PART SIX / PREPARING FOR ASSESSMENT


Assignment 6

FINAL WORK FOR PORTFOLIO

The selection of work below is my portfolio choice showing the outcomes of my studies, a growing development of ideas and skill levels. There was other work I could have included, particularly from Assignment 2 which was more experimental but unresolved. The images I chose are more cohesive as a group as I was exploring particular themes or motifs, cityscape and the figure, and to an extent they are the result of research of artists and ideas I have visited throughout the course. I have been influenced by numerous artists, most already mentioned in the blog and at times I have tried to shut myself off from outside influences and styles. I will show preliminary work to support the final images and show something of the process. I can’t say I have arrived at finding my own voice yet, still exploring a lot but enjoying the journey.

NOTES ON IMAGES ABOVE

Images 1-3 were the outcomes of exploring the cityscape theme from Assignment 4.
I was trying to capture a moment or mood using a fairly limited colour palette.

Images 4 & 5 were based on a painting by Nicolas de Staël. I worked in different
media but in particular with chalk pastels I enjoyed the vivid colour effects that
could be achieved. The work, however, was becoming too stylised and lacking in
depth. I probably won’t be pursuing this much further.

Image 6 developed from observing graffiti and richly textured surfaces of walls and decaying buildings which is part of the fabric of urban life. Taking photos of these surfaces with people crossing my path, the two at times seem to merge into one image. Artists Mashiul Chowhurry and David Brewster were an influence with this work.

Image 7 developed from observing some of the work of Jennifer Pochinski and
Cecily Brown. Working from an image of Pochinski’s, I was interested in how far I
could use abstraction without losing the figurative element altogether.

Image 8 as described in Assignment 5 of the blog, this image was derived from a
photo after exploring the theme and composition.

Image 9 inspired by Munch’s The Scream, but in no way a representation or copy of it.

Image 10 derived from an image by artist Ken Kewley and from sketching in Jerusalem. I like the ambiguity of this and that it’s not quite resolved.

Image 11 this image evolved from sketchbook drawings and colour sketches from crowd scenes at Camden market, London. I wanted to emphasise a feeling of isolation though still being part of a crowd or social group.
 

PREP. STUDIES FOR IMAGES 1-3

 

PREP. STUDIES FOR IMAGES 4-5

 

PREP. STUDIES FOR IMAGE 6

 

PREP. STUDIES FOR IMAGE 7

 

PREP. STUDIES FOR IMAGE 8

 

PREP. STUDIES FOR IMAGE 9


 

PREP. STUDIES FOR IMAGE 10

 

PREP. STUDIES FOR IMAGE 11

 

FINAL EVALUATION

My experience of the course has been positive and worthwhile in terms of personal development and skills while also being quite a stretch, at times to fulfil all the criteria required. At times I felt like packing up but am glad I continued as the discipline of having objective goals with deadlines was helpful in pushing me out of my comfort zones and helped me structure my work time. The textural research has broadened my knowledge and context of my own work. I have followed through with ideas and produced some work I couldn’t have imagined pursuing at the start of the course, this, with tutor support.

Looking back over the course work, it’s informative to see some of the works or artists of different periods I have focused on that I have empathy with and that has influenced the way I enjoy working, which, broadly speaking, is a more gestural, semi abstract approach. I still get frustrated when my skill ability with paint or mixed media doesn’t match my intent and I don’t spend as much time on the practical work as I would like.

In terms of where I see myself fitting in with the flow of contemporary practise,
I referenced in Assignment 5, a lecture I heard on-line by Jordan Wolfson, titled ‘Where Are We and How Did We Get There’. He spoke about the two main approaches to art making, one, the experimental, the artist who is uncertain of the road, who explores along the way through his chosen media and second, the conceptual approach to making, how the artist arrives at ideas, the creative process mainly going on in the mind. I tend to fit in more happily with the first approach and hope to continue exploring and experimenting.

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Tutor Report – Assignment 5

Tutor report

Student name Mike Bayliss Student number 512828
Course/Module CIP Assignment number 5

Overall Comments

The The connection wasn’t the best in terms of audio but we had a good discussion round the practical works and how you would show them and present them for assessment.

The work has moved forwards in terms of thematic and techniques and you have a good awareness of the contexts of your works but often this does not come to the fore in terms of your writing, so use this time to progress this aspect of the course in order to underpin your practice more rigorously.

You have extended your materials and mediums and taken risks. Where you work with the immediacy and energy of the mark is where your strength lies and where your enjoyment shows, as it does in your exploration of the subject matter, which has led you to successful outocmes.

Consider carefully how these paintings can work together- consider pairings /tryptch/series etc especially for the smaller works- you can also produce a ‘map’ of how the works should be collated and shown for assessment.

The notes back from the tutorial are scant (as you note yourself) but I am happy that we had a fulsome discussion and that you can see the needs that must be met.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Student Notes:

Michele spoke mainly about the weakness in the essay and the need for greater critical reflection, the need to analyse the work more, the purpose, what ideas are being expressed, what happened in the making etc. Also, when quoting artworks or artists i need to apply this more in relation to my own work, maybe in terms of style, colour, or intention etc.

There is the need to go a bit deeper and be more explicit in the writing. I was aware of the weakness in the work and was waiting for this critique to be steered further in the right direction. I need to send in another draft version for review before the final version goes to assessment.

We spoke on about the range and quantity of work to hand in and I have a clearer understanding of what is required for completing the course and the assessment process.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Keep experimenting within them. Your colour/material/medium choices

could be tested more thoroughly.

Learning Logs or Blogs/Critical essays

Context

The reflective writing has improved over the course and you are becoming more observational in your perceptions. Think about how contemporary artists may relate to your own growing practice, what they may bring to you, try to articulate this. Look back over past comments to guide you. This is critical now.

Suggested reading/viewing

Context

Inside the White Cube- Brian O Doherty…a book for now and the future

Pointers for the next assignment

Read very carefully the assessment criteria at the back of the handbook, look online at the OCA site for guidance, then begin to review your selection – make sure you have worked on areas that have been outlined to you thus far. Be careful in your selection, it is better to have the right number of good works than water down the overall selection by including less strong / accomplished pieces. Once your selection is made I will be happy to view via email/blog and comment.

Tutor name Michele Whiting

Date December 21st 2017

 

PART FIVE / BECOMING AWARE AND SHARING YOUR WORK


Assignment 5

TEXTURAL RESEARCH AND PRACTICAL
PROJECT RE: BECOMING AWARE AND SHARING YOUR WORK

For this assignment I intend to develop paintings based on some previous work and some new. Having visited the Jerusalem Biennale exhibition recently where the theme of watershed – an important turning point or moment of change, and concepts of memory and identity were dominant, I decided to base my explorations, loosely, around these ideas as a starting point for work. I am also drawing on ideas from previous work and using the figure or figures as a central motif.

I have started out, again, with various explorations, some from the previous assignment, some from colour sketches and some drawn from other artists work. I wondered if this was legitimate but many artists do borrow or steal from traditional works and from each other. The aim was not to copy but to use as a point of departure. I intend to work on a few of these as more completed images. I was considering size and how the work would be hung and decided to work small ( mainly 23 cm. square) as I knew I could produce more work within the time frame and have more choice between those which seemed to be progressing OK and those which weren’t.

NEW WORK IN PROGRESS

From the images above and a few other sources I have sought to develop a few of these as more finalized paintings, though some are still unresolved.

Images 20 and 21 below, were originally derived from a photo I took at a busy train station. My thoughts were about people being in transit, they are not from where they came from and haven’t arrived at any destination yet. I like these as they are still open and loose but I haven’t pushed them further as I got sidetracked by other work.

Image 25 below and preceding support images were based on a painting by
Nicolas de Staël ( see image 16 ). I was taken by this image though not knowing much about it’s origins. I wanted to work quickly and not wait for paint to dry so worked in chalk pastels which I like for the bold bright colours. I reworked this a few times and was increasingly becoming frustrated as the image had become too laboured. I thought Image 24 would be the final version but it was disappointing so took back into photoshop and played again with the composition, so this is my final version which I want to work up again in pastel or paint. Working with pastels on this small scale I found difficult, working on a larger scale may have produced more interesting results working with more bold, gestural marks.

This next piece, below, developed from seeing image 26 by Jennifer Pochinski. I referenced her web site in Assignment 4. She is not a favourite artist of mine but an interesting colourist and though painting in a seemingly crude or simplistic way, she seems to catch something of the character of her figures. I have also mentioned Cecily Brown before, her style also was an influence in the final work. With images 27-29 I was looking to simplify from the original but didn’t feel it was going anywhere. With image 30 I took a print of an earlier version covered it with a semi translucent turps based ground and started to redraw and colour. This is more interesting and moving away from the original. I have left this for now as was taking a long time to dry. The final version shows Brown’s influence, moving somewhere between realism and abstraction. Not sure it’s successful or not but this is where I stopped.

Within the space of one week I came across two articles referencing Munch’s The Scream, that iconic image of the scream of nature, symbol of modern anxiety and discontentment with the modern world. It reminded me of a rough colour sketch I did in the last assignment ( image 14 ). I thought I’d try another version. It wasn’t intended to be another copy of Munch’s painting and the finished work doesn’t quite capture the disquiet of the little sketch. Not sure whether to do another version or not.

 


 

The final image on the right, above was derived from the photo, image 34, a not uncommon feature of life here, of young people at a funeral for other young people caught up in a terrorist attack. I wanted the figures in the image to be somewhat ambiguous, not specifically Middle Eastern, in a kind of a physical and mental no mans land as a result of a ‘watershed’ experience. This image is a digital print, I’d like to work on this as a painting, but interestingly I heard an artist, recently, speaking about the old masters, that, if they were alive today would no doubt be using new media and social media as part of their range of tools and techniques, so I think this is valid to present this as a final piece of work.

The image 38, above, was based on World War 1 photos I found on youtube while working on Assignment 2. The images, of poor quality, some scratched or faded, were of figures walking through fields, it wasn’t clear if they were soldiers or civilians. After painting a tinted ground and making a few gestural marks suggestive of figures, I stopped, concerned I would overwork the image and lose the atmosphere.

The final figure image above, was derived from some sketch work from the last assignment and an image by artist Ken Kewley, ( images 6 and 18 ). I’d like to produce a few variations of this. It’s not fully resolved but that’s it for now.

SUMMARY

I have mounted the final work and hung it in my studio in the way I would like to see it hung in a public space. I tried a few variations but a single line works best. I will post the images on the OCA Facebook pages and hope for some valuable critique.

REFLECTION

I am happy with some of the outcomes of the final work and can see areas for future development and exploration. Seeing the work on display I don’t think it works as a cohesive body. Although there is a loose thematic thread, stylistically it looks as if the work could have been produced by several different artists. Each of the images could be explored further and more of the same could result in a more unified display.

Working from photos is OK and I’d like to work more with collage but probably my work has more vitality starting from an observed source and exploiting the drawing first as a good foundation for moving on. I chose to work on a small scale but found it frustrating. I was hoping to work on 2 or 3 larger images for this display but the deadline defeated me. It’s interesting that some of the work I discarded I felt I could develop in a different direction.

ARTIST STATEMENT

This short essay seeks to reflect on the development of my work practice throughout this course in relationship to the textural or contextual research that informs it.

EXPLORING THE FIELD

Starting out with historical research of the Pre-Modern period, this was enlightening and exhausting as I tried to cover too much ground and so impossible to feed all this into practical work. What was helpful was looking at a particular work in some depth, in this case, Giotto’s Lamentation fresco, considering the theme, style, composition, technique etc and applying this knowledge to some paint explorations. My chief method of research has been the web, looking at artist, college, museum and gallery sites, also art books and my local Museum.

The experimental work was fun to do but I didn’t progress in any depth. While still at school I remember drawing or painting copies of Van Gogh’s work and then feeling uneasy about this because it wasn’t my original work. I have since learnt that copying master works or reinterpreting them is a very good way for developing one’s own skill and technique and in learning more about the content and techniques of the original.

With my research into Modernism, rather than sweep through the whole movement I concentrated on a few artists and areas of interest. My own interest at the time was exploring the more expressive and bold use of colour in my work so I spent more time looking at the Fauvist movement and Matisse’s work. I came across a few artists of interest at an exhibition of Modernist art in Tel Aviv. One being David Park, a key figure in the Bay Area Figurative School, San Francisco. His sense of composition, expressive figurative style and handling of colour has been of some influence.

As a response to what I had been looking at I chose a painting, by Degas, ‘A Cotton Office in New Orleans’, the aim being to explore the composition and colour in a more expressive way and see if I could utilise what I could learn from this in future work, (see projects 3/4, Assignment 1 in the blog).

HONING IN

With the study of Postmodernism I honed in more by focusing on just two artists of interest, Robert Rauchenburg and Anselm Kiefer. Rather than discuss in general a whole mind set I chose two images and looked at some of the ideas and way the works were made as being loosely Postmodern in approach. While the practical work was informed by these ideas I decided to work from a particular theme of interest and exploration, war imagery and landscape. Although aware of a few other artists who had worked with this topic, I didn’t want to be influenced, stylistically by anyone, just see where the research and experiments led.

I took photos of images from YouTube videos, some of these videos were backdrops to songs or war poetry. My interest was also fuelled by films such as War Horse adapted from the novel by Michael Morpurgo. I manipulated some of these images, combining, layering etc. looking for ideas of interest for development. This was my main source of research. I continued with more work in my sketch book, quick sketches from the photo images, exploring ideas with different media.

Taking some of these sketches back into photoshop some quite interesting things were emerging from this experiment. I also continued sketching with charcoal on a larger scale trying to create images of atmospheric landscapes, some which reminded me of William Kentridge’s charcoal drawings. I started to work in colour, also experimenting with text and image and in the sketch book with collage. The final work was somewhat unresolved but there is much here that I wish to revisit.

THINKING OUTSIDE THE BOX

I started with some historical research looking at the way artists have traditionally, worked in collaboration with others and continued to explore the ways in which artists have been involved in public art projects particularly, in hospitals and offices, also other contexts such as at train stations, factories, in parks, even disposable art painted on trees, the work dissolving in time through weather conditions. I finally made reference to the various artworks I photographed in public spaces in my own town.

Reflecting on my research, I decided to make a public artwork for a local shopping and commercial office mall which desperately needed a visual make over after years of neglect. I continued to make further investigation re: the history of the area and the building and taking visual notes in the sketch book.

My original idea was to produce a mural with an urban theme. I was looking at the work of Jacob Lawrence and Stuart Davis for inspiration. I changed track, thinking about making large colourful banners to be hung, suspended from the ceiling in the open cavernous concourse visible from every floor. I wasn’t convinced this would be the best solution and finally ended up with the idea of a large bird shaped mobile installation, as apposed to the original urban theme. The construction would be of brightly coloured shapes of aluminium suspended by steel rods. This wasn’t a live project so the end result was a mock up of the work made with card, photographed, and via photoshop, placed in situ. I had done some interesting earlier work while researching which I hadn’t pursued but became the seed in exploring urban landscape in the next assignment.

FINDING YOUR PLACE

For this next assignment I began looking at a range of work that interested me and connected, thematically, to urban landscape and the figure, the area I wanted to concentrate on. I spent some time with my sketch book as a result of sketching and taking photos in various locations in London which led to some interesting experimental work considering mood and atmosphere working with figures taken from their original context, also thinking more about narrative ideas. After visiting an exhibition at Ben Uri art gallery – the gallery has a mission statement addressing universal issues of identity and migration through the visual arts – it set my mind thinking more about narrative led work for the last assignment.

BECOMING AWARE AND SHARING YOUR WORK

I have revisited some previous work, have borrowed from other artists work and worked through a theme in mind for this last body of work in Assignment 5. At the Jerusalem Biennale of Contemporary Jewish Art I visited recently there was an exhibit in one room titled Dreamland Never Found, which caught my attention. The artists involved were from the former Soviet Union who had experienced migration at an early age. The exhibition was addressing concepts of memory, identity, torn connections etc. It was something of these thoughts I tried to convey in my final images, working with acrylics, oils, digital image and pastels. As part of the brief I have been sharing my work on-line with some encouraging responses and created a mini exhibition, in my home studio. Only one visitor so far!

CONTEXT

Having completed an art foundation course many years ago, when the main influences at the time were Pop and Abstract Expressionism I came to a seeming dead end. Years later in Israel I attended some classes at a school which was based on traditional academic ways of teaching through observation. Narrative based work wasn’t encouraged. I find the middle ground a more satisfying place to work from. I empathise more with the approach of an artist like Mashiul Chowhurry (see Assignment 4 on the blog), who often works from the figure and his observed environment, not being a slave to the subject but using it as a point of departure creating something out of his own vision.

To reference a lecture I heard recently on YouTube by Jordan Wolfson, he spoke about the two main approaches to art making, one, the experimental, the artist who is uncertain of the road, who explores along the way through his chosen media and second, the conceptual approach to making, how the artist arrives at ideas, the creative process mainly going on in the mind. I tend to fit in more happily with the first approach.

NOTES

http://paintingperceptions.com/whirlwind-where-are-we-and-how-did-we-get-here/

Gerhard Richter

In connection with a few sketch images I was working on from my previous assignment, it was suggested referencing Gerhard Richter to what I was doing, so a few brief comments. Although more familiar with his later large abstracts I started to look at his earlier photo related, somewhat blurred images.

In the 1960’s, being influenced by American and British Pop art, Richter began to draw heavily on themes from every day life as portrayed through the photography in newspapers, magazines etc. and also from direct and indirect experiences such as the bombing over Dresden and the Mein Badar terror group paintings. He would later, work more from photos from family albums and from his own photography.

Richter’s work seems to encapsulate a post-modern world of reality which is a world of constant uncertainty. He has said that reality will always lay beyond reach and appearance is all we can have. The blurred effect or technique of dragging a dry brush over wet paint in much of his work is probably a metaphor for the fact that you can’t capture reality precisely. Richter’s paintings represent things unsure.

While some of Richter’s photo based paintings are poignant and technically excellent, I don’t resonate with a lot of it. When he says ‘art is just a mirror’ I don’t agree. His later more abstract work is more interesting.

NOTES

Paul Moorhouse: Gerhard Richter – Portraits, National Portrait Gallery, London (2009)
https://www.youtube.com/watch?v=wFNQpYI_GBs

Robert Storr: Gerhard Richter – Early Photo Paintings (2012)
https://www.youtube.com/watch?v=Jeq9zo2muyo

Tutor Report – Assignment 4

Tutor report

Student name Mike Bayliss Student number 512828
Course/Module CIP Assignment number 4
Tutorial type Skype/ghangout

Overall Comments

There have been some exciting steps forwards for you particularly with the figure images, as we have discussed. Overall a good hand in with some work to resolve before the next assignment completion.

Good steps forward- consider pushing the figure works further and thinking about how you may present the body of work- what works as series, singles and so on.

The limited palette is working harder and is more secure- look at the palettes of other artists who work in this more measured way- such as Euan Uglow for example(also for brush work).

Consider scale and possibilities of using scale to your advantage. Small as much as larger works need to be intended by the artist. Extend and work on your 2000 statement

Assessment potential

I understand your aim is to go for the Painting * Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

NOTES FROM TUTORIAL – ASSIGNMENT 4

The tutorial was, overall, encouraging while discussing some strengths and weaknesses with the current work.

Michele spoke about some of the earlier practical work and compared with images 65 and 68, which, while still not fully resolved were thought to be more interesting, particularly image 65, which I was aware of. There is a greater sense of of depth and distinction between foreground and background even though the image is still quite abstract. In future painting, regardless of the theme or content, I want to exploit the nature of the medium more to greater effect. Maybe a better analogy would be that of a very good musician, who, because he has great knowledge and skill with his instrument can play almost anything.

We spoke briefly about image 77 which wasn’t working as well as image 65, also in relation to images 82 and 83 and the potential of following through with more of these figure images, also looking at Gerhard Richter’s work as a source of interest. I had already thought about doing a series of figure images, working on a small scale based on some of the observations in London and we discussed this as potentially a way forward, thinking about producing a body of work through assignments 5 and 6 and on to the final assessment. Michele spoke about envisioning the work in an exhibition space and so considering scale, how to group, hang etc. – this is quite helpful.

Michele suggested going back over the research, textural work of the assignments and rewriting sections that required more depth and more of an independent viewpoint and a connect with the practical work. We also spoke about continuing work on the artist’s statement, thinking about everything that needs to be considered in making a full statement of up to a few thousand words.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Begin to collate your sketchbooks now ready for assessment.

Learning Logs or Blogs/Critical essays

Context

Work back to enrich your research where we have discussed and improve on the depth of the writing- making explicit things that -at the moment- may be implicit.

Suggested reading/viewing

Context

Playing to the Gallery by Grayson Perry

And for the bookshelf- Shone R, and Stonard J. The Books that Shaped Art History. (Thames and Hudson).

Pointers for the next assignment

This is beginning to play out through your brush work and more considered palette. Keep working with this uppermost in your mind as it is starting to give solid rewards. The contexts that you are drawing on are fine but keep in mind the more global artists, which is why I point back to Richter- particularly in relation to brush work… This is important to consider as you begin to consider a body of work- At times there can be a distance between what you are reading and reflecting upon and what you are doing in studio- I can see the assimilation happening but you need to be more explicit about it- sometimes you assume that the reader will just know what you mean- rather than demonstrating your good knowledge. This needs careful drafting for the next assignment- expanding into the concerns of your work, contexts and inspirations. If you are unclear please email me and we can work through it.

Enrich your research and continue the good work! Well done!!

Michele Whiting

31st August 2017

PART FOUR / PROJECTS 1 & 2: FINDING YOUR PLACE


Assignment 4

TEXTURAL RESEARCH AND PRACTICAL
PROJECT RE: FINDING YOUR PLACE

I have started on this assignment looking at a few artists whose work and ideas I have some affinity with. I intend to pursue a few visual ideas from my last assignment, considering the urban landscape and the figure and hopefully develop ideas from a brief trip to London where should be doing some sketching and taking photos.

MASHIUL CHOWHURRY

Chowhurry, a practicing doctor but also studied in a drawing class at Pennsylvania Academy of the Fine Arts for many years. Working often from the figure and urban landscapes, he is not a slave to the subject but uses it as a point of departure and creates something out of his own vision. While initially working from observation, Chowhurry often completes his paintings months later in his studio. He takes lots of photos of urban environments, the textured layers of old billboards, sides of buses etc and while his paintings are different or separate from his photos, they reflect the rich textures and layered forms of urban life.

MARTIN CAMPOS

Teaches at PAFA, was heavily influenced by the Old Masters. Primarily interested in
the figure, by it’s self or placed in semi abstract landscapes or other environments.
Again, often starting from observation but taking the images into a more imaginative
realm. Film and music are also a source for ideas. He talks about taking big
risks and making messes and being in dialogue with the work.

DAVID BREWSTER

A contemporary American painter whose work sits within the French tradition
premier coup meaning, ‘all at once’. He generally, trys to complete a painting in
one stretch and as a result the work has much vitality. A lot of gestural marks
coupled with larger, calmer areas of bright colour. His work is very much looking
at the visible world but he is not imitating or copying its appearance. From Brewster’s artist statement on his website he says, ‘the evolution of my artistic approach has been a constant destruction and rebuilding of infrastructures drawing more and more into realms of emotion, mood and poetry detached from naturalistic representation and surface appearance’.

FROM EDWIN DICKENSON TO THE PERCEPTUAL PAINTERS, OBSERVATION AND INVENTION: THE SPACE OF DESIRE.

This is a Youtube video I watched recently from an exhibition of the same name held at Pennsylvania Academy of Fine Arts, Philadelphia, April, 2014 curated by Scott Noel. It show-cased the work of four generations working in the lineage of observational painting from Dickenson to recent graduates. Noel stated at the time, ‘The hope is that the show makes a convincing case, that a space is preserved in contemporary art for just this practice – this search for poetry in a direct and unmediated experience of looking’.

All the work revealed a mastery of the medium and the ability to communicate with the language of paint. Most of the artists work directly from observation or nature and memory/imagination, but not exclusively.There were a few artists, working within the figurative tradition not included in the exhibition such as Vincent Desiderio and Justine Mortimor as they draw more heavily on historical, photo and video sources. Someone from the OCA Fine Art Facebook page mentioned Desiderio who has a few videos up on Youtube. Haven’t had time to explore yet but seems worth bookmarking.

Below, are a few works by other artists relating to the current themes that are an interesting point of reference.

SKETCHBOOK WORK

Developed as a result of a few days in London exploring the urban environment and the figure in the environment as a source of visual interest and inspiration for ideas for work. Went to Tate Britain with intentions of seeing the Hockney show but thwarted by the mass of people who booked ahead of me. Nearest I got was seeing a publication, a huge book, an edition of maybe only 10 which included most of his work over the decades. Got to meet another Israeli couple in the coffee bar who came over for the exhibition and Eric Clapton’s final tour! Also went to the Ben Uri gallery and saw some work by German Immigrant artists. Thinking on about displacement, identity, further notes in the sketchbook.

DEVELOPMENTAL WORK

I have included below a lot of images, probably too many, and some quite similar to each other, but trying to show evolution of work in progress. A lot of this work no longer exists as it was rubbed out, superceded or deleted. Some of the worked up pieces I was disappointed with and am trying to revisit in a different way.

These first few images originated from observations from streets in Jerusalem and London. I was interested in creating a mood or atmosphere through colour and loose gestural drawing.

Below, image 53, was developed further, working in oils, but was becoming too pictureque and boring and lost the vitality of the earlier work. With image 54, tried to make the colour more subtle and in image 55, cropped the image for a more interesting composition, played with the colour further which reflects more the interesting light one finds in late afternoon Jerusalem.

I started cropping sections of images to see how much I could simplify and yet still retain the essence or experience of the environment.

 

65

This rough colour sketch is an impression after wandering through a section of Camden market, purposely abstract in trying to capture the atmosphere of the place. Relatively small, I’d like to make an enlarged version but not sure I can keep the same looseness unless it evolves into something else.

Above are crops from some images from the previous assignment. They remind me of the intricate maze of streets and alleys of the Old City in Jerusalem. I would like to explore further, go back and do some more sketching in the Old City. I like the idea of working with a limited colour palete and possibly explore in collage or mono print.
 

69

SKETCH FIGURE WORK

The next few images are of work that includes figures, mostly unresolved, using colour in an expressionistic way. The figures were people I had originally observed on the streets and the images could be incorporated into larger, more comprehensive compositions.

Images 79 – 83 were derived from observing people at a busy train station I was passing through on route to the airport home. I took a mass of photos, most, pretty boring, not worth working up as compositions, a sea of anonymous people eating or engaged with their cell phones. I later took a few more photos of mainly individual figures at some distance. The image resolution was poor and the images fuzzy but the figures, cropped and taken out of context show more interest. I painted a couple of these figures in gouache at a small scale and want to paint a few more and see if this is worth pursuing on not.

GRAFFITI MAN

Working on a couple of paintings derived, again, from wandering around near Camden market, London, (see image 41). There is always the dichotomy in places like this between the affluence of the tourists and trendy ones who hang out there and those who live in the area, maybe on the streets, who have fallen between the cracks, who merge into the background and we tend to ignore.

I took a photo of a couple of guys sitting next to a graffiti painted wall and from a distance it almost seemed as if they were part of the painted image. The second of the paintings, with the walking figure, I am working in impasto on a heavily textured ground. Both images are not fully resolved yet.

REFLECTION

I have spent a fair amount of time on this assignment despite being distracted by home renovations. I was originally going to work from one abstract image from the previous assignment but lost some motivation for this. The time spent in the sketch book proved valuable after sketching from observation and developing ideas.

I probably should have concentrated more in one area, as I have a number of works which are interesting but still at sketch or in progress stage. The work which is more complete is not as interesting. The technical aspect of not being able to manipulate the oil paint as I would like is still frustrating but guess I need to push through. Working on 3 or 4 images at once helps, as I can move on if I get stuck on one painting or while waiting for the paint to dry.

Reading that many artists re-visit their work or spend weeks or months on it is interesting, alternatively, completing work in a defined time, as exampled by David Brewster, mentioned above, may also lead to work with more vitality. I remember a previous artist tutor saying that we are in charge or control of the painting and we shouldn’t give up on something too soon when it doesn’t appear to be working.

I have listened to a few podcast interviews of artists talking about their practice, (see links below). Observations such as those from Stuart Shils I find quite helpful, such as “define what is important, everything doesn’t have to be worked up to the same degree” and “don’t have fixed ideas of what ‘finished’ is or should be”.

DRAFT OF ARTIST’S STATEMENT

I feel that I don’t want to spend too much time trying to write an eloquent or definitive statement as I’m still experimenting and defining themes that I gravitate toward, even though I have some obvious interests. I can write what I can define for now.

The observed world, be it my urban or the natural landscape is often the starting point for inspiration, also the figure, on it’s own or in a landscape, the conflict of
opposites, the sense of belonging and of alienation.

From initial studies I sometimes explore digitally, colour and composition, looking for something to emerge that has the potential for development as a painting or mixed media work. I try not to be too rigid with a fixed outcome in mind but allow the play of the materials, process and ideas to inform the final results.

NOTES

Image 1: Untitled, Mashiul Chowdhury
Image 2: Form in Forest, Martin Campos
Image 3: Figure in Landscape, Martin Campos
Image 4: Voltage Range Overlap, David Brewster
Image 5: Powerlines, David Brewster
Image 6: Italy, Stuart Shils
Image 7: Recent Oil, Stuart Shils
Image 8: Swing Landscape, Stuart Davis
Image 9: Townsquare, Stuart Davis
Image 10: Community, Jacob Lawrence
Image 11: Jamaica,NY, Jacob Lawrence
Image 12: City Landscape, Ken Tutjamnong
Image 13: City Landscape, Ken Tutjamnong
Image 14: Things Behind the Pines, Ken Kewley
Image 15: Hyperallergic, Sangram Majumdar
Image 16: Figures, Nicolas De Staël
Image 17: Les Muscians, Nicolas De Staël
Image 18: Self Portrait, Carolyn Pyfrom
Image 19: Life Study, Miles Richmond
Image 20: Grand Central Station, Jenifer Pochinski
Image 21: In the Field, Janice Nowinski

LINKS

https://www.youtube.com/watch?v=0sh-C6tq0bQ&t=11s
Mashiul Chowdhury, Learning from the Figure

https://www.youtube.com/watch?v=SmckW8iDZTY&t=336s
Martin Campos, Painting the Human Trace

http://www.davidbrewsterfineart.com

http://stuartshils.com/

https://www.nytimes.com/2016/06/10/arts/design/stuart-davis-heady-abstract-realist-at-the-whitney.html?_r=0

https://www.youtube.com/watch?v=03yYbqHDPVI
KenTutjamnong, The Love of Painting

http://kenkewley.com

http://www.sangrammajumdar.com

http://www.carolynpyfrom.com

http://www.milesrichmond.co.uk

http://www.jenniferpochinski.com

http://www.janicenowinski.com

https://www.youtube.com/watch?v=V1Ok899YQu4&t=643s
From Edwin Dickenson to the Perceptual Painters. Observation & Invention

https://savvypainter.com/podcast/alan-feltus/

http://paintingperceptions.com/interview-with-stuart-shils-part-two-on-teaching/

Tutor Report – Assignment 3

Tutor report

Student name Mike Bayliss Student number 512828
Course/Module CIP Assignment number 3

Overall Comments

The student notes from our extensive tutorial were very scant- and I waited to see if anymore were forthcoming, before completing this document but none arrived. If you find that you need to clarify anything, because of these notes, please email me and we will go from there.

You really engaged with working outside of the frame in architectural space and the assignment was overall successful, this is due in part to the documentation of the work and process , which is both clear and confident.

The research that you undertook around the city, documenting other ways of painting/making artworks was focused and because of this a sort of typology began to emerge, which points towards some further work …

We have agreed that for the next hand in you will send some samples of work and a detailed description of the processes undertaken.

You have some clear ways forward with your paintings that you explained to me, and I am happy for you to evolve these works as we discussed.

A first draft of your artist statement will be needed at the next hand in.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Student Notes:

I didn’t really get very far taking notes but from what I remember:

1. Keep up the exploratory work in the sketchbooks & use as a source to draw from for new work.

2. Exploring some imagery from sketchbook for next assignment. Experimental work will be relatively small or manageable to send by post & final pieces to be worked up to larger scale.

3. Experiment with media & materials, i.e. Linen, maybe aluminium sheet. Consider hard/soft areas & edges, opaque & semi opaque areas, texture etc.

Tutor- As this assignment develops you may find that you have new ideas and arguments to include in your assignment, and that you are modifying or improving on your position, this is normal and the important thing to do, is to note take, reflect and keep relevant.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Keep going in the way that you are, keep experimenting and reflecting on these experiments-as it is opening up pathways and insights for you.

Learning Logs or Blogs/Critical essays

Context

Begin the process of writing your artist statement. Try to really consider now the link between conceptual frameworks and your practice, and also aim to articulate your understanding of theoretical models from which your key concepts and drivers come from. If in doubt where to start why not mind-map or use a spider diagram to help you. In this way you will devise an outline plan that will be useful in writing the statement

Suggested reading/viewing

Context

Yi Fu Tuan – both texts -Space and Place and Topophilia. These have resonance with your work, and interests, if you can get hold of them and read them, I think that they might well help inform your perspectives.

Pointers for the next assignment

Keep the evaluative writing going, aim to look at what you are saying critically. Is there more than one side of the argument or view? Be critical, be reflective especially about yourself, your own views and experiences.

Look at the OCA websites and try to gain some peer interaction with your work.

Michele Whiting

2nd May 2017