Tutorial on the following images with Matthew Bowman
Bold text is reflection on original notes.
27/05/2021 – Note taking during the tutorial is a helpful way for me the remember things mentioned – however I sometimes find it a little difficult to decipher looking back. I looked up some of these points I recorded in the tutorial, such as indexical traces and the idea of painting in the expanded field. I wasn’t sure if this was a theory that had already been explored, it was something that I was interested in during L5, I did some reading into Rosalind Krauss and the blurred lines between drawing, painting and sculpture. I think balancing the lines between these is something i enjoy doing in my practice, however when i name something, such as my studio mural ‘Transient Convection’ a painting, I hear the audience discussing wether it is a painting, a drawing with paint or as its architectural, a painted sculpture? It brings up many questions for me, such as is it a a site-specific mural painting? An immersive installation? I looked into Katharina Grosse’s works and took a leaf out of her book to call it a painting. However is it immersive, mural.. drawing made from paint? I’m still not totally sure.
Notes form Tutorial with Matt 15/04/2021
Painting in the Expanded field?
Have another look into Rosalind Krauss.
Drawing or painting? Drawing with paint?
Merlau Ponty embodiment/embodiedness
Indexical Traces
Sculpture is what you bump into and step back and look at a painting
Paintings exist on the wall in front of you and sculpture exists on the floor
Not clear cut you cannot encompass it into your field of vision it becomes unframed and it can’t be bounded.
What Determines those shift in composition ?
How I engage and treat the physicality of the space around you the partition is a wooden panel which separates the space
Each vertical line takes over it
Ignore those vertical lines and do not let them determine or constrain those vertical shifts
Site specificity is always there in my practice – i should probably embrace it.
Paint directly on the ground
Against the immersive aspect
Health and safety aspect? 20/05/2021 – Walking around the space it is the same as it would be. If i were to include something covering the ceiling then it may add to or take away from the piece. It would make the back room quite dark and overwhelming, considering it as it is now.
CY Twombly painter or draw’er’
Form of drawing
Mark making
Drawing in space
Drawing made with paint
Line doesn’t describe contour or form anymore
Morris Louis – have a look at his work. Unveiled large sheets of canvas allowing the paint to move around and run down and form its own lines
Abstraction impersonal non subjective
Rothko – Large works on a huge scale.
Merlau pointy embodiment embodidness
Immersive space in front of the body behind body is part of the experience of the artwork
The mark are directly connected to your own body reach of arm and height. Not going in beyond my height – a trace of my body. 27/05/2021 – I did end up jumping above my height and using a brush on a stick to reach heights beyond my body. I think doing this is still making it an extension of my body, therefore is still true to the original idea. It’s not really comparable to Julie Mehretu’s cherry picker heights!
The body matters in making the experience of the work not always explicit or made into a thing. 27/05/2021 – after making the work and researching into Sol LeWitt and Grosse I would have to say that the audiences engagement with the space and the painting is what makes the work. The consideration of the traces left behind by my body is one that i have been told about many times in both crits and tutorials. The audience do consider visualising me creating the work ,moving around the space and mark making. I believe that it was successful because of this.
Embodiment of subjectivity
Line continues around the corners of the space goes towards the floor how is the line stretched? 27/05/2021 – I added lines onto the floor, continuing the work to be both in front and underneath you. I think this adds to the work as it creates more of an immersive space. I achieved this ‘line-stretching’ by working onto the floor.
Susan Morris embodiment ephemerality connection
