Tuesday, 12 May 2015
Project 1 part 2: Vanitas
Project 3 : Painting of my mum
The hands in the reference pic were a bit nondescript as I had to zoom in to get the pic in the first place so not the clearest reference but did them before tackling the face.
Today on the home straight I painted face and hair.........and the final painting!. I have been painting like mad to get it finished in time for assessment. I realised this wasn't necessary but the thought of starting back at college and still being faced with this was not a thought I relished so it was going to be finished today no matter what! If it was at home I know I would fiddle with it more, but that's it!.......on with the new!
Have I learned anything?,....yes: If I paint a portrait, make sure they are not attired in a sheep's worth of woolly texture.
Project 3 : Mum (the queen) painting
Can't seem to photograph the colours quite right. I'm sure it wasn't quite this green. My biggest one yet. Measures approx 4' x 5'5". Measured it today to see if it would fit in the car.
Tuesday, 28 April 2015
Vanitas
There is always a tendency to look for meaning and symbolism in artwork. It became apparent from feedback I had concerning a particular drawing a couple of years ago. I had just plonked myself down and drawn what I could see, which in this case was a higgledy-piggledy arrangement of objects in the square shelves in my room. To me just random, but someone else had attributed meaning to this chaotic array. From this point I became conscious of this tendency and potential to read into things and instead started to purposely manipulate and employ the use of symbolism. I thought if people are going to attribute meaning anyway, I may as well put in the meaning I want to express. I think a piece of artwork can never be experienced exactly like the artists’ ‘feel’ that they were driven by in an attempt to express it, but symbolism in a painting can help communicate ideas and more, in a way that words cannot. After all like Edward Hopper said, “If you could say it in words, there would be no reason to paint”
I find it interesting that for example in the Dutch Vanitas paintings certain objects had a symbolic meaning attached.
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| Pieter Claesz |
VANITAS
(The term originally comes from the opening lines of the Book of Ecclesiastes in the Bible: ‘Vanity of vanities, saith the Preacher, vanity of vanities, all is vanity.’
Vanitas are closely related to memento mori still lifes which are artworks that remind the viewer of the shortness and fragility of life (memento mori is a Latin phrase meaning ‘remember you must die’) and include symbols such as skulls and extinguished candles. However vanitas still-lifes also include other symbols such as musical instruments, wine and books to remind us explicitly of the vanity (in the sense of worthlessness) of worldly pleasures and goods. )
http://www.tate.org.uk/learn/online-resources/glossary/v/vanitas
In my painting, which is still not finished, I am using objects to symbolise personal meaning.
Although not a word originally in mind when I started this painting, during the past couple of months that it’s been hovering around the kithen table it has become known as ‘Vanitas’. Not strictly a Vanitas, it is though along those lines. Generally I think Vanitas paintings had some religious associations and were predominantly pointing out that emphasis on wealth and worldly pleasures were obstacles on the path to salvation. They pointed out the impermanence of these things and the fact that death was inevitable and imminent.
So although this painting has elements of the style of the Vanitas it was intended more of a self scrutiny, an awareness of my existence and my life rather than impending death, (I hope not anyway). The objects placed were based on my own symbolic associations but I have since been looking at the relevance of objects in Vanitas paintings. The clock it seems is quite universal in its symbolism of time passing and in my painting the relevance is of this is the fact that it seems I am starting my life’s true course now, at middle age. To me it also signifies the fact that time, or lack of it is such an issue to me, with kids, home life and health issues, time is precious and can never be wasted and the clock is at the forefront. (Perhaps it also represents my difficulty in waking in the mornings as this clock is one of six alarms set!). The photos are of my kids which is self explanatory really, they are most important in my life and they have been my sole focus up until now. The left generally I believe signifies the past and the bonsai in the background is a tree that is stunted, restrained and restricted from growing into it’s full form. This is my past. Vanitas paintings often depicted vessels usually stoneware or porcelain which held water or oil, substances that sustained life at the time. My mug of coffee which to be honest helps to keep me awake some days is never far away and this ‘big love’ mug represents having given much of myself to others. The pot containing the brushes represent artwork and my way forward, the short scruffy brushes to the left and the stronger longer ones pointing to the future. Beneath the mug is my driving license – I am just a number in terms of society. I became aware that Vanitas paintings often included musical instruments, these sometimes represent artistic inspiration but also indulgence of the senses. I painted my poor neglected saxophone in later, I don’t have time for it now so it’s in the background, it represents both creativity but also the need to express it. Lastly, the mirror generally represents vanity which Vanitas paintings were suggesting should be avoided, but in this instance it represents my own reflection. Physical reflection and psychological reflection.
Wednesday, 15 April 2015
I'm feeling like a paper shredder
You know how oil paint on the surface of
water marbles in a random kaleidoscope of swirling colour. I think that’s how ideas and creativity forms
in the mind. Sooner or later there’s a
combination, a merge of colour that seemingly randomly forms into a pattern and design
that satisfies and excites. However, if
you add too much paint, force, manipulate and mix a lot, the mix becomes
dull. It needs room to circulate and flow
freely. I think the latter is how I’m
feeling. I’m feeling like my paper
shredder when, in my impatience to save time, I try to shove a whole clump
of paper in at once and it always results in everything grinding to a complete
halt.
Two weeks of school Easter holidays was not conducive
to any kind of creativity. I need head
space in which to allow these ideas to swirl and develop. The seeds are there but they don’t grow. My head feels disjointed, full of fragments
that need free flow to flourish but instead become unresolved irritation that
given space could develop, like the oyster shell’s grit irritations grow into
beautiful pearls - given enough time. All
I want to do is indulge unrestricted and give expression to this world inside
my head, but thoughts are never allowed to fully form, instead the flow is
constantly punctuated and interrupted by banal thoughts of home life
practicalities and chores and now it seems school chores too. I feel a burdening weight of writing tasks,
research and presentation. The
presentation has the added weight of nerves attached, awakening my most potent phobia. The small sense of relief I had at almost completing preparation for it has now gone and instead, frustration at now receiving details of criteria that I have not met. Talking about art but
never doing any. I’m finding it near to
impossible to relax into any creativity when I know these other things have to
be done, (there’s too much paint being added and mixed, too much paper being shoved in). I feel the pressure of time, something always
in short supply, and when I think of tackling these other things, my head
presents me with a very tall blank wall.
So like the shredder I feel I’ve ground to a halt.
Friday, 10 April 2015
Sunshine, Bath and Beryl Cook
Well it’s been quite frustrating not being
able to get on with any artwork due to the school holidays but at least it’s
possible to get out and see some with youngest sproggie in tow (plied with
various oral gratifications). The
beautiful sunshine made it the perfect day to go to Bath where I’d earmarked a
couple of exhibitions. One was at
Holburne Museum which said ‘Gwen John to Lucian Freud’ and the other at
the Victoria Art Gallery featuring ‘Beryl Cook’. Well to be honest I wasn’t too enthralled
with the first one. I had been excited
about seeing some of Freud’s flesh in the flesh , but the exhibition contained
just one etching. There was a nice but
small portrait by Gwen John along with a work by her brother Augustus
John. I also recognised the style of a
painting by Edward Wadsworth and realised it was the same painter responsible
for a painting I had seen at Bristol Museum recently on a visit with the rest
of my fine art colleagues. It had been
notable to me as it was done with egg tempera, something that I intend to
experiment with at some point.
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| Edward Wadsworth |
Anyway the highlight of my day was the Beryl Cook exhibiton ‘Intimate relations’. (Well worth a visit and on until 6th May). We are all familiar with her work and I feel perhaps she has not always been taken seriously in the art circles. I spent the whole time looking at the exhibition with a big grin on my face. These paintings make you smile and that’s got to be a good thing.
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| Meadow Suite 1984 |
Walking around the exhibition her development was clearly evident. Starting from early works in the 60s and 70s to more recent ones that incorporate her distinctive style.
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| The Lockyer Tavern early 1970s |
Self taught, her influences include Stanley Spencer, Tamara de lempicka and Edward Burra which I think is quite apparent especially in this painting, her homage to Tamara de Lempicka, ‘Tamara de Cook’.
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| Tamara De Cook |
She has adopted the approach of an artificial method of constructing forms which has its roots in cubism. For example in the works of Leger.
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| The Three Musicians. Leger 1944 |
http://en.wikipedia.org/wiki/Tubism
Beryl Cook’s round figures are amusing to look
at, they are reminiscent of English humour and seaside postcards. She said she made the figures large as she
didn’t like painting backgrounds. She
loved the outrageous, the larger than life flamboyant dressers and her paintings
were based on things she had seen in life including everyday things such as
going to the hairdressers.
She
relied on memory and sketches, often going out to flamboyant pubs and
clubs. In 1997 this was in Bristol as
she had moved to Clifton and lived here for five years. I can understand why her work appeals to me
so much with my interest in narratives and looking at life, and I’ve always done
humorous illustrations but these have only ever been done in pen and ink. I think though that most people relate to
Beryl Cook, it’s down to earth, amusing, not pretentious or ‘arty farty’ and
this is why her work remains to be so popular.
Thursday, 2 April 2015
Do Ho Suh in the Easter holidays
Well I’ve learned to accept that artwork
for me in the school holidays goes out the window (as I don't think helping make a pom pom easter chick counts as art). Attempting to do any is futile and acceptance
of this fact is easier than dealing with my subsequent frustrations.
Anyway, youngest sproggie was keen to go to the museum which was great I thought, it’s free for one thing, and also it meant I could at least do something art related, go and look at the Do
Ho Suh exhibit. I came across his work a
while back when I had also discovered Rachel Whiteread and was thinking a lot
about space. It was also relevant when I was thinking of
sculpture and playing with mesh like fabrics and stitching to portray the figure.
At the museum we weren’t
in time for the talk but then, one of us may have been a bit too fidgety for
that anyway.
Do Ho Suh’s exhibit at Bristol Museum was New
York City Apartment Corridor/ Ground Floor Plus Staircase. This was based on his home in New york, a
mesh fabric replication of the space and internal architecture.
Included were details such as light switches and door knobs all
intricately shaped and sewn into the fabric. Like a
gazebo or tent the installation folds neatly up and can then be packed into
suitcases. It is very much a ghostly
echo of a more physical space.
From what I have read Do Ho Suh’s work revolves
around ideas of relationships to space, as an individual and a collective. Space in terms of our home that we occupy,
even our clothes. He also deals with
memory, displacement and identity. A
very interesting artist that I had only associated with these mesh architectural
type of works but having looked, came across some other amazing things he has
done.
I really love these:
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