Monday, 9 March 2015
An initial task before writing my main MA Study Proposal was to list 20 words which characterized or were associated with my work. These words were then to be expanded on to further clarity our positions. I wrote this as a stream of consciousness not an academic document, so please do not judge it as such, I am aware I repeat myself and some explanations/ descriptions maybe cryptic at best. I wrote it as a series of notes to myself and was not originally intending to share it. However it does hit on themes and questions I see as central to my practice so I thought it worth uploading.
Honest - it is what it is, an abstract collection of marks and colour nothing more. Readings and interpretations are left completely open to the viewer.
Abstract- concrete abstraction i.e. not intentionally referencing anything external.
Emotive - I belive first response to a works aesthetic is the deepest connection we have with a work. It speaks of otherness, the undefinable.
Immersive - large scale, I'm interested in surrounding the viewer’s field of vision. Projection, wallpaper, Panel paintings. I want to test effects of scale in my new work. In the past I have limited by practical considerations of transport & storage when producing paintings, but printing or projection offer the opportunity of much larger scale works.
Repeating - playing with more than one focal point is a new idea in my practice, and one that I belive lends its self to the exploration of the abstract sublime. Unending, vast, sublime!
Multidisciplinary // Multimedia paint, silk screen, projection, Illustrator, Photoshop, Ink whatever works. Engaged with new and old processes. The most important thing for me is the image, processes are just a means to arrive at the outcome.
Pattern – Does process dictate how seriously we take a work? Do assocciations of process, painting / photography give a work instant credibility? While other more domestic or design processes devalue an image through association. Can I overcome this?
Would a mediocre painting hold more credibility (aura) than a first rate wallpaper? Without the belief in a work of art it does not exist? Value/worth is in the eye of the viewer.
Sublime? // Transendental Barnet newmann (Sublime is now) Rothko - Postmodern sublime (Lyotard)
Aesthetic -beauty is not a dirty word / but aesthetic does not mean just beauty and can mean the complete opposite. - The first response to a work is based on its aesthetics not its ideas.
Altered formats – Works which are changeable to different environments.
Un-postmodern postmodernism? – not looking back with a wry smile, more like an open dialogue.
Gesture – looking at how painterly gesture could translate digitally
Mark making - I see my mark making like abstract hand writing.
Rhythm - work to date has been produced in defined time frames dependent on process, paintings being created by laying individual layers upon layers. With digital processes this may change. The speed and way in which the marks are made affects the rhythm of the work, could this cause problems when working digitally?
Spiritual –is all art spiritual? an act of faith? a belief in the value of some 'otherness' that which cannot be proven.
Pictorial depth created with colour// scale // mark making // often close condensed squashed spaces. - may experiment with deeper depth of field.
Colour - The eye first sees colour before it sees form, therefore colour is of paramount importance to me. Working digitally opens possibility of quick alterations, further experimentation and ability to rework an image.
Immediate - love of tactile respose from painting - ' substances occupy the body and mind etc.... Love of paint. (Elkins)
Personal – My response to the external world
Altered contexts - Exploring how the reading of my work is altered in different contexts.