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nikkisnowdon: Love your work Ellyn :) I'll be starting third year in cardiff in september and seeing your finished pieces has been a bit of an inspirational boost. Also congrats on your 1st, you've worked so hard for it :) I just had a quick question about your tumblr haha, which theme do you use, or is it custom css? It really does your work justice. Best of luck for whatever you do once you've graduated :)

Thanks a lot! I found the basic theme and then tweaked the html. Thank you and good luck with your third year! 

kiadu: I just found your blog and have been sitting here reading about your journeys through each piece for about an hour! My mum is an art teacher so despite me lacking in creativity I still love to learn about various artists and I would like to congratulate you on your awesome job! Keep up the great work my dear xxx

That’s very kind and lovely to hear. Thanks very much!

And so ends my 3 year fine art degree. I have truly enjoyed every single minute of it and I’ve been so lucky to have met so many amazing people and talented artists. These last three years have honestly been the best years of my life and I still can’t quite believe it’s over.
Yesterday I found out that I’m graduating university with a First Class Honours Degree, I think I might still be in shock.

And so ends my 3 year fine art degree. I have truly enjoyed every single minute of it and I’ve been so lucky to have met so many amazing people and talented artists. These last three years have honestly been the best years of my life and I still can’t quite believe it’s over.

Yesterday I found out that I’m graduating university with a First Class Honours Degree, I think I might still be in shock.

Work set up, ready for the Degree Show!

Overall I am very pleased with the work I have on show. I feel that they represent the culmination of the last three years worth of hoarding, experimenting and discovering aptly. I think that these pieces work well in the space as well as with the surrounding work by the talented Ruth Hitchens and Holly Matthews. I’m confident that it’s going to be a great final degree show at Howard Gardens, I just wish I wasn’t leaving!

anruik: Your final pieces look fantastic! Best of luck with the exhibition!

Thanks a lot!

Final photograph of my studio before moving into my exhibition space. So sad to be leaving!May 2014Ellyn Abraham

Final photograph of my studio before moving into my exhibition space. So sad to be leaving!
May 2014
Ellyn Abraham

"Greenland is not green"April 2014Ellyn Abraham
I have been working on these perspex outcomes alongside the tracing paper pieces as the perspex embraces particular qualities that aren’t necessarily present in the tracing paper. These qualities include a complete flatness once filled, precise edges and a unified surface plane. Despite being excited to work my idea through a different material to paper, I was initially quite sceptical about how successful the perspex pieces would be. As the tracing paper works explore ambiguity and fragility and capture a distinct sense of visual depth - I was worried that these features wouldn’t translate through the perspex as well. After already experimenting with the green frosted perspex to conclude that the depth was indeed hindered through the use of the perspex frames, I decided to use a clear frosted perspex (see previous posts). The use of this clear frosted perspex gave the frames that sense of depth I desired. As the colour merged the front plane with the white background, the frames appeared to have that ambiguous sense of depth that the tracing paper pieces have.
There are qualities present in these perspex frames which I believe are more successful than the tracing paper pieces. As the perspex isn’t as distorting as the double wrap of tracing paper, colour is far more visible. This has enabled me to add subtle hints of colour such as the yellow which isn’t possible with the paper pieces. These subtle hints of colour insist that the work appears to glow in an entirely different way. The reduction in the density of the filling space has also affected the resulting image. As there is less room for the powder to move and change position, I have been able to create marks which are almost impossible to create on the tracing paper pieces. These marks capture a lot more movement and embody a far more ethereal nature.
Despite being constructed through the use of the same materials and filling processes, I do not wish for the perspex pieces and the tracing paper pieces to be considered the same. They are two very different outcomes. The perspex frames are a far more object-like approach, and literally embody the sense of encasement through their assembly. The tracing paper however appear to be a lot more painterly as it is uncertain how exactly it has been constructed.
Overall I am very pleased with these pieces as I feel they capture the tensions previously explored between chaos and order in an alternative manner.

"Greenland is not green"
April 2014
Ellyn Abraham

I have been working on these perspex outcomes alongside the tracing paper pieces as the perspex embraces particular qualities that aren’t necessarily present in the tracing paper. These qualities include a complete flatness once filled, precise edges and a unified surface plane. Despite being excited to work my idea through a different material to paper, I was initially quite sceptical about how successful the perspex pieces would be. As the tracing paper works explore ambiguity and fragility and capture a distinct sense of visual depth - I was worried that these features wouldn’t translate through the perspex as well. After already experimenting with the green frosted perspex to conclude that the depth was indeed hindered through the use of the perspex frames, I decided to use a clear frosted perspex (see previous posts). The use of this clear frosted perspex gave the frames that sense of depth I desired. As the colour merged the front plane with the white background, the frames appeared to have that ambiguous sense of depth that the tracing paper pieces have.

There are qualities present in these perspex frames which I believe are more successful than the tracing paper pieces. As the perspex isn’t as distorting as the double wrap of tracing paper, colour is far more visible. This has enabled me to add subtle hints of colour such as the yellow which isn’t possible with the paper pieces. These subtle hints of colour insist that the work appears to glow in an entirely different way. The reduction in the density of the filling space has also affected the resulting image. As there is less room for the powder to move and change position, I have been able to create marks which are almost impossible to create on the tracing paper pieces. These marks capture a lot more movement and embody a far more ethereal nature.

Despite being constructed through the use of the same materials and filling processes, I do not wish for the perspex pieces and the tracing paper pieces to be considered the same. They are two very different outcomes. The perspex frames are a far more object-like approach, and literally embody the sense of encasement through their assembly. The tracing paper however appear to be a lot more painterly as it is uncertain how exactly it has been constructed.

Overall I am very pleased with these pieces as I feel they capture the tensions previously explored between chaos and order in an alternative manner.

"Greenland is not green" IIApril 2014Ellyn Abraham

"Greenland is not green" II
April 2014
Ellyn Abraham

"Greenland is not green" IApril 2014Ellyn Abraham

"Greenland is not green" I
April 2014
Ellyn Abraham

"Snow is not white" I, II & III
April 2014
Ellyn Abraham

The whole of this term has been spent exploring whilst simultaneously refining these encased mixed media works. I feel that I have pushed this idea as far as it can go, resulting in the triptych above. My previous blog posts explain the various difficulties and issues that I had to resolve and overcome in order to produce an object which doesn’t distract from the content. As I stumbled across the kind of aesthetic I desired fairly early on, I spent the next few months resolving various issues that stemmed primarily from my desire to use tracing paper. (There is more in-depth information on these issues below in my previous posts).

These pieces are made using a much deeper frame than the rest, which I believe has resulted in a far more prominent and object-like feel the the work. I feel that the previous works which used a thinner canvas appeared a lot more painterly, however it’s unclear what exactly these objects are, resulting in a heightened sense of ambiguity. I believe that the uncertainty of the content works well in these pieces due to the enlargement of scale and depth of the work. The deeper the frame, the more I am able to fill, the more I am able to distort. 

The choice to continue with the white background rather than the darker colours I have previously explored has worked well I believe. Connotations to scenes within nature will presumably be made due to the shape and form of the work. As I am interested in the human desire to understand and form associations, I decided that white was the colour which resembled landscape scenes the least.

Overall I am very happy with the resulting tracing paper pieces as I feel that they embody my interest ambiguity, whilst touching on the notion of the seen and unseen.

"Snow is not white" IIIApril 2014Ellyn Abraham

"Snow is not white" III
April 2014
Ellyn Abraham

"Snow is not white" IIApril 2014Ellyn Abraham

"Snow is not white" II
April 2014
Ellyn Abraham

"Snow is not white" IApril 2014Ellyn Abraham

"Snow is not white" I
April 2014
Ellyn Abraham

Changing the Frosted Green Perspex To a Frosted Clear Perspex
April 2014
Ellyn Abraham

As I was unhappy with the frosted green perspex, I decided to evaluate what it was that I wanted these framed pieces to do. Naturally, due to the nature of the plastic in comparison to the tracing paper - the perspex will translate the content in a far more literal and less ambiguous way to the paper, as the content isn’t being distorted as much. This is something important to consider in regards to colour, as ambiguity is central to the work and the colour of the plastic can drastically affect how visible the contained materials are. 

In a similar way to how the red tracing paper pieces (http://ellynabraham.tumblr.com/post/80402155236) visually separated the background from the content rather than blurring the two, I think the colour of the perspex is drawing attention to the plastic in a way that makes it become a separate aspect to the constructed frame, rather than being perceived as part of the object and therefore the image. 

I have therefore decided to replace the frosted green perspex with a sheet of clear frosted perspex. I believe that this perspex still distorts the content to a certain extent, however without being overly present visually and therefore works more successfully. Almost immediately the clear perspex transformed the frames entirely. Although the same processes are employed in both the tracing paper and the perspex pieces, I don’t want them to be perceived in the same way. These are two entirely different objects despite being linked through the same construction processes. I believe that the clear frosted perspex has enabled me to construct this tension between the tracing paper and the perspex pieces more clearly.

The Issue of Mirror Plating My Work
April 2014
Ellyn Abraham

How the work is hung has been an ongoing consideration. Initially I used mirror plates which distracted from the work entirely and took away from the element of uncertainty with a very fixed and present metal plate. When I worked on the canvases, I was able to cut a hole into the back of them and hook them onto the wall using screws. This however isn’t practical for my current work as it is no longer made of canvas, but rather MDF. 

I explored various methods of hanging without having anything visibly on show, and came across these flush wall mounts. These have enabled me to hang the work without having it compromised by distracting metal plates.

THEME BY PARTI