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.