Field: Summary

Over the course of both projects I feel that I have been influenced greatly with regards to my application of materials and how I approach my work. I believe that how I create my work has changed greatly and what I sought out to achieve in my work has been highly influenced by these tutorials.

Within the subject of Painting Performance, I became much more aware of how my body can manipulate the work, and more importantly how creating the artwork at hand becomes a performance, you are part of the artwork itself; giving yourself to the work. This was very apparent in my sculpture works, as the application of my hands moved through the clay. I had developed from where I had moved from creating these realistic busts, moving towards dragging my extremities into the clay, leaving mounds of imprints, very much similar to the way De Kooning would leave swooping passages of paint on the canvas. Through the process of making it, I found it almost ritual-like as I questioned my own bodily form, and then translating that into the clay became a performance within itself.

The lessons at hand has also played an important role into my portraiture, and have begun to question how I apply paint to a canvas. After leaning what my body can do with paint, such as with the swooping of an arm or running of toes can leave very different imprints, my use of mark-making with a paintbrush and other found objects can change an image greatly. This goes hand-in-hand with my material, as when we started to experiment with the viscosity of paint when introduced with common household materials, I have begun to experiment with flour and earth into my own paint.

After the tutorials undergone in Beyond Fiction, I have become more pensive in terms of looking at my own portraits and how they reflect on the subjects character and how this is reflected on the canvas as opposed to creating an accurate depiction of a person. When producing my cartoon illustrations I found that simple use of line can give a stronger impression of a person than a highly detailed painting could, and thus my economy of line has become more sparing in my work.

The inclusion of humour into my illustration has made me question what It is I want out of my work, and what art is. Through the characters I have developed in my field, I have been able to look at the role Soap characters have in the world of art, and what aspect my clay mass ‘blobs’ have to play with their suggestive implications of genitalia. I personally believe that humour can allow for strong social debate of my works, and can deal with big issues in current affairs.

Further developing working with both P.P and B.F alongside my own practice is very important to me, and I am eager to discover how both will develop my studies and work in the future.

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Painting Performance: Epilogue

With the subject of painting being rooted in the foundations of my practice, I decided upon choosing the module of Painting Performance in order to give me a greater understanding of what paint can do through a different perspective that I am comfortable with. I wanted to use this opportunity to explore and delve into a subject such as Abstract Expressionism, which is completely different to the way I implement paint.

Within the opening lessons, I was instructed to apply myself to tasks such as the graphite exercises which required us to continuously drag our arms and put our body under strict repetition to let our body become loose and flow. At first I found these task to be rather mundane and laborious, however as we got further into the practice I treated my use of line with less regard, and the repetition allowed me to become less meticulous with my work. This then had a paramount effect in my performance art, learning that the processes involved are just as important as the outcome, as my involvement in creating the work became more about giving myself into the painting. Each mark became a reflection of myself, such as my own emotions being emitted onto the paper. I became besotted in how paint works on the paper, such as the globular masses of mixed mud and paint varied so differently to the viscous swooping of a paintbrush.

With regards to a final outcome, team building played a significant role in how we structured our performance. We all took what it is we wanted to achieve in the piece and harmonised to create an amalgamation of subjects such as my interests in the viscosity of paint, the subject of the performance, and how we would bring the notion of balance and harmony in the work itself. There was ample discussion about composition of the piece, how gravity in the balancing of jugs can let the paint move freely, and how music can influence our choice movements and how we attack the paper.

As a practitioner, the skills I have developed have not only aided my current work, but I wish to sought out opportunities to create performance pieces myself. For the Centenary of the First World War, I had intended on creating a piece which brought together the physical movements of football – played on No Man’s Land during WWI – and the application of paint I had discovered through painting performance. Although the project was deemed to difficult to produce in time due to planning permission, I hope to create other works which will reflect on the subject of painting performance in the future.

Painting Performace: Afterthoughts and my own ideas

With it being close to Christmas and the 100th anniversary of the Second World War, I have been compelled with the idea of bringing those two subjects in a painting performance of my own illustrating the soldiers that came together to play football on Christmas morning in 1914 in Flanders’ Fields. In this Idea, I was intending on creating a small football pitch with large rolls of paper, and having 2 teams of 5 players dipping themselves in red and black paint. I am intrigued to see how these marks and passages of paint flow on the floor. I have chosen upon red as the primary colour as it resembles the poppies grown on Flanders’ Field as a result of the war, and these red swooshes of paint, harmonised with the black footprints dabbed along the pitch will reflect these poppies.

Performance painting has never really correlated in my work, however, with this being a great opportunity to do something different in my own work, and the fact I have a keen interest in the world of football; this is a very good method of bringing the world of football into the art scene – something which isn’t often brought forward into the world of art.

I have been speaking to other tutors and staff at the university who are in charge of planning permission, and it seems that to do such a feat would take a lot more time and planning in order to get around the safety regulations of the university, so I will keep refining the idea and  possibly give it some thought for next year.

Painting Performance: What I have taken from the Tutorials.

Although my work hasn’t particularly been reflecting of abstract-expressionistic work, or that of Performance art, André’s tutorials have most definitely made me think about my application of paint. The way I apply paint, and the visceral nature of paint has allowed me to change my mark making techniques in order to allow me to create the tactile qualities I am looking for in my work. I am more focused on what materials can do to a painting, such as applying products such as soil or flour, in which I brought forward to our performance to play with the nature of thick, natural paints as opposed to fluid, running paint on the other side of the performance, and looking at how these would harmonise in the work. I also think different mark making techniques will be vital to the work in future, using different materials such as sticks, rags or even windscreen wipers to create different textures in my own work.

I also think it as guided me in my sculptural work as well as my paintings. I have started to look at expressing a portrait through touch and feeling the figure as opposed to photographical work or life drawing. I think that this touching o the face and the process that goes into the sculptures can be somewhat a performance within its own right, and the sculpture being a product of the performance afterwards.

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