assignment 4
For this assignment, please send to your tutor:
- Finished pieces or works in progress, clearly labelled. The number of pieces you send is for you to negotiate with your tutor (we suggest no less than two) but, for each piece, make your tutor aware of the processes you went through and provide a self-critique in your learning log.
- Learning log or blog url for the relevant section.
- Some sample sketchbook pages or other material that shows progress from an original idea towards more finished pieces.
- First Draft of your Artist’s Statement
Additional research of figural art works
As I have chosen to hone into figures for my remaining works I wanted to do a bit of extra research on artists that whose figural work impact or inspire me. I have already written in Part 2 about being drawn to the works of Lucian Freud, David Shevlino and Gabriel Marino and I think the factor that they all have in common, aside from being of figures, is a sense of energy. Their paintings feel like they are moving, even though the figures are in still poses, and I believe this to be due to the brushwork. Each of them, in their own unique style, play the movement and texture created by the brush and it is that same energetic interpretation that I would like to bring to my work. Here are some additional artists whose eye for capturing the human figure stand out.
Man Ray
Man Ray is an American sculptor, painter, photographer and filmmaker. As a painter his work combines ideas from Surrealism and Cubism and the figures he creates in his paintings tend to be treated as objects or puppets (ManRay, 2019). Looking at Endgame (1946) you clearly notice that the figures look like dolls, but what is still interesting about them is the idea of them being in motion, or engaged in activity. It is of course his background as a painter and his ability to 'look' for art, which has made him more well known as a photographer. He was continually experimenting with how a photograph could be manipulated to look like a paintings. This meant that his compositions were often quirky and avant-garde. What I also like about the people he photographs, is that they tend to represent people in society that are a little different or not afraid to push societal boundaries, be it trough the way they dress or maintain themselves. His models often feature body hair, as we can see in Kiki de Montparnasse (1922) which is a controversial subject even still today. The other thin I like about his compositions is that they tend to be quite close up. I understand that we need to consider a figure in space, but when there is a pure focus only on the figure it can bring a different kind of intimacy.
Man Ray is an American sculptor, painter, photographer and filmmaker. As a painter his work combines ideas from Surrealism and Cubism and the figures he creates in his paintings tend to be treated as objects or puppets (ManRay, 2019). Looking at Endgame (1946) you clearly notice that the figures look like dolls, but what is still interesting about them is the idea of them being in motion, or engaged in activity. It is of course his background as a painter and his ability to 'look' for art, which has made him more well known as a photographer. He was continually experimenting with how a photograph could be manipulated to look like a paintings. This meant that his compositions were often quirky and avant-garde. What I also like about the people he photographs, is that they tend to represent people in society that are a little different or not afraid to push societal boundaries, be it trough the way they dress or maintain themselves. His models often feature body hair, as we can see in Kiki de Montparnasse (1922) which is a controversial subject even still today. The other thin I like about his compositions is that they tend to be quite close up. I understand that we need to consider a figure in space, but when there is a pure focus only on the figure it can bring a different kind of intimacy.
Juan Miguel Palacios
He is a Spanish artist who creates mixed media pieces that play with texture and the contrast between hard and soft. What is especially striking about his portraits though, is that the texture is not created by the brush, but by using broken concrete slabs as the foundation. He then shapes the faces around the cracks to create something truly intriguing. The concrete gives a feeling of what is beneath, a broken, fragile, skeletal reveal, while the ethereal colours and strokes above create a seductive and soft contrast. I was fortunate to see his pieces at the Affordable Art Fair in Hong Kong and the photograph doesn't really manage to capture how great the texture of the cracked concrete is. As a viewer it really makes you think about the fragility of life, but also the flaws we as humans carry with us. And this is what I love about the piece, as it takes this notion of being flawed or broken and turns it into something beautiful. It is like when you hear the saying, 'wear your scars with pride', it is a reminder that all things contribute to making us the person that we are. It ties in well with my goal of exploring the energy within subject matter and tools used to create them. Now I am not going to start working with concrete slabs, but the application of the paint and the patterns created by the concrete remind me a lot of how watercolours or heavily diluted paint can move and drip, and it would be interesting to consider how I can use mixed media or other methods to try and capture this same energetic movement. |
Schalk Van der Merwe
He is a South African artist who works in mixed media, combining oils, mixing fluids and charcoal. He creates striking portraits that explore identity and emotion that have a "tangible fragility" (Saathi Art, 2019). He is not concerned with capturing actual facial features or specific details, but rather an emotional response. Features are often distorted which means they become anonymous. The addition of striking colours and expressive brush work further provides a haunting sensation when looking at the work.
It is his freedom with the brush work that mostly inspires me. I really love his confidence in knowing when a piece is finished, as many of his work has the sensation of being unfinished, which adds to the poetic implication of us being 'unfinished'. It is interesting to see how both van der Merwe and Palacious are exploring similar themes of identity, but with vastly different styles.
He is a South African artist who works in mixed media, combining oils, mixing fluids and charcoal. He creates striking portraits that explore identity and emotion that have a "tangible fragility" (Saathi Art, 2019). He is not concerned with capturing actual facial features or specific details, but rather an emotional response. Features are often distorted which means they become anonymous. The addition of striking colours and expressive brush work further provides a haunting sensation when looking at the work.
It is his freedom with the brush work that mostly inspires me. I really love his confidence in knowing when a piece is finished, as many of his work has the sensation of being unfinished, which adds to the poetic implication of us being 'unfinished'. It is interesting to see how both van der Merwe and Palacious are exploring similar themes of identity, but with vastly different styles.
Paul Wright
Having looked at some of Wright's work during my gallery visit, I was really taken by his style and technique when painting. His artist statement also resonates with me, especially the notion of 'hinting at the recognizable'. His figural pieces have a sense of urgency and intimacy. He mostly paints portraits that focus from the chest up, but there are pieces that incorporate the whole figure, like his Double Self Portrait (n.d) below. His pieces tend to be quite vivid in colour, often playing with tones and combinations that would be considered unconventional and yet this is what makes them so vibrant and energetic. He also experiments with how tone transfers when working mono chromatically, like his portrait of Gandhi (2018).
Having looked at some of Wright's work during my gallery visit, I was really taken by his style and technique when painting. His artist statement also resonates with me, especially the notion of 'hinting at the recognizable'. His figural pieces have a sense of urgency and intimacy. He mostly paints portraits that focus from the chest up, but there are pieces that incorporate the whole figure, like his Double Self Portrait (n.d) below. His pieces tend to be quite vivid in colour, often playing with tones and combinations that would be considered unconventional and yet this is what makes them so vibrant and energetic. He also experiments with how tone transfers when working mono chromatically, like his portrait of Gandhi (2018).
I listened to a talk shared by CU Photography (2011) where he discusses some of his methods and how he approaches subjects, which is available here.
These are some points that stood out to me:
- All his paintings are a form of a self portrait, as he doesn't intend to magically lift out character, but places his own impressions of what is seen.
- He approaches a subject as a scaffold or a likeness and uses his experience of how something is represented.
- Shifting to larger canvases helped him to free his expression by incorporating his body, which provides feeling and the artist's touch.
- The larger canvas also makes the viewer feel like they can also step into the space when the view such a large piece.
- He experiments with colours that sit next to each other and are not blended.
- Even though he works with unconventional colours and vivid brush strokes, he still considers tone.
- His method allows for chance and possibility.
- He tries to create energy with the use of brushes, fingers, knives and by flicking, dripping and spraying paint.
- He considers shapes as an idea to pull in the eye, squares, triangles, crosses etc.
- Sometimes he creates portraits in 2 hours while other times he builds them by layering and coming back.
- Take risks and be willing to make mistakes.
What I also appreciate about his work, is that he is interested in all subject matter, painting compositions of still lifes, interiors, landscapes and urban scenes too. He doesn't necessarily look for a theme in his painting, but rather a theme in the way he approaches interpreting a subject with paint.
These are some points that stood out to me:
- All his paintings are a form of a self portrait, as he doesn't intend to magically lift out character, but places his own impressions of what is seen.
- He approaches a subject as a scaffold or a likeness and uses his experience of how something is represented.
- Shifting to larger canvases helped him to free his expression by incorporating his body, which provides feeling and the artist's touch.
- The larger canvas also makes the viewer feel like they can also step into the space when the view such a large piece.
- He experiments with colours that sit next to each other and are not blended.
- Even though he works with unconventional colours and vivid brush strokes, he still considers tone.
- His method allows for chance and possibility.
- He tries to create energy with the use of brushes, fingers, knives and by flicking, dripping and spraying paint.
- He considers shapes as an idea to pull in the eye, squares, triangles, crosses etc.
- Sometimes he creates portraits in 2 hours while other times he builds them by layering and coming back.
- Take risks and be willing to make mistakes.
What I also appreciate about his work, is that he is interested in all subject matter, painting compositions of still lifes, interiors, landscapes and urban scenes too. He doesn't necessarily look for a theme in his painting, but rather a theme in the way he approaches interpreting a subject with paint.
Works cited
CU Photography (2011) Paul Wright - Artist. [online] At: https://vimeo.com/19437956 (Accessed on 11 June, 2019)
ManRay (2019) Man Ray And His Artworks
Saatichi (2019) Schalk van der Merwe. [online] At: https://www.saatchiart.com/svdm (Accessed on 10 June, 2019)
ManRay (2019) Man Ray And His Artworks
Saatichi (2019) Schalk van der Merwe. [online] At: https://www.saatchiart.com/svdm (Accessed on 10 June, 2019)
Sketching ideas
As I have often painted the female figure, I wanted to explore the male figure. I especially wanted to take notice of how the male figure can also be sensual. Paint in particular has a way of bringing out the softer and more sensitive sides of the male figure, and this is what I wanted to play with. I also explored putting the figure in slightly unconventional ways, like the man in the suit wearing high heals and the two men dancing.
The sketches helped me to get a feeling for the composition and placement of the figure and whether that has potential to transfer to paint. Many of the artists above, and that I have researched before, use people they know when painting in order to form more of a connection with the subject. Thus I often used my husband to create compositions as I wanted to see what impact familiarity would have on my work.
Experimenting
dripping
Both Juan Miguel Palacios and Schalk van der Merwe make use of dripping paint in their work. I actually often use this technique especially when I am painting with watercolours. I have played around with creating dripping in oils and some of these attempts can be seen in Part 1.
Pink Kiki, 26 x 22cm
For this composition I used Kiki de Montparnasse (1922) by Man Ray as my inspiration. I like the classical pose used and how the black and white creates a stark contrast between light and dark. I chose to work with a limited colour palette as I wanted to mimic the idea of the photograph being monochrome.
- First I created an atmospheric background using Vivid Pink diluted with Turps and Linseed oil that I dabbed on with a large sponge.
- Next I diluted Magenta. I used a fan brush to press the paint in areas with greater shadow. the fan brush not only helped to transfer large amounts at a time, but also created great dabbing textures.
- I then used a light mixture of black and white to lightly add more shadow and light to the painting. I scuffed them with the brush in order for it to appear a bit like charcoal.
- The final touch was to apply some black and white splattering which I did with a small square brush.
Reflection
Working with less detail when creating the figure is a great way to do it quickly and not over complicate it. It also works well with the dripping, as it makes that stand out, as it should. Looking back at the composition I almost prefer the version where I had not yet added the additional greys for shading. If I had to recreate it, I would not place the grey shading or white highlights in the figure, but would still use it to enhance the atmosphere around the figure.
For this composition I used Kiki de Montparnasse (1922) by Man Ray as my inspiration. I like the classical pose used and how the black and white creates a stark contrast between light and dark. I chose to work with a limited colour palette as I wanted to mimic the idea of the photograph being monochrome.
- First I created an atmospheric background using Vivid Pink diluted with Turps and Linseed oil that I dabbed on with a large sponge.
- Next I diluted Magenta. I used a fan brush to press the paint in areas with greater shadow. the fan brush not only helped to transfer large amounts at a time, but also created great dabbing textures.
- I then used a light mixture of black and white to lightly add more shadow and light to the painting. I scuffed them with the brush in order for it to appear a bit like charcoal.
- The final touch was to apply some black and white splattering which I did with a small square brush.
Reflection
Working with less detail when creating the figure is a great way to do it quickly and not over complicate it. It also works well with the dripping, as it makes that stand out, as it should. Looking back at the composition I almost prefer the version where I had not yet added the additional greys for shading. If I had to recreate it, I would not place the grey shading or white highlights in the figure, but would still use it to enhance the atmosphere around the figure.
Fierce, 76 x 55 cm
For this piece I also took inspiration from Visioni (n.d) by Pier Toffoletti (a piece posted in my textual research). He makes use of really large brushes in his composition and applies the paint in such a way that each stroke is discerning. This is something I wanted to try using watercolours, as it is not often the type of brush I would work with. In order to use larger brushes and achieve a similar look, I knew I would have to work on a larger scale.
As the subject matter, I am using a female figure, but in contrast to the previous classical pose often used to represent a sensual female, I am using an image that represents a woman who is strong. The choice of colour and paint application will, however, juxtapose that by creating a sensual feeling.
- I first sketched out the composition and used masking fluid to block out areas that I wanted to keep white.
- I started with a combination of Ultramarine and Phtalo Blue which applied with a large flat brush. I moved the brush in various directions in order to highlight the use of the brush and the rhythm of the artist (me).
- Next I used Flesh Tint to block out some of the skin, still using the same large flat brush and applying strokes in various directions.
- Next I used Turquoise and a fan brush to add some graphic and more discerning brush strokes. These bring a more sketchy feeling to the composition, reminding the viewer that this is a painting.
- Magenta was used next to add additional points of interest, particularly in areas of shadow. I continued to work with the fan brush as it created more defined lines.
- I then combined my blue and pink together with black so I could define the figure more. For this I switched over to a large Chinese calligraphy brush.
- In order to enhance the graphic and sketchy feel I began, I used my shadow mix from the previous step along with a small round brush to paint the finer details.
- At last, I felt like the composition needed another colour that would contrast the blue and pink shades. I chose to use cadmium yellow and placed it in areas where you might perceive light.
- The final step was to remove the masking liquid, which allowed for some of the canvas to stand out and create additional areas of highlights.
Reflection
I enjoyed working with the larger flat brush in this way. Applying the paint in varying directions was quite freeing and it created an interesting point of view. The use of colours also mess with the perception of depth which I believe makes the composition more exciting. As a method I think it is quite successful in creating the sense of energy I am striving for. I especially like how the large brushes performed. Looking at the image you can see a clear distinction in how each stroke was place. The fact that watercolor is so transparent is also useful, as you don't loose the previous layers, and every stroke becomes visible. If I had to recreate this, I would probably omit the dripping and work on a flat space. I would also try to continue working with the flat brushes in order to maintain a form cohesion with the strokes. The addition of the yellow may also seem unnecessary. When photographing it, the yellow looks particularity prominent, but actually is more subtle. With regards to composition, I think that it does manage to play with hard and soft well. The female is strong, but at the same time feminine and sensual.
For this piece I also took inspiration from Visioni (n.d) by Pier Toffoletti (a piece posted in my textual research). He makes use of really large brushes in his composition and applies the paint in such a way that each stroke is discerning. This is something I wanted to try using watercolours, as it is not often the type of brush I would work with. In order to use larger brushes and achieve a similar look, I knew I would have to work on a larger scale.
As the subject matter, I am using a female figure, but in contrast to the previous classical pose often used to represent a sensual female, I am using an image that represents a woman who is strong. The choice of colour and paint application will, however, juxtapose that by creating a sensual feeling.
- I first sketched out the composition and used masking fluid to block out areas that I wanted to keep white.
- I started with a combination of Ultramarine and Phtalo Blue which applied with a large flat brush. I moved the brush in various directions in order to highlight the use of the brush and the rhythm of the artist (me).
- Next I used Flesh Tint to block out some of the skin, still using the same large flat brush and applying strokes in various directions.
- Next I used Turquoise and a fan brush to add some graphic and more discerning brush strokes. These bring a more sketchy feeling to the composition, reminding the viewer that this is a painting.
- Magenta was used next to add additional points of interest, particularly in areas of shadow. I continued to work with the fan brush as it created more defined lines.
- I then combined my blue and pink together with black so I could define the figure more. For this I switched over to a large Chinese calligraphy brush.
- In order to enhance the graphic and sketchy feel I began, I used my shadow mix from the previous step along with a small round brush to paint the finer details.
- At last, I felt like the composition needed another colour that would contrast the blue and pink shades. I chose to use cadmium yellow and placed it in areas where you might perceive light.
- The final step was to remove the masking liquid, which allowed for some of the canvas to stand out and create additional areas of highlights.
Reflection
I enjoyed working with the larger flat brush in this way. Applying the paint in varying directions was quite freeing and it created an interesting point of view. The use of colours also mess with the perception of depth which I believe makes the composition more exciting. As a method I think it is quite successful in creating the sense of energy I am striving for. I especially like how the large brushes performed. Looking at the image you can see a clear distinction in how each stroke was place. The fact that watercolor is so transparent is also useful, as you don't loose the previous layers, and every stroke becomes visible. If I had to recreate this, I would probably omit the dripping and work on a flat space. I would also try to continue working with the flat brushes in order to maintain a form cohesion with the strokes. The addition of the yellow may also seem unnecessary. When photographing it, the yellow looks particularity prominent, but actually is more subtle. With regards to composition, I think that it does manage to play with hard and soft well. The female is strong, but at the same time feminine and sensual.
Tyra, 41 x 45 cm
This piece took its inspiration from Juan Miguel Palacios. I particularly wanted to explore with the notion of creating texture with other materials. I don't simply want to copy his method, but rather find a way of interpreting it with my own style and technique. The earthiness and broken texture of the drywall he uses is what makes his women especially vulnerable when juxtaposed over it. I wanted to play with this idea of texture and vulnerability too.
- After creating an outline of the face, I cut up the rough edges from the canvas rolls I use. I cut them in jagged and varied pieces and then glued them onto the sections of the face where there is more shadow. I was generous with the glue and also created drips as I though this would add a 3D texture. However, when the flue dried the bulkiness of the drips went away.
- Once this dried, I used pumice gel to place additional texture on the canvas. I spread it thickly at parts using a knife and it actually combined weel with the canvas to create the earthy effect I was looking for.
- Using Flesh Tint, heavily diluted with Turps and Linseed Oil, I used a medium round brush to press the paint onto the surface. I did not want to cover all the areas, but rather create points of interest.
- I then created a wash of Burnt Sienna in order to create tonal variation. As I was working wet in wet, this seeped into the lighter areas and ended up creating wonderful runny textures.
- Next it was time to add some colour. I chose to work with Light Red as I knew I wanted the lips to stand out. In order to create connections to the rest of my composition I also placed this Light Red wash on other areas, especially areas with texture, so the difference in colour would stand out.
- For the eyes I combined Viridian Hue and Turquoise. Once again, I wanted to create some connection in the composition, so I placed some green drips in other areas. This creates a good contrast, as red and green compliment each other.
- The composition still required a bit more depth or definition in the face, so I used Vandyke Brown and Lamp Black to create a wash that will help bring out deeper shadows and form. This was also used for the hair.
- The final step was to use White to bring some light back into the eyes. I also a thin point marker to help provide some detail in the lashes, though these are quite subtle.
Reflection
At first I was a bit nervous about trying to create my own version of this style, as I had not really done this before. I have often created this style of dripping portraits, but only with watercolour and pen, so working with oils and pre-laid textures, I was not sure how it would turn out. Onc I had placed the texture though, I became quite excited as it looked very interesting to me. Working with the highly diluted oils was actually much easier than I anticipated (accept for the fumes!). I was pleasantly surprised by way colours blended or 'melted into each other while still wet, similarly to how watercolour behaves. After a day or two of drying, the paint also creates further little cracks, which add to the texture, another welcome surprise.
I am very happy with the result, from the texture and flow created to the choice of colour. In my opinion it has energy and movement while maintaining an element of sensuality and textural interest. Composition wise, there may be more interesting expressions to explore and trying this technique with a more familiar face instead of a photograph could be the next challenge.
This piece took its inspiration from Juan Miguel Palacios. I particularly wanted to explore with the notion of creating texture with other materials. I don't simply want to copy his method, but rather find a way of interpreting it with my own style and technique. The earthiness and broken texture of the drywall he uses is what makes his women especially vulnerable when juxtaposed over it. I wanted to play with this idea of texture and vulnerability too.
- After creating an outline of the face, I cut up the rough edges from the canvas rolls I use. I cut them in jagged and varied pieces and then glued them onto the sections of the face where there is more shadow. I was generous with the glue and also created drips as I though this would add a 3D texture. However, when the flue dried the bulkiness of the drips went away.
- Once this dried, I used pumice gel to place additional texture on the canvas. I spread it thickly at parts using a knife and it actually combined weel with the canvas to create the earthy effect I was looking for.
- Using Flesh Tint, heavily diluted with Turps and Linseed Oil, I used a medium round brush to press the paint onto the surface. I did not want to cover all the areas, but rather create points of interest.
- I then created a wash of Burnt Sienna in order to create tonal variation. As I was working wet in wet, this seeped into the lighter areas and ended up creating wonderful runny textures.
- Next it was time to add some colour. I chose to work with Light Red as I knew I wanted the lips to stand out. In order to create connections to the rest of my composition I also placed this Light Red wash on other areas, especially areas with texture, so the difference in colour would stand out.
- For the eyes I combined Viridian Hue and Turquoise. Once again, I wanted to create some connection in the composition, so I placed some green drips in other areas. This creates a good contrast, as red and green compliment each other.
- The composition still required a bit more depth or definition in the face, so I used Vandyke Brown and Lamp Black to create a wash that will help bring out deeper shadows and form. This was also used for the hair.
- The final step was to use White to bring some light back into the eyes. I also a thin point marker to help provide some detail in the lashes, though these are quite subtle.
Reflection
At first I was a bit nervous about trying to create my own version of this style, as I had not really done this before. I have often created this style of dripping portraits, but only with watercolour and pen, so working with oils and pre-laid textures, I was not sure how it would turn out. Onc I had placed the texture though, I became quite excited as it looked very interesting to me. Working with the highly diluted oils was actually much easier than I anticipated (accept for the fumes!). I was pleasantly surprised by way colours blended or 'melted into each other while still wet, similarly to how watercolour behaves. After a day or two of drying, the paint also creates further little cracks, which add to the texture, another welcome surprise.
I am very happy with the result, from the texture and flow created to the choice of colour. In my opinion it has energy and movement while maintaining an element of sensuality and textural interest. Composition wise, there may be more interesting expressions to explore and trying this technique with a more familiar face instead of a photograph could be the next challenge.
distortion
I have already written about the work of Francis Bacon, Frank Auerbach and Schalk van der Merwe and as mentioned, I am drawn to their work, firstly because they all explore the human condition, but also that they push the boundaries of representing form. Their paintings become a deeper look into the psyche of who we are, a type of introspection, rather than focusing sole on outward appearance. Paintings that don't confirm to the academic nature of portraiture are quite poetic, providing the viewer an insight to the soul.
The following works simply aim to try different techniques of creating distortion around the figure. Either through the omission of parts, or with paint and tools.
The following works simply aim to try different techniques of creating distortion around the figure. Either through the omission of parts, or with paint and tools.
Blue Girl, 22 x 18 cm
With this composition I was trying not to get bogged down on finer details. I also wanted to work in a monochrome palette to allow me to focus on the figural representation rather than capturing colour.
- I laid down the composition and used a sponge to dab some atmospheric Payne's Grey on the canvas.
- Using Ultramarine and Pthalo Blue I blocked out darer areas, applying paint thickly. I also used Bright Blue to block out lighter areas.
_ Once this layer had dried completely, I continued working with the same blues and building more layers. I used a palette knife to apply paint to some of the shadier areas to help create more texture and distortion. You will notice that I particularly left the face undefined.
The choice of colour and the lack of definition in the face gives the composition a ghostly feel.
With this composition I was trying not to get bogged down on finer details. I also wanted to work in a monochrome palette to allow me to focus on the figural representation rather than capturing colour.
- I laid down the composition and used a sponge to dab some atmospheric Payne's Grey on the canvas.
- Using Ultramarine and Pthalo Blue I blocked out darer areas, applying paint thickly. I also used Bright Blue to block out lighter areas.
_ Once this layer had dried completely, I continued working with the same blues and building more layers. I used a palette knife to apply paint to some of the shadier areas to help create more texture and distortion. You will notice that I particularly left the face undefined.
The choice of colour and the lack of definition in the face gives the composition a ghostly feel.
Messy Cornel, 30 x 24 cm
- Using Magenta and Raw Sienna, I created a wash to block out the shape of the figure and shadow areas.
- Next I created a wash with Lamp Black, Turps and Linseed Oil. Using a round brush, I loaded it heavily and flung it at the canvas (like Pollock did).
- After letting this layer dry. I blended Magenta and Black and used a palette knife to create varied texture in and around the figure.
- Next I created more drips with diluted Rose Pink.
- As the face looked especially dark, I wanted to bring a lighter colour back. Van der Merwe often scuffs or scrapes white into his compositions, so I tried the same.
The figure appears bruised and disfigured.
Reflection on Distortion Pieces
As these are both quite small compositions, I found it very difficult to create the distortion as you tend to work tighter on a small scale. If I really wanted to play with this I would either have to hone in closer to the face or work on a larger canvas. It was good for me to push my boundaries with regards to omitting details and working with more unconventional strokes. With every practice piece I become more comfortable with being loose. The advantage of the smaller compositions, is you don't feel like you are wasting too much time or resources, so you are more likely to allow yourself to make mistakes. I think when you are working with compositions that will have distortion, it may be necessary to have more restraint with colour. Though I like the colours I used in both compositions, I am not sure if they actually compliment the work. However, that may be the point. If you are trying to create a poetic representation, then there can be meaning in the choice of colour.
- Using Magenta and Raw Sienna, I created a wash to block out the shape of the figure and shadow areas.
- Next I created a wash with Lamp Black, Turps and Linseed Oil. Using a round brush, I loaded it heavily and flung it at the canvas (like Pollock did).
- After letting this layer dry. I blended Magenta and Black and used a palette knife to create varied texture in and around the figure.
- Next I created more drips with diluted Rose Pink.
- As the face looked especially dark, I wanted to bring a lighter colour back. Van der Merwe often scuffs or scrapes white into his compositions, so I tried the same.
The figure appears bruised and disfigured.
Reflection on Distortion Pieces
As these are both quite small compositions, I found it very difficult to create the distortion as you tend to work tighter on a small scale. If I really wanted to play with this I would either have to hone in closer to the face or work on a larger canvas. It was good for me to push my boundaries with regards to omitting details and working with more unconventional strokes. With every practice piece I become more comfortable with being loose. The advantage of the smaller compositions, is you don't feel like you are wasting too much time or resources, so you are more likely to allow yourself to make mistakes. I think when you are working with compositions that will have distortion, it may be necessary to have more restraint with colour. Though I like the colours I used in both compositions, I am not sure if they actually compliment the work. However, that may be the point. If you are trying to create a poetic representation, then there can be meaning in the choice of colour.
brush strokes and movement
Throughout this course I have been playing around and experimenting with various ideas and techniques. The works that engage in using the brush and paint to capture shape and movement, through the actual texture of placement of it, have been the most exciting for me. I feel like my loose brush work, thick applications and energetic movements are really developing into a type of style, but one that still requires practice and exploration. The next series of paintings show how I continue to play with various brushed in order to create energy and movement around my compositions.
Purple Mess, 34 x 30 cm
- I blocked out the shaded areas of the figure using Raw Sienna.
- I filled in the background with a Magenta and Raw Sienna wash.
- Next I used Lamp Black and a palette knife to add additional definition to the background and areas of interest within the shadows.
- I chose to use tonal combinations of Flesh Tint and Violet to paint the figure. As you can tell, the brush strokes are pronounced and allowed to travel freely. Some strokes are still shapes to help define form, but many of them spontaneous.
- I felt that some areas were a bit dark and so I used white to add areas of highlights.
Reflection
I actually liked the composition before I started applying the purple paint. I think continuing the work with palette knives and more earthy tone would have made a better piece. I think it may be the choice of colour that simply does not work with this composition, and as I laid down too many dark colours it became overwhelmed. That being said, it was still good practice for my strokes. My spontaneity is much more notable in this piece, as I really did not pay much attention to direction or detail, but really allowed the paint to just move. I do think that a different colour palette would have helped. While the lack of detail an definition works well in the body, it is not as successful in the face. Although the face here does remind me of the painting Head of Man (1959) by Francis Bacon.
- I blocked out the shaded areas of the figure using Raw Sienna.
- I filled in the background with a Magenta and Raw Sienna wash.
- Next I used Lamp Black and a palette knife to add additional definition to the background and areas of interest within the shadows.
- I chose to use tonal combinations of Flesh Tint and Violet to paint the figure. As you can tell, the brush strokes are pronounced and allowed to travel freely. Some strokes are still shapes to help define form, but many of them spontaneous.
- I felt that some areas were a bit dark and so I used white to add areas of highlights.
Reflection
I actually liked the composition before I started applying the purple paint. I think continuing the work with palette knives and more earthy tone would have made a better piece. I think it may be the choice of colour that simply does not work with this composition, and as I laid down too many dark colours it became overwhelmed. That being said, it was still good practice for my strokes. My spontaneity is much more notable in this piece, as I really did not pay much attention to direction or detail, but really allowed the paint to just move. I do think that a different colour palette would have helped. While the lack of detail an definition works well in the body, it is not as successful in the face. Although the face here does remind me of the painting Head of Man (1959) by Francis Bacon.
Contemplating Cornel, 54 x 35 cm
I really enjoyed researching the works of Paul Wright and how he uses brush strokes and colour to create unique portraits. Thus far much of my exploration with his type of technique (and Shevlino from Part 3) has been in working with oils, so I was eager to see how this would transfer to watercolours. I knew I wanted to incorporate the idea of the the brush stroke stretching into other areas of the composition as well as the use of vibrant, non conventional colours within the flesh tones.
- After sketching out the composition, I applied my first layer to the background. For this I used Vermillion Green combined with a dash of Yellow Ocre. I worked with a Chines Calligraphy brush and mostly used it on its side. This way the brush does not make contact everywhere, leaving these wonderful little white (broken sections). I also used this mix to define some of the shadier parts in the figure.
- Next I started working on the skin. The first colour I placed in the skin was Turquoise, which I added to various areas in order to create brighter points of interest. (The photographs tend to pick up on the blue a lot, and it is less subtle when viewed on the canvas)
- In order to really play with Wright's method of creating skin tone, I created washes of many different shades; Burnt Sienna, Yellow Ocre, Flesh tint, Brown and Orange. From here I worked freely and spontaneously, dabbing various areas with the different colours, sometimes allowing them to blend, and other times allowing them to lay next to each other. The transparency of watercoulours is particularly useful in allowing every colour to shine.
- For the couch I used a combination of red and brown as I thought this would make a great compliment to the green walls. I also used this mix within the skin to create cohesion. I did the same with the blue of the shorts, dragging it into areas of the couch and window in order to connect the piece.
- A darker mix of brown and blue was used to continue layering in areas of shadow so the image becomes more three dimensional.
Reflection
I was pleasantly surprised by this piece. It started out as an experiment to see how the colours would work together and whether or not the same brush effects could be achieved with watercolours, and it ended being quite successful. I like how there are exposed areas of canvas, which adds to the textural effect and how the transparency of the colours allow each pigment to be visible. I believe the composition truly hits the mark on creating a sense of energy and movement, while capturing something deeper about the sitter. The one thing I might do differently is the use of the Turquoise, while I like it, I think there is just a bit too much of it.
I really enjoyed researching the works of Paul Wright and how he uses brush strokes and colour to create unique portraits. Thus far much of my exploration with his type of technique (and Shevlino from Part 3) has been in working with oils, so I was eager to see how this would transfer to watercolours. I knew I wanted to incorporate the idea of the the brush stroke stretching into other areas of the composition as well as the use of vibrant, non conventional colours within the flesh tones.
- After sketching out the composition, I applied my first layer to the background. For this I used Vermillion Green combined with a dash of Yellow Ocre. I worked with a Chines Calligraphy brush and mostly used it on its side. This way the brush does not make contact everywhere, leaving these wonderful little white (broken sections). I also used this mix to define some of the shadier parts in the figure.
- Next I started working on the skin. The first colour I placed in the skin was Turquoise, which I added to various areas in order to create brighter points of interest. (The photographs tend to pick up on the blue a lot, and it is less subtle when viewed on the canvas)
- In order to really play with Wright's method of creating skin tone, I created washes of many different shades; Burnt Sienna, Yellow Ocre, Flesh tint, Brown and Orange. From here I worked freely and spontaneously, dabbing various areas with the different colours, sometimes allowing them to blend, and other times allowing them to lay next to each other. The transparency of watercoulours is particularly useful in allowing every colour to shine.
- For the couch I used a combination of red and brown as I thought this would make a great compliment to the green walls. I also used this mix within the skin to create cohesion. I did the same with the blue of the shorts, dragging it into areas of the couch and window in order to connect the piece.
- A darker mix of brown and blue was used to continue layering in areas of shadow so the image becomes more three dimensional.
Reflection
I was pleasantly surprised by this piece. It started out as an experiment to see how the colours would work together and whether or not the same brush effects could be achieved with watercolours, and it ended being quite successful. I like how there are exposed areas of canvas, which adds to the textural effect and how the transparency of the colours allow each pigment to be visible. I believe the composition truly hits the mark on creating a sense of energy and movement, while capturing something deeper about the sitter. The one thing I might do differently is the use of the Turquoise, while I like it, I think there is just a bit too much of it.
Brooding Cornel, 32 x 32 cm
With this composition I was really hoping to capture the same energy I did in the watercolour and to see whether I could transfer the use of colour.
- I first blocked out the composition with a Magenta and Burnt Sienna wash.
- Next I laid out a set of colours on my palette and a couple of different flat brushes so I would be able to apply colours spontaniously next to each other while working wet in wet, but not just blending and melding them. I created various tones for the flesh using Light red, Mixing White, Yellow Ocre, Raw Sienna and Rose Pink. As I was a bit overwhelmed by the blue in the watercolour composition, I decided to go with a more subtle green, also knowing that it would make a good compliment to the warmer red shades. For the green, I combined Viridian Hue and Yellow Ocre with a splash of white.
- I allowed this layer to dry before going in with more reds and variations of tones form the same colour palette in order to build a more defined shape. I should note that it this point I was actually very happy with the composition and thought all it needed was some definition in the eye.
- Once the layer had dried I felt compelled to add a sharper colour, as I thought it would help enhance or lighten some areas. I chose to use Cadmium Orange and placed it in areas where shadow or definition may occur. I regretted this when looking at it, as it seemed out of place. The only way I would be able to balance the brightness of the orange, was to add some more complimenting greens and to darken some of the details in the face.
- I thus mixed Viridian Hue with Vandycke Brown to create a deep green, which I brounght into the couch and figure. I think this worked out well as the composition now feels more vibrant and it also helped to create a greater sense of depth around the figure.
Reflection
Focusing in on a closer area of the figure was a good idea. It not only makes it easier to apply the more spontaneous brush method, but also provides a greater sense of intestacy. As I mentioned above, I was actually quite happy with the 3rd composition, so I guess it is worth knowing when to stop adding layers. That being said, I do feel like the final composition still has a great energy and vibrancy about it, as the colour compliments pop slightly more there. Considering my goal of finding a way to capture energy and create movement through paint, I believe I have been successful. It is clear that with every piece my confidence is growing. This piece was still crated on a smaller scale, so I would like to try working on a larger canvas, as it seems that the ability to use larger brushes and spaces, would have the potential to allow for greater freedom.
With this composition I was really hoping to capture the same energy I did in the watercolour and to see whether I could transfer the use of colour.
- I first blocked out the composition with a Magenta and Burnt Sienna wash.
- Next I laid out a set of colours on my palette and a couple of different flat brushes so I would be able to apply colours spontaniously next to each other while working wet in wet, but not just blending and melding them. I created various tones for the flesh using Light red, Mixing White, Yellow Ocre, Raw Sienna and Rose Pink. As I was a bit overwhelmed by the blue in the watercolour composition, I decided to go with a more subtle green, also knowing that it would make a good compliment to the warmer red shades. For the green, I combined Viridian Hue and Yellow Ocre with a splash of white.
- I allowed this layer to dry before going in with more reds and variations of tones form the same colour palette in order to build a more defined shape. I should note that it this point I was actually very happy with the composition and thought all it needed was some definition in the eye.
- Once the layer had dried I felt compelled to add a sharper colour, as I thought it would help enhance or lighten some areas. I chose to use Cadmium Orange and placed it in areas where shadow or definition may occur. I regretted this when looking at it, as it seemed out of place. The only way I would be able to balance the brightness of the orange, was to add some more complimenting greens and to darken some of the details in the face.
- I thus mixed Viridian Hue with Vandycke Brown to create a deep green, which I brounght into the couch and figure. I think this worked out well as the composition now feels more vibrant and it also helped to create a greater sense of depth around the figure.
Reflection
Focusing in on a closer area of the figure was a good idea. It not only makes it easier to apply the more spontaneous brush method, but also provides a greater sense of intestacy. As I mentioned above, I was actually quite happy with the 3rd composition, so I guess it is worth knowing when to stop adding layers. That being said, I do feel like the final composition still has a great energy and vibrancy about it, as the colour compliments pop slightly more there. Considering my goal of finding a way to capture energy and create movement through paint, I believe I have been successful. It is clear that with every piece my confidence is growing. This piece was still crated on a smaller scale, so I would like to try working on a larger canvas, as it seems that the ability to use larger brushes and spaces, would have the potential to allow for greater freedom.
The 2 compositions below are what I would like to work on next. I am considering to paint the male figure with the expressive larger strokes as I did with Dressed for Success and Brooding Cornel. For the Close up of the female face I would like to work with the canvas, pumice and dripping paints as I did with Tyra.
reflection against assessment criteria
In Part 4 I have engaged in trying some new techniques that I had not really tried before. I attribute this to my contextual research, but more so to my gallery visits. I am always meticulous in following the guide's recommendations on artists to look up and ensure to use a variety of sources when looking at their work, but it is very different engaging with an artist's work in person. You see textures and colours differently then from images, and it makes easier to figure out how they may have achieved it. It is also an opportunity to discover new artists, as the shows I attend are often for up and coming artists, who would be more difficult to find online, unless you knew what to search for. I can see how looking into the methods of other artist and dissecting their technique can be useful in helping you try new things. For example, seeing the works of Juan Miguel Palacios, really inspired me to play more additional textures. Working with canvas pieces and pumice gel to create texture was particularly engaging for me. Combining this with the heavily diluted oils lead to some interesting paint reactions. Finding other artists who have a similar approach to subject matter is also a great way of building confidence as an artist. When listening to Paul Wright and David Shevlino talk about their work, it is encouraging to know that others perceive or experience things the way you do and that even for them it took time to develop the painterly language we now see in their work. I think the new addition of artists that I discovered during my research in Part 4 have helped me to develop my own style and voice a bit more. I still like to experiment with various techniques and I don't believe that I will ever just settle into one style of painting, but the notion of being expressive and (abstract) with paint as a medium is certainly something that defines my approach. I have also realized that I don't necessarily have to define my work through one particular subject matter, as I was torn before between sticking to either figures or urban scapes. But if I instead consider my practice according to a philosophy or painterly approach, I can apply to any subject, which is why I chose to rather view my work as capturing the energy or (essence) of something. This has helped me to loosen up a bit when painting and this is evident in the quality of some of my pieces, like Contemplating Cornel and Brooding Cornel.
reflection on tutor feedback
The tutor noted that I need to continue building my skills as a draughtsman when working expressively in paint. I certainly am trying to do this. It is recommended that I take more time with sketching my subjects so I may get a better handle on their form. I realize that I may be taking on too many expressive styles at once, and it may be useful to hone that in.
The tutor again made comments of being more focused in my use of colour and paying attention to the palette that I use. It is recommended that I try and consider blending colours more. Often when I paint I make use of small canvas swatches so I can test colours next to each other and gauge whether they contrast or compliment each other. I have mentioned before that I like the use of sharp and vibrant tones, especially when working in oils, but I understand how working with a more understated tone could potentially refine the work or make it appear more sophisticated. This is clearly an area that will require continued practice.
Being able to focus on artists that I like or whose style influences me has helped me to be more specific in my theoretical and practical research and this is noted by the tutor.
The tutor again made comments of being more focused in my use of colour and paying attention to the palette that I use. It is recommended that I try and consider blending colours more. Often when I paint I make use of small canvas swatches so I can test colours next to each other and gauge whether they contrast or compliment each other. I have mentioned before that I like the use of sharp and vibrant tones, especially when working in oils, but I understand how working with a more understated tone could potentially refine the work or make it appear more sophisticated. This is clearly an area that will require continued practice.
Being able to focus on artists that I like or whose style influences me has helped me to be more specific in my theoretical and practical research and this is noted by the tutor.