When I began the Fine Art course I was confident in the work that I produced, unaware of the journey that I was beginning. I understand that the list below could include posts from before 3rd year but I feel that the previous work was not as informed as my current project and I would like to show the steps that I took to achieve the work that I have set up for the exhibition. The journeys that I present at the start of the second year do show signs of my curiosity in colour and form but I did not push the idea at that point.
If you were to scroll back through my time at Cardiff Met it is possible to see the full transformation through my work. As I step out of the protective covering that is being a student I am excited by the future, but mostly I am glad that I can say that with everything I have had to face these three years I know that I have become a stronger person able to tackle whatever the world has to throw at me.
1. Painting on larger scale!
2. Colour codes (Full set images)
3. Studies in red, yellow and blue
4. 9x A4 Structural paintings
5. Structural colour studies
1. Contemporary Artist (collection)
2. Wassily Kandinsky
3. Sean Scully
4. Carmen Herrera
5. Josef Albers
Installation of Degree Show work 1 & 2
Link to Presentation (Shared on Google Drive)
This colour series explores the contemporary condition of colour within geometric forms. Inspired by the philosophies of early 20th Century theorists, who collectively explored the potential of colour and form. My investigations have allowed me to re-imagine colour theory with new possibilities for how colour can be approached in contemporary painting. I offer the viewer a vibrant experience that is separate from the familiar bombardment of day-to-day visual encounters.
Indulge me for a moment and imagine every possible colour; Reds. Blues. Yellows. Let them fill your mind. Now I invite you to see what I see.
Deciding how to hang the paintings:
It was good to be able to lie out the pieces so that I could see them all together, I then decide on how to space them, either all with gaps or in the pairs.
Once I had seen the pieces I was able to commit to the mixed pairs as they look best this way and represent my ideas most successful.
The magnets have worked really well, the fit all the criteria that I had for how I wanted to hang the pieces!
I wanted to go for a simple and elegant design that was easy to read, as well as showing off my artwork (in a preview manner). With a repeat on the back it means that no matter which way the card is facing it is clear what it is, including a small logo.
When I first saw the map I was excited as I had the perfect number of walls! However, after a health and safety check, it was decided that the half wall would restrict access to the MFA study area. This means that I will have fewer walls to work with, and so need to work out a different way of hanging the paintings, or hanging only three of the pieces.
I decide that I need to make the best of this and after re-measuring I came up with a way of presenting the work that might actually end up looking better than the original portrait rotation. I worked out that the walls and two paintings at a landscape orientation are the same size. I, therefore, have been playing with how to balance the wall space with the size of the paintings. The main thing is that the walls are used but with not too much of a gap between each one. The landscape orientation does actually seem to be the better option because it will give a more intense colour experience as it will have less white wall at the top and bottom, making it more of a pillar of colour.
I am also trying to work out where I am going to put the statement in relation to the paintings. I would like the statement to be the first thing that people encounter and then look across at the pieces. Also, I will say that I am concerned that if audiences want to step back they might knock into the ceramic work behind them, which I have discussed with the artist. She has said that she is unconcerned with this but I think is planning to change her set up slightly to take this into consideration.
The main moment that I worked out this new method of presenting the work was when I was looking back over my blog. While looking at an image of the A2 paintings, I thought about how it would look landscape:
This is how I now see the paintings being displayed but on the larger scale, and so the next diagram shows two of the preferred ways of hanging the paintings but it will ultimately come down to what happens when I have the work in front of the wall.
After the weekend it was agreed that an extra half wall would be added to the 3 walls. This has meant that I have a new half wall to prepare, which is no worries as I have plenty of time. As well as meaning that I can return to my original wall hanging design!
If you remember the code that I made for the smaller piece it will help with understanding the name of this series. Although I have decided that the name will have two parts to it, one being a simplification of the code and the other being a reference from my surroundings. I will explain these in this post, but future iterations of the work will not have the explanation but will be open to interpretation.
(2+5)A + (4+1)B | (3+6)A + (2+5)B | (4+1)A + (3+6)B
7A + 5B | 9A + 7B | 5A + 9B
7A + 9A + 5A + 5B + 7B + 9B
= 21A + 21B
While I am aware that this might not be how algebra works exactly it is how my code for this colour series has been decided.
While painting the large pieces I have been listening to The Odessey on audio books. It struck me how much of a challenge it was for Odysseus to return home to Ithaca. For this series, I have chosen the name of his hometown as a reference for the struggles that I have had to face getting to this point. I feel like I have been on a great adventure myself, with so highs, lows and unpredictable turns.
The reference part of the title means that even if a series code is the same as another the reference aspect will always be different. I could have chosen from lyrics of songs that were being played by others or something that was said, but I will always try to choose the most relevant reference based on the situations that I am surrounded by while working.
Hopes for presentation techniques:
- Subtle and doesn’t distract from paintings
- Does not damage paper
- Does not hide paper
These points immediately rule out nails or tacks in each corner, as well as the fact that the paper would probably tear from its own weight. As well as excluding the possibility of a custom frame, especially as this would be an extremely expensive option.
I would like to have the paper visible as much as possible as it creates a contrast between wall and painting that also references my desire to focus on the materiality of the paintings.
My first thought was to get poster hangers that would attach to the bottom and top of the poster. But this would act as a frame on two of the sides and does not fit into the “subtle” criteria.
I then found this article on how to make a custom poster grip, which I could paint white (and so be more subtle). However, I still did not feel like this was the best option as I was not confident that the design would be able to hold up the large, heavy pieces.
Other options included glueing the paper to large pieces of board or creating a stretcher like design to be glued to the back that would give the paper enough structure to be easily attached to the wall.
However, when I was looking for the magnets that I could place in the DIY poster grips I stumbled across an article that completely solved my problem and with their useful guides I was able to calculate the exact amount of magnets that I would need for the paintings!
I have now been able to test the magnets and I am so pleased with the results! It is also funny because other students with paperwork started to consider using magnets when I shared the idea with them. It presents the work in such a clean, crisp way without damaging the work!
My practice is currently exploring the aesthetic movement of colour and shape within a space. This exploration is currently taking the form of acrylic paint on paper which gives a smooth texture while still allowing the human marks and errors to show. While the theory behind the work needs improvement I am certain that with more experimentation I will be able to produce a successful final piece for presentation in the degree show.
I expect the work to consist of several large pieces of paper with acrylic paintings on them. I prefer to work in threes and so this pattern will continue here with three sections to the piece. I will continue to experiment with the smaller A4 pieces until I have found a form that I am satisfied with, while also trying to upscale the work to A1. Based on the time it takes to do the A4 I imagine, the larger pieces will take approximately 2/3 weeks to produce.
No technician required other than assistance in wall hanging. Framing may be required depending on what I decide closer to the time of the degree show.
I request for my work a naturally lit space with three walls to give each piece the required breathing room while still providing them with space to display their set style and pattern. I am undecided as to whether I wish these walls to create a confined triangular space for the audience or three flat walls, but I believe this will be decided once more large-scale tests have been done, and with further consultation with tutors.
Estimated costing: £150 with paper, acrylic paint and basic framing.
cost reduce if framing is not chosen.