Southerndown was so beautiful, it was amazing to discover more of the Welsh landscape. It was so chalky and white and pristine. The rockpools were perfect for watercolour painting, little pockets of water you could wet your brush in. I used the salt water in the rock pools, water colour and the rocks to create these blue/green abstractions contrasting the vibrancy of the paint with he chalky white/grey of the rocks.
My first final piece is a 6ftx4ft acrylic on canvas painting. My concept for this in relation to the Inside/Outside theme was capturing an outside look in on an intimate/candid scene. I’ve been very interested in producing intimate/vulnerable images of men and how that could contribute towards a more healthy approach to masculinity. I utilised the painting techniques I’d developed from the Material Projects at the start of the year and I also developed a new skill in constructing a canvas from scratch. The canvas itself was an incredible feat, it was huge and the first one I’d made so it came with a lot of challenges, there were a lot of obstacles to overcome but after taking my time learning and constructing this one I’m confident I could repeat the process.
I primed the canvas with an acrylic gesso then set to work. I thought hard about my choice of colour and tried to stay with a blue/green palette picking out the sofa with accents of red to compliment the green.
My second final piece on the theme Inside/Outside are two of my favourite digital drawings. Learning to use the Apple Pencil and iPad Pro has been a continuous personal project of mine throughout the year. My tablet became a lightweight portable sketchbook housing all my doodles and scribbles and able to produce giant drawings in vector form. The detail I was able to capture through my ability to zoom into to drawing was really amazing, it felt really freeing to be able to draw with those constraints lifted. Because I could pull my iPad out at a time and didn’t have to muddle about with pencils, sharpeners, rubbers finding a good bit of paper I could work more in the moment and begin drawing as soon s a moment or image struck me.
The New Materialisms class in term two really opened my eyes to a more holistic approach to my art and the things I learnt immediately filtered into my everyday art practice. One particularly meaningful class explored the ocularcentricity of modern western culture and encouraged us to think beyond the sensory hierarchy that priorities vision. I think this struck a chord with me personally as someone with poor eyesight that progressively worsens year by year; before this class I’d been quite closed minded to creative possibilities beyond the visual so there was something quite enlightening in being urged to think outside of that box. As a creative I think a short coming that I have is finding something I like and sticking with it rather than consistently pushing myself to try different approaches, I get comfortable in a particular medium or style very quickly and can be quite stubborn to venture into something new. My work this year was centred around the body, intimacy and privacy and I really seemed to stick to figurative depictions in drawing and paint, however there seemed to be an emptiness to a few of the pieces that felt more like I was just reproducing what I saw in the world rather than making visible the feeling and experience I wanted to get across. One quote from a text we studied in New Materialisms really resonated with me; “[Ocularcentrism] has left the body and the other senses, as well as our memories, imagination and dreams, homeless” (Pallasmaa, 2005, p. 18) I wanted to find a place in my work for the senses, imagination and memories I’d neglected in focusing on the visual.
To achieve this I combined my studies from Constellation with the Still Life work I had done in one of my Field labs and persued a project called ‘Sensory Still Life’ which can be found here. I blindfolded myself and felt an arrangement of random objects drawing with my eyes closed what I could feel, hear and smell. After each drawing was complete I used photoshop to overlay the individual drawings into an arrangement to create the “still life”. I was incredibly proud of how informing myself through my Constellation studies enabled me to push beyond my comfort zone and allow me to further push my understanding of the themes that interest me by exploring them in a different way creatively. I had known for some time that I had a habit of playing it safe and sticking to what I was used to but I think it took the push into researching new theories and ways of thinking for me to take that leap and try something completely different. Having a lesson totally devoted to the cultural phenomenon that creates these unconscious biases that prioritise the way things look over the way things feel, smell or sound, a bias that in some part will be contributing to my stubborn focus on the visual, totally helped break that pattern of behaviour.
While right now I still feel connected to drawing a painting as mediums I feel there’s something very changed in my approach to these mediums. I’d like to demonstrate by exploring two of my pieces, one from before New Materialisms and one from after:
While both are acrylic paintings there are some notable differences between the two (of the same subject) that I think are mostly if not wholly influenced by my studies in New Materialisms. Firstly, the colour palette is much more vibrant and imaginative, after Constellation I was more inclined to choose colours that fit the mood and feeling I wanted to portray rather than choosing colours representative of the actual object or subject I was painting. I think this is an example of eschewing the visual accuracy of my painting in favour of capturing more of a feeling. Secondly, the scale. After Constellation I was more inclined to size my painting up, there was something in the physical experience of painting large that really resonated with me. As well as capturing the image, painting in a way that engages the entire body, in sweeping gestural strokes felt like it was capturing more of my presence as an artist within the image. There was something so much more open, enjoyable and honest in painting this way. I began to prioritise the sensory experience of creation where as before Constellation I prioritised the final outcome.
This final outcome focus was covered extensively in New Materialisms; how, as creators, we are taught to see creating as a project with a plan and then a method which is carried out to create the outcome. We were encouraged, instead, to think of creation as a process of growing. To grow your creation it’s a collaboration of equal parts between the matter you are shaping, the environment and you. Evolving an understanding that my materials and tools are not working for me they are working with me felt like a really pivotal breakthrough; that the creator is not a dictator the creator is a collaborator with matter and environment. One quote that really fast tracked my understanding of this: “I want to think of making, instead, as a process of growth. This is to place the maker from the outset as a participant in amongst a world of active materials. These materials are what he has to work with, and in the process of making he ‘joins forces’ with them, bringing them together or splitting them apart, synthesising and distilling, in anticipation of what might emerge” (Ingold, 2013, p. 21). The idea that the world around me is active and the materials I use have agency of their own totally changes the perception I had about what it means to be an artist. And while I can’t say that this is a habit I’ve broken this year it’s something I’m eager to push my understanding of and learn a lot more about as I grow as a creator.
Inspired by David Hockney and the field theme of light I spent a lot of time producing a series of illustrations of women relaxing and sunbathing, I really wanted to capture moments of freedom and peace and give a viewer a look into like a private moment of peaceful solitude. I really liked them but I don’t really think it fit with what I wanted to explore thematically, the style was too illustrative and the thinking and research I was doing into sensory perception and my thought processes about masculinity werent really represented in them. Nevertheless they were fun and could potentially grow into something bigger around a different theme.
Learning how to construct a canvas from scratch has been so important. The skill has been so useful and the support provided by Laura so valuable. Learning the best way to clamp, drill, saw and stretch etc. took some time. I haven’t really had much experience making something that big or sturdy so it was such a big learning curve and really accelerated my confidence in creating larger scale work.
For our Light brief I’d been thinking a lot about sight and the senses particularly in relation to my own vision and the importance of seeing in relation to art. The role of my sight in art is often something I think about, visual impairment and poor eyesight are common in my family and my eyesight personally gets considerably worse every year and while at present I’m lucky enough to have clear vision with the help of strong glasses, this probably won’t always be the case. I’ve been learning a lot about challenging the occularcentricity of art and the world as a whole. The Illuminate lab really opened my mind to tackling the light brief in this way, the film Nightfall by Bas Jan Ader really resonated in me in the sense the performance encompassed so much of the sensory/physical experience and the human relationship with matter and force, it extended my thinking beyond the visual and into the capabilities of the body. Working with clay in Silhouetted Still Lives also informed my outcome in pushing my understanding of still life and ways of working and reconfiguring objects into images and back again. For my final outcome I’ve realised a series of drawings; taking an arrangement of objects then drawing each one blindfolded focusing on documenting the feeling, sound and smell of each object.
Rather than tackling light in relation to the visual experience of light and colour my work went in the direction of ‘illuminating’ and revealing objects through the physical experience. Each drawing is as unique as the object I felt while making it with traces and clues of the shape, smell and sound present in each one. I wanted to get away from the personal prejudice I have held and a lot of people hold that a drawing is only a good drawing if it accurately relates a visual likeness to the subject. Drawing in this way is accurate in other ways and records in the lines a different but still a relevant experience of an object. This experimental series of drawings are a world away in appearance from the figurative work I had been making up until the field module.
It’s pushed me to think more openly about how to represent the figure in my drawing and painting and how approaching something from a more holistic perspective could enrich my practice considerably.
After examining and drawing each object individually I used photoshop to arrange them into one final composition to create a Sensory “Still Life”. Of course the movement and expressive activity in the lines that hold in them traces of texture, sound, smell and experience make the composition far from “still” through this I hoped to express objects as active with a wealth of information and experiences to express through interaction.