physical development.

Pollock’s website: https://www.jackson-pollock.org/

Pollock’s Introduction in painting:

A major figure in abstract expressionist movement
Known in his technique of splashing paints onto a horizontal surface (“drip technique”)
Enabling to adapt, view and drip paint his canvasses from all angles
Mentioned by people as “Jack the Dripper”
Used to experiment with All-Over Painting or mostly called “Action Painting”

Blue Poles (1952):

From writing on Pollock’s methods of drip painting, I search for one of his most fascinated artworks – Blue Poles (1952) describing on its mixed media of drip colours both inner and outer layers of aesthetic beauty and in my inspiration of bringing colours to life of variation of thoughts and felt of aggressive or rage emotions that I’ve put together in my post-war modernism essay.

Artist Talk Interviews

Lee Maelzer talk

Watching my second talk of Lee Maelzer’s life into painting, she also uses a voracity of different techniques to examine onto her proposal of focusing with household arts and tells of their old states of tidiness.

During her background studies of oil painting, are about to organized with most of environmental objects/structures in London and to share on related influence to particular films on horror for use in visual effects.

Apartment room:

This is a taste of what Maelzer has used to experiment on the rooms empty areas, thought to have long abandoned since its original owners used to live there and which I was interested by their old textures if never been touched to stay connected to the past.

Maelzer’s website: http://www.leemaelzer.com/index.php?/recent-paintings/paintings/

Facts of Maelzer’s methods in painting:

Different forms in film-making and collage
Learnt on related themes in horror
Uses visual imagery of abandoned objects
Focuses on old apartment rooms and environmental places
Most of old items either indoors or outdoors look decay

Followed with Lee’s video evidence to criticise her progress, of what allows me to visualize with old or ruin areas of household buildings alongside trains going by the rail-lines in slow motion.

Maelzer’s video on General Electric: https://vimeo.com/479231586

Furthermore, to help absorb with their once built structures all across town, like we are moving forward in our past, present and future which was if time passes by throughout peoples daily life and to keep me in mind of any peculiar art actions within our reality.

Maelzer’s career of visual development may have struggled in some of household objects/structures of deconstructed, but from my primary source into painting can be a sense of freedom if being adapted to unusual effects in spooky or emotions of loneliness for what her portraits and telling me of despair in a dark environment.

Stage Dust, (2014) Oil pastel on canvas:

Think of this portrait of Stage Dust (2014), trying to explain me of how it was completely abandoned like I am feeling sad or been forgotten by the outside world if trying to describe on her artworks whilst visualing a once household object. In relation of this response I’ve been influenced by most of Maelzer’s visual apartments, because they could be a reflection to a person’s sanctuary might had turned in a haunted house and what I should be able to learn from its outcome of shaping our period in household living.

Artist Talk Interviews

Catriona Leahy Talk

Reading on Catriona Leahy’s talk, to describe her primary source in printmaking that focuses on industrial arts in 17th centuries. Helps to research her approach to a particular way to study with landscape development.

Leahy’s project: “Aesthetics of Disappearance“

Viewing onto a series of coloured prints, manipulated them into Leahy’s methods of ink painting that could adapt to its spiritual influence in any kinds when examining this selected factory and expanding on her wall to affect my point of criticizing its state of architectural arts.

Albatross:

Reviewing on her “Albatross factory”, to examine it’s origins of bring with most unnatural structures putted together in several papers used in Japanese arts, to impact its true motives can achieve since closing down and to learn from its outcome of job losses.

Furthermore to examine its aftermaths, is how spiritual arts roam its once craftsmanship like ghosts, mainly to discuss its deep layers which are decayed in the 60s and it could be accomplished in its present or future.

Leahy’s Website: http://catrionaleahy.com/2012.html

From her primary evidence of industrial arts, Leahy used a reflected portrait to produce in certain edges of shaping an imagery effect merged into their difference modern and old architectural purposes in metalwork.

Unrelenting structure:

Next up is a peculiar structure of luminous papers of “Latent Afterglow”, it has a unique detail of sparkling-arts within their inner textures of dull materials added into bright lights and which is combined in Carrera Marble/Cast Concrete to shape each of their untidy state.

Latent Afterglow:

Looking into appearances of unexpected makeups, to had a connection to natural space when manipulating their fabrics of resembling a glowing/geometric methods. To adapt with directions of illominis energy, as they transcended our felts of emotions and how I can adapt with decorated arts of steel textures.

From Leahy’s feedback on industrial printing, are improving on environmental arts used for perspective ways to organize with different metal manipulations and my proposal of outer structures of deep textures.

Relief in Time:

Finally to view on studio’s floor of an artwork called “Relief in Time” what it tells me of several lines in coal dust that Leahy used in freestyle space not crowded and what it helps to evaluate from a reflected London’s Underground map.

At my aftermath on Leahy’s talk, allowed her influence of industrial arts to affect on my last years technique in foam manufacturing and how I would learn to organize my future project with Leahy’s technique.