Visit to V&A

In my visit to the V&A museum I went to the power of making exhibition build understanding in the idea of crafting and processes. adding subtracting transforming

 Lego frog dissection 

adding 

King Silver

proshetic Suit for Stephen Hawking with Japanese steel

Crochetdermy

Blow Away vase

Alphabet pencil Sculptures is the very top first image written with the name of the exhibit

miniature die cast 'Chevy Van'

Evaluation

The chosen theme for this project was Memories. In my final outcome I depicted this through a sculpture Installation of a Chocolate Alpro Soya that I have been drinking throughout my summer and abundantly displayed in my first installation. The client who commissioned me for this project was Chestnut Grove who wanted me to create a 3D installation about my Summer Holiday in relation to the theme Memories.

The visit from the LIFT project artists influenced my work by giving me an understanding of the importance of process and archiving. The artists didn't have a direct link into my final outcome but had a significant effect in how I approached my work leading up to it. The two artists in particular would be Dan Scott and Edward George. Dan Scott because his work give me an insight into using my resources and experimenting with them in a way that is outside of my comfort zone. Edward George aided me in my understanding of documentation in his archiving project 'Promised lands'.

The main artists that had a great deal of significance in my work was Andy Warhol and his humour and light-hearted approach to his work and presenting a personal relationship with a commercial food product which relates to both my summer diary and what I collected throughout my summer. The other artist which I found had a substantial link to my work was the 3D artist Oldenburg Claes who does realistic sculptures of food. By combining both of these artists I Have found a way to both please my client and use my primary resources and experiments in interesting ways.

My experiments aided in my final outcome through the various explorations of the formal elements. From the stick drawing experiment I found a way to be more loose and free by breaking the boundaries of precision. Through Mark making I was able to experiment with different uncommon utensils and explore how they create different individual textures. In my mono prints I was able to explore both line and colour, but also in some ways required me to look at things in a way that was

premeditated overall linking back to the importance of process. In my Cliché Verre experiments I explored the element of tone, but also in likeness to my mono prints looking at things in a premeditated fashion. From my Paper relief and my analysis on the relief artist Peter Callesen I found there was a deep impression of solitude in a single person's journey expressed through a what is perceived a limited and fragile medium, in the grand scale of things it is a form of expression using a small thing to define something big.

I believe my outcome was a success as I was able to give plausible reason to my decisions of using my main artists and able to tie my summer into the theme of Memories through clear documentation. I believe though I could have used sound as a way of documenting and implemented my experiments within my work more effectively.

Side of the box showing how the experiments were used as the nutrition
tabs of the carton. representing that they aided in my process

The full piece inside the window

 

Close up of the Box showing the diary representing he ingredients of this project
on a re-creation of  what was abundant presence in my summer.  

Name: Khannah Bint Saliym

Centre Number: 11030

Candidate number: 5026

Visit to The TATE

Visit to Tate Britian


We first went to the JMW Turner part of the museum where it had sketches, water colour paintings, drawings and Etchings of his work, there was a area of which you could copy selected pencil works of his, and a colour chart of the progression and discovery of different colours from 1880 - 1840 and used palette's of Turner's. 

19th century 

JMW Turner  Basle, engraved by Charles turner 1807 Etchings and Engravings for the Liber studiorum Etching on paper Presented by A Acland Allen through The Art Fund 1925 Philip James De Loutherbourg 1740-1812
An Avalanche in the Alps 1803  Oil on canvas Support: 1099 x 1600 mm Painting presented by the Friends of the Tate Gallery 1965

I am very much interested in how nature is captured through paintings this also looks very biblical as the avalanche looks like clouds and at the bottom it looks like light is shining up out of the ground, I find this very interesting as it to me doesn't look like 'An Avalanche in the Alps' but more like a passage out of a biblical story the use of dull colours surrounding a light directly in the middle of the piece very much looks like a description out of the bible.


Frederic, Lord Leighton 
An Athlete Wrestling with a Python 1877 

The painter Frederic Leighton was infatuated with Italian art. His extensive study in Frankfurt, Rome and Paris made him well aware of the way modern figure painting depended on copying Roman sculpture. His paintings of the 1870s resemble classical sculptures, with perfect nudes, precise outlines and rhetorical poses.This is the earlier of his only two life-size sculptures, both made with the assistance of Thomas Brock. In subject and scale it is evidently intended as a challenge to one of the greatest classical sculptures, The Laocoön, showing three men being crushed by two sea serpents.

20th century

Roland Penrose 1900 - 1984

The last Voyage of captain cook 1936 - 67

Painted wood, plaster and steel

Christopher Richard Wynne Nevinson 1889 -1946

Twentieth Century 1932 - 35

Oil on canvas

This painting was created in response to the spread of Fascism in Europe in the 1930s. The figure that dominates the centre of the picture is based on Auguste Rodin's sculpture The Thinker. is threatned by the bayonets, guns and crowds below.

Art and Language

Micheal Baldwin ; Mel Ramsden

born 1945, born 1944

                                              

Portrait of V.I Lenin with Cap, in the Style of Jackson Pollock IIII 1980

Enamel on canvas

John Craxton 1922  2009 

Aderholl Mill 1943 - 4

Oil paint on board 


Adeholt Mill in Dorset was the home of the designer E.Q. Nicholson who was, with Peter Watson and Lady Norton, one of the main supporters of Craxton wrote to Nicholson in his early years. Craxton wrote to Nicholson in 1942 ' that all the best pictures that I have done have been done with you, down at Alderholt.'


Paul Noble born 1963
Lidonob 2000

Graphite on paper


Patrick Caulfield 1936 - 2005
After Lunch 1975

Acrylic on canvas


I like this piece especially because it looks as if it uses two forms of media, painting and photography. It captures two different kinds of reality by using these different mediums, both the detailed and simplified. I think the artists' two different styles both show an intense amount of precision, the main portion looking like a blueprint design and the other focused more on colour giving contrast to the piece not to mention that it is all crafted in accuracy. Researching more into Caulfield's work i have found that this particular piece was one of the first examples to which he used different mediums of styles, this one using both photo realism and his classical use of the figurative. There is also a modern feel to the piece much like you would find in Pop art, Caulfield was labeled as such, but he rejected both the name and movement calling himself more of a 'formal artist'. [http://www.guardian.co.uk/news/2005/oct/03/guardianobituaries.artsobituaries]              
his work mainly focuses on the figurative, but the inclusion of photorealism gives the picture more depth; it is as if you are seeing into two worlds. He generally works with the inanimate as shown here with the placement of chair, table and fish tank and shows quite a cubist figurative observational approach to common place objects also shown in his other works such as 


 Oh Helen, I roam my room

And.. 


Fruit and Bowl

the difference between these two and the piece I found in the TATE is that these are screen prints which was also what he specialised in other than painting. His work has been described as a "simplified presentation of the everyday." [http://www.gac.culture.gov.uk/work.aspx?obj=15272] which I would fully agree with, they are not meant to express serious, deep hidden social messages they instead 'bring wit and irony' and are loveable because of there familiarity and expression within bold lines and block colours. His use of these bold line and block colours have quite a fun nursery quality to it, it's simple not complicated with "oh it has a little bit of brown in it" the point is simple it's a pear, you see green and it is GREEN simple and to the point. In my work I hope to implement a certain kind of wit and funniness with finesse and somehow make my not so interesting summer interesting by making the common place some how eye catching and exciting through line and colour.

Peter Callesen

  Peter Callesen Analysis

Mountain II

First impressions

my first impressions of this piece is that it is very simple, the technique of forming the paper into the shape of a mountain by essentially scrunching up parts of it is the simple element to it but the intricate detail of the man on the mountain evokes meaning to it.

Facts

The mountain was scored by hand

The man may have been cut out before the shaping of the mountain

Made from A4 paper

The creation of the mountain was carefully calculated though looks carefree

The man is depicted as a silhouette and not detailed as if we would see up close so realistic in its composition

He was born in Denmark in 1967

Came to London to study at Goldsmiths University

Went back to Denmark to study architecture

Description

It is a man walking towards the peak of the mountain

The mountain looks as if it is moulded freehand

it is very simple yet effective

Formal elements

Simple technique that we would usually overlook because it is done free hand, but here it works to the advantage of achieving the impression of a mountain which also creates the texture, the piece mainly takes the form of a mountain this is created by creating lines by hand the use of this technique gives it a natural look which can only be achieved free hand.

Analysis

The piece had a mood seclusion and venture, I like this piece because through its simplicity it effectively achieves this mood, the piece was created buy cutting a silhouette of a man in motion elevating up towards a mountain and carefully crafting the mountain freehand to mould the man into the piece, I believe shaping the mountain to make it look as if the man is walking up towards it must have been the hardest part in creating the piece. The media used was a piece of A4 paper, a scalpel and maybe a pencil to create the silhouette. I think the artist has done well in creating the ambiance of isolation through the use of a mountain to imply loneliness and seclusion and the man walking it alone furthers this notion.

My initial thoughts about the piece still remain, it simply to me exemplifies a sense of openness and isolation, the contrast of these ideas make it a more complex piece thorugh these two objects. 


"I feel I have found a material that we are all able to relate to, and at the same time the A4 paper sheet is neutral and open to fill with different meaning." - Callesen






My chosen response


   For this experiment I chose to set it around the typography of the M&M logo and placed it behind a yellow background to illustrate the packaging.
I attempted to draw out the typography and make it look 3 dimensional  in order to relate to  Callesen's work, but it turned rather to the direction of his techniques such as his use of a single sheet to create an image, having the images hang off or fully cut out of the page and allowing the pieces that are cut out to become apart of the work. What I believe could of been better about my response is that I could've made it into 3D piece, have a more detailed design and possibly not rely on a background if it isn't an installation of some sorts. 

Experiments

Stick drawings

We did a form of loose drawings by wrapping equipment we could draw/ paint with on a stick which was about arms length. I found the outcome of this experiment to have been a expressionist drawing with more sense of freedom and exploration without being concerned to much with percision.

This is a collection of images taken from my window instalation. The equipment i used was felt tip pens and mixed paint applied with cotton balls, i found it really hard to control the stick in which direction it was going, to get it near to my initial target i had to slowly point the stick towards the paper rather than going in like i would if done by hand. This was rather a hard task as it was more about the position of your body and how you move you whole arm rather than just the wrist or hand, every material used worked differently as had little control over the pressure you had when impacting the page or percisely where you was going to.



Mark Making Experiments

For this Experiment i used different objects which can be used to make different effects other than using a brush




Experiment I

The items i used here was a zig zag roller sink mesh and a toy car. I used different colours to explore more in what the objects could be used for and quickly annotated using keywords of what I thought about it. I found the zig zag rolled very difficult to use as it didn't fully place the design on the paper or using to much paint filled in the gaps between the zig zag design on the roller and it came out like blob of paint on the page, I ended up using a brush to fill in the gaps where the roller failed to cover. The sink mesh didn't create a perfect design like i would've hoped because the paint seeped under the mesh and blended the different individual colours i was using so didn't rest in where I initially placed it, I also had a problem with keeping the mesh steady I often had to hold it down to get the paint in-between the gaps. Both of these objects may be used to deliberately make imperfect designs, but at this point that's the only advantage i can see using these objects.

Experiment II

Items:

• Nail brush
• Toothbrush 
• Comb

I found the experiment on the left hand corner in red particularly interesting. I used the nail brush to repetitively dab the paint on the page which created a refined blotchy velvety design. The comb I found could be used to create very intricate designs when scraping the paint in different directions looks much like woven material. The toothbrush funny enough created more of an even surface for the paint rather than the lines you would expect to see from the  brushes hairs, but when leaving the page it created this imperfect design especially when you curved the brush, i later layered colours (red) on top of the yellow and it sort of looked like flames.

Experiment III

The experiment on top was made with a piece of rectangular foam (vaguely illustrated in the right hand corner) I used acrylic paint to layer the colours which were individually left to settle on the page then  layered other colours one on top of the other in different directions. It created a smooth velvety texture which also looks quite natural.




The circular shapes on the bottom was an attempt to make a design out of a sink filter but because of it's shape the individual holds didn't meet the page effectivly enough and the paint seeped through into the other holes. 














Experiment IV

the design that looks as if the paint has been scratched into the paper was made aluminium kitchen sponge used to clean difficult stains off of dishes, it had created an uneven and blotchy texture  as well as a jagged effect created when brushing the paint. The series of rectangles in purple and yellow was created using a wooden rolling pin which i found was relatively good for making even pattens if the paint was evenly placed on all sides of the pin.


























Experiment V


For the following experiments we took the tools we had used previously to making observation drawings of leaves.

This first experiment was made using a piece of rectangular foam and a toy car to make the leaf's skeleton. I attempted to use the same technique I used in Experiment III where I let the paint settle on the page before I layered colours over them. 















This experiment was made using the foil sponge and a miniature foam board I used a combination of blotching to represent the leaf's deterioration and light brushing for the skeleton and the stem.
































Mono Printing


mono printing is a process where you place a piece of paper over a thin layer of paint preferably rolled on and you draw over the paper to get the print.

I took the outline from my paper cuts, traced it and coloured it in. It created this cool imprint from my finger and a ring on the end of the page that looks like a coffee stain.

This piece is the second attempt to making a loose interpretation of my alpro soya box i think this was more sucessful that my first attempt as i wasn't concerned wth making it percise. The image was made without having the pencil leave the page then doing the same with another colour (red)  making for a very lax drawing and standoffish effect from the overlapping of a bolder colour.

This is one of the characters off my M&M packet in my first installation i thought it would be intersting to draw. With this print the paint smudged where I was resting my hand on the paper the blue paint also was to to slightly wet 

Cliche' Verre

The Process:

• Choose image of which to draw from.
• Place transparent paper or clear film over image and tape the edges to keep it in place.

• Use permanent marker or acrylic paint or any opaque substance to trace the image on your choice of material (the outcome of the selected areas blanked out will come out white)
• Take completed image to dark room and place image on top of light sensitive photopaper
•  Set the gauge to how dark you want the image to be and press start
• take image and submerge in beach mixture tray leave until image is completely shown
• put it in the fix mixture and leave for 3 mins
• The put image in water and leave for 2 mins
  This image was taken from my

this was taken from the pictures in my summer journal
about my trip to the history museum using a  permanent marker. I think if I had reversed the print blocking out the background and parts of the dear that this would've made a better print but instead i played towards the obvious

this is another print taken from my summer journal of my mum's car. what I like about this print is the broken down and simplified outlines of black and white which i think especially works in this negative.                                    

This is from my installation of a kinder bueno wrapper using red acrylic paint I think the paint in some areas worked really well to block out the are's that i didn't want to come out but in others the paint wasn't thick enough i think with paint especially you have to keep going over it to insure a clean result.