Gravity within Performance

In this group collaboration, we all were required to choose a specific way of applying paint onto the canvas, with the aid of scaffolding to have a heightened drop. I personally was reminded of the scaffolding used when I have done plastering jobs with my father, and reflected my actions on the cement mixers on building sites. Although this seemed rather playful, and I looked daft, it made me think a lot about my use of body actions and how it comes across on the paper, combined with the addition of gravity in the work allowed the paint to do what it wanted to do on the page as opposed to us controlling itDSC00978 DSC00982

Performance Through Gravity

In today’s practice we we influenced to use the effects of gravity into our experimentation, whilst also taking on board the expressions of the body in our previous lesson. We were given a scaffolding in order to gain the best potential from the application of gravity and the effects that come from it. After being instructed to try out a movement whilst incorporating falling paint, the scaffolding and large buckets made it very reminiscent of my jobs with my father working on roofing and plastering houses. I was very intrigued by the slopping of the cement and thick sputtering from the cement mixer, and wanted to apply this into my performance through swirling my hand into the paint, scraping against the bucket and spewing onto the page.
It was quite a varied result ranging from viscous, globular chunks slowly melting amongst my other groups’ performances, and swirling spaghetti like strands spanning the page. This only brought spotlight onto the notion that even though I am learning what my bodily form can do to the work, the is a sense of freedom on the work allowing the paint to do what it wants onto the work, and that lack of control is quite humbling. Although, I don’t think I will be getting the “Lee Scorey Mixer” out for a while!Rhys Field

Graphite Exercise

In today’s practice we were assigned into groups and provided with graphite sticks for each hand. Andre gave us simple tasks involving loosening our body and freeing up our muscles in order to complete the exercise to its full capacity. We then were instructed to continuously draw amongst our groups onto the table provided, under strict instruction by Andre for each task – ranging from drawing vertical and horizontal lines or even dots or circles until the time was up. The actions were rather laborious and as time went on became a bit of an ache, and with the strict ruling of Andre with utter silence and the loud whistle to start and stop this made it even more difficult for the mind to wander and heightened the ponderous feelings amongst the class.
However, due to these factors as we developed further into the practice we all started to treat the repetitions of lines with less regard, and our use of line would become less meticulous, allowing us to free ourselves for the task ahead. this was a lot more apparent in table in front of us, as we stopped restricting ourselves to a section of the table and allowed our hands to move to their own will across the page. The mundane tasks made myself feel less precious of the marks i was making and focus more on the actions of my own body, something I have never really thought upon in my own line of practice

Painting Performance: Lecture

In today’s lecture Andre opened up the world of performance painting, starting with Jackson Pollock’s drip-action paintings as a catalyst for the performance movement, unitising paint as an object and the form of movement is incorporated into the work, and the processes by the artist is embodied into the work.
Performance art is the relation of the paint with the movements of the artist – regardless of an audience, or the result of the movements executed onto the canvas. These ideologies were formed after the Second World War, moving from Dadaism which focused of the disharmonies and separation that resulted from the war.
Art collaborations such as the Gutai Group experimented with feet, throwing paint, along with foreign objects such as balls. Other artists such as Anish Kapoor and Nikki Saint-Phalle have also implemented objects such as guns into their action paintings into their works.

Painting Performance: 1

Today’s opening Field project brought some enlightening processes and ideas that I haven’t thought about when considering the application of paint, and has given me food for thought on how I approach my mark making in my own work.
The lesson consisted of applying paint, using the bodily form to express mark making techniques; the swivels of a kneecap creating a swirl, or the bold sway of an arm creating a thick, viscous stroke against the page. I feel that this process of working shed light on The outcomes were very reminiscent of the works of Yves Klein, who used subject’s bodies in order to create action paintings. I personally was intrigued to how the swooping drag of my elbow and forearm could create this consistency on the page whilst creating a texture through the arm, something I take into consideration in my own paintings but never get to see up close and personal on such a large, free scale.

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Yves Klien – Day Fifty-Four

Group Performance Practice

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In this experiment we were required to move ourselves along the paper in our groups, whilst being tied to other members. At first it was very uncoordinated, and became very restricted to apply the marks we wanted to the page, however as we got more involved we became more flowing of each other’s movements. I personally think that the restrictions stopped ourselves from forcing what we intentionally wanted to imprint, and the limitations allowed the paint to do what it wanted to do.DSC00984DSC00985

I personally was interested in the final outcome, and how these thick passages of paint layered over the canvas. I also started to work back into the painting with the back end of the brush, scraping away paint to reveal previous layers. I have reflected this application of paint in my own work, with thick, viscous draggings inspired from the tutorials.

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