- The Shapes mirror the miss hung style (accidental)
- Odd angles – not perfectly geometric
- Colour theory
- Light fractals
- Stain Glass windows
- Slot toys
- 1950’s Atomic design
- Tube seat pattern
- Trying to understand how to read them
- Mirrors/ Ice
- White and the abyss of the black
- Textural rather than neo-plastsism
The gap crit was, fortunately, useful and has given me things to consider. It was wonderful to see and hear people engaging with the paintings, to hear memories that were being provoked by the pieces. I did find the comment about the four seasons interesting, personally, I have always preferred trios is aesthetically satisfying for audiences. To do four would need a fourth primary colour, and while there historically has been debates on the science of colour it is now generally expected that the main primary colours are Blue, Red and Yellow. I would need to consider the arguments for these primary colours and re-analysis why I have accepted these as primary colours, and then specifically consider the four seasons as colours. This would create a specific narrative which I have been trying to avoid. The colour should and did provoke emotional responses without a specific narrative, as I have explored from reading ‘The Langauge of Colour’. Crucially hearing from my peers has given me some new names to explore, which is definitely useful.
My concern though is that in the feedback from the assessment was that I hadn’t cemented my context properly, but at the gap crit I was criticised for over contextualising. in my experience there is tons of colour theory and so, realistically, paintings that use colour theory will have a lot attached to them. Whether audiences know about colour theory or not. I hope that I can create something that is beautiful and that it’s within the fine art communities is expected as fitting within the story of the art world between commercial and fine artists that creats massive pressures on artists to justify narratives and artistic choices, the language of colour though is instinctive and does not need to include the ego of the artist but instead the lives of the audience and the time the audience will take to properly look and consider the paintings.
Similarly, the neo-plastisim of the De Stijl movement called for flat shapes and minimal visible brush strokes, this does not fit with my more textural style. Thus I may be inspired by the 1950’s design age but my work fits in a more contemporary time frame where the abstract arts encompass a huge range of styles. On a separate note, I have spent a considerable amount of time looking at works from other artists such as Turner who is extremely more gestural in this mark making. It is reasonable to presume that artists will take inspiration from many sources, from life experiences and visual stimulation. What fascinates me is the excluding audiences from understanding or feeling they can experience fine art. The best example being the abstract expressionists who expected art history knowledge from their audiences to give full appreciation. Honestly, I think this to be a misunderstanding of what art is as these works are visually engaging without the need to inflate them with unnecessary narratives.