Post Tutorial Reflection (Some Notes)
I just had a group tutorial with David which really clarified a few of the concerns I had regarding my work. Only one person from the group had seen my work before which was really beneficial as it meant that they had a fresh perception of it.
It was suggested that the reason that the ongoing painting I’m continuously working on isn’t yet working, is because there isn’t a sense of ambiguity to it. The ambiguity is what makes the previous pieces successful. With this in mind - the reason I initially explored opaque fabrics rather than papers is because I didn’t have tracing paper of a large enough size. I have since purchased a large scale roll of paper which should solve this issue.
The question about allowing the audience to touch my work is also something that I have been considering lately. After my tutorial group was informed about how my work is actually created, they claimed that they wanted to shake the work and displace the powder. Should I allow them to do this - the tension between the sense of knowing and not knowing would no longer exist. To maximise this tension, my work needs to be highly ambiguous and needs to deny the audience the opportunity to resolve it.
Following my group tutorial, I had an individual tutorial with Hywel which heightened what was suggested in the group tutorial. Hywel highlighted how I need to refine my current work despite wanting to move on and explore different ideas. Although they may not appear drastic elements, these small tweaks are crucial to the development of my work.
To develop my current work, I have purchased larger scale tracing paper which should eliminate the need for visible staples. I will also take the mesh further behind the tracing paper thus denying the viewer anything to visually latch onto. I will also purchase quadrant as the frames are clearly evident in a number of the pieces. Using quadrant will push the fabric away from the frame, thus giving the work a heightened sense of depth.
Another aspect to consider is how far I want the paintings to protrude. Getting the correct balance between too flat and too three-dimensional is something that might result in the use of specific materials over others.
Colour is also an important element to further develop these pieces. Using various background colours or particular painted sections might create a narrative/highlight certain areas. There is also the possibility of using powdered pigments or segments of colour within the work. The use of colour is far more successful when bound within the artwork rather than on the surface, as it is then distorted and appears more illusionistic.
: You make me want to pursue art
Wow, that’s incredible! I’m honestly so flattered!
: I think you're someone who understands form and space extremely well. your experimentations with various materials are interesting to say the least. thanks for sharing, and I look forward to seeing more of your work :)
Thanks very much! I really appreciate your comment!
Anonymous: I love your work! Is any of it for sale??
Thanks very much! As I’m still in university I haven’t yet created an online page to sell my work. However let me know if you are interested in any of it, as I’d be happy to sell some of my work.
: Hello :) I love your work and find your blog very inspiring. Just a quick question regarding your use of latex. I have been using some for my own art work and wondered whether you use a thickener to get the consistency you do or do you just paint it in layers? :) Many Thanks.
Hi! Thanks very much! I had a look at some of your latex work - I love how you’ve hung it. I do thicken the latex however it does prolong the drying time. Hope that’s helpful!
I just had a tutorial with Hywel which was really helpful. I’ve been struggling to really get my head back into creating work and carrying on from where I was before Christmas, but I feel that now everything is a lot clearer in my mind. I’ve found it hard to decide whether or not to focus on my larger scale paintings or smaller works because for some reason I seem to think that by focusing on one element, I have to disregard the other, which is ludicrous. Hywel highlighted how the smaller experiments I make lead to the overall more “completed” works. I work things out on those pieces which then informs my decision-making with regards to the more “completed” works. My smaller experiments are just as (if not more) important than the more “final” outcomes. I don’t really create “final pieces” as I don’t like the constraints that are associated with the term, and feel that it hinders the experimentation process. However, as far as “final pieces” are concerned - the notion that these outcomes are essentially a combination of the skills I’ve learned through my smaller experimental works is apt.
Back in the studio.
: Your art is beautiful! I just found your blog the other day and I have to say you're very talented. We also share the same name, and you're the only other person, aside from myself, who spells it with a y instead of an e! Nice to know I'm not the only one. I hope you always continue creating pieces, you truly have a gift.
Oh wow, hi fellow Ellyn! I’m still very much developing as an artist and so getting feedback from other people really means a lot to me, so thanks very much!