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Carrying on from my previous post 19…

I then decided to begin to create this image on a larger scale, being canvas.

Image 1:

Again I tried to make the first layer quite light and opaque. I then added the presence of the landscape with a slightly darker paint. This began to create the shape I was looking for. I again made the dominance of the path shine by using white acrylic.

As this point I didn’t really like the dullness the piece executed.

Image 2:

I then tried to add darker areas and also the angle of the landscape to show what I thought was still an abstract representation. I do however feel as though I have started to add to many shapes and detail and simpler lines and collage papers would have worked better.

This is only the second stage; however I plan to work back in the strong vertical lines that showed a presence in the smaller scale experimental works. I am still happy with the progress of this canvas because it is just adding more and more layers which are working well. I would also like to work into the piece with graphite, as I did the smaller ones with pencil.


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Referencing previous Blog:

Fuchs, R.H. (1986) Richard long by R H Fuchs. Thames And Hudson. (EVAC).

Banning, D. (2013) Sticks and stones: Richard Long and his love of the land Available at: http://prodimages.exhibite.

com/www_jamescohan_com

/Creative_Tourist_Banning

_26_March_2013.pdf Accessed 12 November 2013)

Step by Step

First image:

This piece of work started as an experiment in my sketch book. Firstly using acrylic paint I used light shades of the colours green brown and grey. It was simple and began to set a tone of colour and abstraction.

I then began to lightly sketch on top when dry with a pencil which gave it a slight presence of the landscape.

Second image:

The second image is a close up of the first stage and shows a transparency within the paint. I really like the dark brown rough line vertically sitting down the page as I feel it gives the piece definition. It gives it an edge which without I think the piece would be a lot less effective

Third image:

The third image shows the next step. Guided by the faint pencil lines I began to use thicker paint to illuminate areas of the image. I began to feel the essence of the landscape come through.

Final image:

The final image shows the piece on the floor in my sketch book. On the left hand side of the sketch book I have the image which I took at the park. The image looks darker however I have used some different shades to illuminate and put my individual representation on it. I again in the final image added darker brown and greens into the painting trying to make sure the same level of abstraction was still there.

Reflection:

I do feel I am beginning to capture the essence of the landscape which I set out to do at the beginning of third year. I am trying to show the repetitiveness of the walks and have a pathway as dominance through some of my works.

I do still not feel as this image is finished as I think it needs more layering and possibly layers of different papers to build up textured areas. I would also like to work more close up with some photographs and works like this one as I feel it would be effective.

I am also making sure that I do not make the painting all the same with the same medium of paint, this being because my past few works have worked well using a mixed media abstraction. I need to make sure this is still a main focus to my practice.


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Richard Long

The Bold Paragraphs show extracts of my writing from my dissertation.

Richard Long was the second artist that I looked at for my dissertation. Longs work different to Fulton’s was about the rearranging of the landscape that he comes in contact with, mainly in a sculptural context.

Long’s sculptures are made in the landscape whilst walking; he uses earth materials around him, found in the natural environment, to rearrange the landscape and create his work. These for example are stones, mud and grass. When materials are limited, Long constructively uses himself as the material, making his mark on the landscape. As well as predominantly sculptural and physical works, Long’s gallery pieces are known to include large scale text works; of which describe feelings of his experiences.

His main motivations are concerned with time and movement and the apparent aim of his work is to rationalise the natural environment that he comes in contact with. This is done by his continual making of big things using little things that he comes across or making marks in the ground on his walks. Using natural materials for Long is a way of being able to engage and interact with the world. (Banning, D 2013,)

His walking subject interests me, but also his work has such uniqueness.My initial presentation for my degree show talked about involving raw natural materials into the work, such as leaves stones. This however has progressed for me and I haven’t carried on with this idea because for me the mixed media abstract approach is working better.

His work also mainly has impermanence to them which are recorded with photographic evidence. This only allows the viewer to imagine what was seen at the time.

This creates strong links to my practice as the walk is where my initial inspiration comes from and the photographs are there as a reminder for me to recall the initial experience and also focus on colour and definition. The abstract side to my work however, allows the viewer to look into it how they choose. This is something that I really like because when I view a piece of art I like to see what I feel and keep those feeling for myself. The way the viewer looks at an artwork differently is unique.

A line made by walking, 1967 is a piece of work that depicts a worn grassland in a straight line. The line is shown with a lighter tone in comparison with the rest of the photograph. Longs process was to repeatedly tread over the same grass land until a line became apparent. Its position documented in the photograph shows the straight line symmetrically placed in the centre of the landscape. This artwork has been produced by Richard Long’s feet and also the physical activity of walking. Rather than walking for miles on end continuously, Long chose his art to depict something that created a pathway, theoretically working to manipulate the landscape. On this occasion, Long could have walked for miles on end, and created no impact or imprint on the ground, however his repetition is what created this simple, stunning work. “When there are no stones, he can walk up and down the footpath as often as necessary for a line to become visible, or with his boot he can scratch a mark in the soft earth, or make a line by pouring water from his flask”. (R.H Fuchs, 1986, P44)

One of Longs Works, A Line made by Walking was a line formed in the landscape from the footprint of Richard Long. When materials are limited he used himself physically as the art work.

This is a very powerful and individual work as another man, footprint, or mind could have created something totally different.

It is amazing to look at this piece of land surrounding the line and really think about it and question it.

Why that particular grassland?

Why did he choose to walk continuously over the same part rather than miles on end?

Why did he walk straight and not in a circle or any other shape?

What was he thinking when he repetitively tread up and down?

These sorts of questions are what I need to begin asking myself after I produce each piece of work.

Richard Long and Hamish Fulton really interested me and inspired me whilst studying my dissertation and have remained a guiding force of my inspiration.


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Progress- Works from a sunny day

This study on the right is an image that I started from the sunnier day of my walks. I firstly used colours inks for a more vibrant appearance. I then added water colour and acrylic on top to bring in layers and effect. This is on an A3 scale and I still think that smaller A5 works are coming together better. I am still trying to use the realistic colours because I think it is working better than previous works in relation to my subject.

I then added the white acrylic on the path but tried to water it down so that the colour was transparent over the previous layer of paint. This gave a nice effect in my opinion.

The second image shows the next stage of the picture where I have brought in darker browns and greens but the layering’s are still visible which I really like about the images. I am going to add texture into this as well to give it more volume.


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Doris Salcedo

Colombian Sculptor Doris Salcedo’s Shibboleth is a series of intrusive cracks invading through the concrete floor of the Turbine Hall at the Tate Modern in London. Shibboleth is part of The Unilever Series, a series of work where the Tate invites an artist to make a work especially for the Tate Modern’s Turbine Hall. The annual series has seen some of the most innovative works.

Shibboleth

Shibboleth is the first of the series of works to intervene directly into the fabric of the Turbine Hall, rather that fill this iconic space with an installation or sculpture. She has created a hidden crevice that stretches the length of the turbine hall.

The concrete walls of the crevice are ruptured by a steel mesh fence, creating a tension between these elements that resist yet depend on one another.

Salcedo aims to address the perception of a long legacy of racism and colonialism that underlies the modern world.

Her cracks so a perspective of looking down and seeing what lies beneath the normal, when you walk in it has quite a subtle feeling, however looking in reveals a feeling of catastrophe.

Salcedo comments on how her cracks show and fill the space with an intrusive presence, an unwelcoming feeling like an immigrant. Like an immigrant intruding without permission.

Why Doris Salcedo?

I was initially interested in this piece of work for the appearance. It showed close relation to some of my images that I had taken with the muddy pathways. It was interesting to see the work and then research and unveil the reasons as to why she created such powerful invasions and the contextual reasons lurking beneath. Finding out the context of the work actually made the whole thing ten times more powerful for me to look at. This is something to look at whilst the degree show fast approaches.

What am I trying to show? What is it about?

When taking the context into consideration I find it particularly fascinating because wherever you choose to look or at which point you stop along the cracks, the reasons and meanings are always present. You can relate and delve into a history and a past.

This is something to think about in my work, for example:

If I turn my image upside down does it still represent the same?

If I focus on a close up of the image on a large scale does it still have the same presence of the same image?

http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-doris-salcedo-shibboleth

Video of Doris Salcedo taking about Shibboleth – http://bcove.me/6362wi09


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