Degree Show Build Final Installation

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!

Contemporary context

I want to return to a point that I made in the Kandinsky post; the contemporary world needs beautiful things that distract us from our technology. Something that is different from the advertisement bombardment or even natural beauty which we have unfortunately become so accustomed to.

I have been focussed a lot on the Kandinsky and other 1900’s artists, but I don’t see that their world is much different from ours. What they lived with as far as politics and economics have parallels; the uncertainty in such a radicalised political environment fro one thing. The contemporary artists that I have found seem to agree with my desire to explore the modernist and other early to mid-1900’s movements. I think we all have a desire to experience what it is to be part of such a pivotal movement, finding new ways of presenting the core of our practice.

For me, this is in the pursuit to understand the language and dynamics of colour, and to use this exploration to chart my own course in the art world.

Click on the names to see more about the individual contemporary artists who have appeared in my research during the project thus far:

Niale Orsmond

Robert Holyhead

Exhibition at Waddington Custot “Colour is”

– A collection of works that bring together contemporary ideas about colour theory and how they can be expressed by current artists, in reference to traditional colour theory ideas. The Anthony Caro “Floor Piece He” is curious as it explores the colour of shadow. While this does not directly relate to my work, it does better represent an idea that I am trying to explore with the white overlayed forms; that light, and absents thereof, can affect the perception of colour. The white is usually used as a tool for illumination, but when overlayed colour it can dull the vibrancy of the colour underneath, creating tonal depth.

Ian Davenport / Morris Louis

Ian Davenport @ Waddington Custot Gallery

Form, Colour and Plan

 – Although work in this exhibition is more early 1900’s than contemporary I would like to suggest that installation method is has a more contemporary feel. I am referencing the exhibit to show how colour can be overwhelming but also infinite in its veriaty. As with a lot of abstract art, there is an argument that it is easy, and can be repeated, but if history can tell us one thing; while artists may seem to imitate one another, the hand of the individual is always present in the artworks!

David Batchelor

Gary Andrew Clarke

– Clarke describes his work as hard-edge painting and geometric abstraction. The work does use colour theory in its composition but it seems to focus mainly on the interaction of the forms. The paintings use the colour to push the forms backwards and forwards, giving depth to the paintings, in addition to the very pure lines that do not mix. While these paintings to not have the textural quality that I prefer they do have a wonderful variety. With his collection reaching into the 100’s it is nice to see what commitment to a project can achieve. I have already mentioned that the possibilities for my colour code studies are infinite and Clarke’s work emphasis’ this for me. The positive thing about my work is that the paintings are done in pairs so that the colours can be mixed, resulting in even greater numbers of possibilities.

Degree Show Build

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.
 
Update 08/05/17:
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!

Naming the work

42AB (Ithaca)

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.

Code:

(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

=42AB

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.

Reference:
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.

Sean Scully

Sean Scully re-imagines the history of abstraction as an art rooted in experience, one that seeks to purify how we encounter the world—“something felt and something seen,” as he has said.

From Change and Horizontals by Joanna Kleinberg and Brett Littman

Scully’s work is grounded in reality, unlike mine and a lot of other abstract art, as Scully uses his photography as inspiration for his paintings.

SS2963 Robe Blue 2016 web

It is clear to see in this piece how the materiality of the oil is extremely different from my acrylic paintings. The brushstrokes flow and the physicality of the piece is very different from the work of Ad Reinhardt:

Ad Reinhardt, ‘Abstract Painting No. 5’ 1962

The textural nature of Scully’s vs Reinhardt’s does seem to show the two polarised possibilities of abstract artworks, with some opting for the industrial, digital approach and others the more gestural, analogue approach. There are naturally arguements to support both but I am going to continue with my preference for the analogue. As I enjoy the variety that comes from the acceptance of human error.

David Batchelor

David Batchelor

I am not at all interested in ‘pure’ colour… So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.”

Parapillar 7 (Multicolour)

Batchelors rediscovery of colour theories into a contemporary context feels like it is presented as a challenge to places like the White Cube and modernist ideals of purity. Although he fits within the establishment, the work wants to challenge our perception of colour, balancing vibrant colours with structural forms. His book (Chromophobia, 2000) goes into more detail of how these thoughts are based upon art histories attitudes to colour, and makes a fascinating point about how the movements that over used colour (pop art) and those that avoided them (minimalism) are what has given artists today the freedoms of creation. With the emergence of the camera we moved away from the limitations of realistic artwork and into an era of industrial and technological art.

However, I would argue that in a contemporary setting we must explore colour theory as a base for emotional documentation and understanding, rather than continuing in a vain of ‘art-for-arts-sake’.