  There
were failures along the way with this new material, when using paper
the water colour would be absorbed creating thick coloured outlines
around and through the water mark. This was one aspect in using paper
that I found most interesting, but on the wood the colours would fray,
blurring the boundaries of the image. This opens a new process in which
the materiality of the paint operates on a new surface.
 
In this work I was thinking about how to create subtly with vibrancy.
The colour combination, creates depth and emphasizes layering
performing as an illusion to the viewer. I think when using a bright
vibrant colour tone like green, the painting creates more of an
interesting sensation than others. Painting in the geometric forms also
creates an over balancing when the image looks it is going to fall
apart, but by adding these connectors through pencil and finely cut
marks the painting displays a sense of movement leading your eye around
the work.  | |||||||||||||||||
| Untitled, 2012. Mix Media - Acrylic Paint, Watercolour and Gloss on Paper. 29.7 x 21.0 cm |
I wanted to leave the hole punches out this time because I don't want to over complicate. The painting has a lot going on already, revealing this anchor form creates more balance and sensation as it is more clear where the lines are connecting but also playing off again this push / pull of foreground and background. The geometric form displays history alike the form above as it to has underlays that are built up on the surface, making the shape have texture and depth. On looking to the side of the painting this built up of layers becomes more presents as the edges and sides of the shape are raised.
These are most most recent artworks after the year two show. I have been using a similar process as what I presented in the church hall, but in a more subtle way.
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| Untitled Series, 2012. Mix Media - Acrylic Paint, Watercolour and Gloss on Paper. 29.7 x 21.0 cm |
I have applied many layer to the paper to find the right combination to create depth and disconnection between image and foreground. I have found through the variations of colour that the green in both the works create more depth that the previous works I have made. It also emphases the layer and brings a more exaggerated image to the muted colour field.
The relationship between the two pieces work really well with each other, by complementing the other. The punched holes in the two were experiments into a bigger exploration, how to create subtly out of punchers. This is the smallest scale of hole I can make. I think they work better than the works exhibited in the church because the holes are a lot smaller, making them nearly unrecognizable from far, this works around the notion of Emergence as the forms (holes) become present through light changes.
I am also interested in the underlying shadow caused by the hole punch, I see it as mimicking the form presented as they too are created though layers.
Cite Pacific - Gallery Exhibition
These
works are a collective from the Year 2 show that was exhibited in Saint
Davids Church Hall. When we were given this space it was hard to decide
on what to make, so i decided to do cite pacific works that had the
same character of form and holes as the wall that it is placed on. This
was an interesting project as I wanted them to be subtle and quite yet
still get the message across to the viewers.
When seeing the works in the flesh the idea was more predominant
as the punched holes that i made in reference to the wall didn't quite
connect, creating an interference and overlapping a lot like the
painted form which i found most interesting with this work.
In reference to Artist Kristy Gorman, who also uses a similar technique of punched holes
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discusses perfectly how i want the viewer to engage with the works, with a quote from Anna Smith’s critic of
Gorman’s exhibition ‘ Glimpse’ at the Jonathan Smart Gallery, She states,
“We must ‘dwell’ with the
work and ‘attend’ to it. In doing so we come closer to the artist’s pain
staking vision and her attention to detail”
I think it is critical
for the viewer to be attentive in the paintings of both Gorman's and my work as they present subtle optical shift in
space through emerging forms.
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Kristy Gorman
Untitled,
(2006)
Oil on Canvas
31 x 21 cm
http://melanierogergallery.com/?action=artist_details&id=7
Gorman's
work was of interest to me as her works display subtly, optical shift
and layers that all emerge through light and movement of the viewer.
When making this work for St Davids Church I then saw connections
between the forms in Gorman's and the forms in mine, in some of her
later works i was interested in the way she butts up both fluid,
organic shapes along side hard-edged geometrical shape, creating a
push/ pull or which dominated the colour field.
In
terms of my works the
closer we look, the more we see that the small black dots, which are
indeed
punched holes act as dark outlines resting above the layered muted hues
of colour. As a viewer I encourage you to simply mediate, moving back
and forth you begin to
see the painting more closely as the beginning of an individual narrative
unfolds. The push / pull
motion of foreground and background, emerges through shadow and light from
both the hole punches and the etched out paper cuts.
As a viewer we must refine our gaze and move around the work as the dancing flitter of natural light constantly changes the figure field, as the forms fade and come back into focus. The placement of the works also emphasize a transformative aspect as they are place close by a window. The painting is never fixed as one form, the works are temporal as light constantly morphs the figure field. The spotted 'hole punched' wall in which it is placed on creates juxtaposition between the fluidity of line and form against the hard-edged geometric form of the grid and wood panels. The series only present a cluster of holes on each work to send a hint to the view of the relationship between the artwork and wall.
As a viewer we must refine our gaze and move around the work as the dancing flitter of natural light constantly changes the figure field, as the forms fade and come back into focus. The placement of the works also emphasize a transformative aspect as they are place close by a window. The painting is never fixed as one form, the works are temporal as light constantly morphs the figure field. The spotted 'hole punched' wall in which it is placed on creates juxtaposition between the fluidity of line and form against the hard-edged geometric form of the grid and wood panels. The series only present a cluster of holes on each work to send a hint to the view of the relationship between the artwork and wall.
 | ||
Untitled. 25th August, 2012.
|
  Untitled. 25th August, 2012. |  |
Gouache, Acrylic Paint, Gel Medium and Pencil on Paper. 29.7 x 21 cm
In these recent works I was thinking of layering, colour, manipulation of shadows and disorientated forms. Through this process I have come not to worry about the end result but to create a painting that moves the viewers awareness by the push/ pull of foreground/ background. The way in which this is done has an optical sort of movement from layers that have been painted over and then joined again to the present form, the works have a sense of movement as the encounter of the work brings the viewer to see the finer points of the paintings. The patterned form leaves only disorientation as the fluid forms don't add up the detach and then reapear as a new pattern emerges, This is done by the stenciled shape that is I generated when the first watercolour is applyed causing the shapes to detach and become something new. These paintings are constantly changing, which makes the process interesting and of interest to me.
 |
| Untitled. August, 2012. Paint, Gel Medium, Pencil and Pen on Paper. 59.4 x 42 cm. |
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| Untitled. August, 2012. Paint, Gel Medium and Pencil on Paper. 59.4 x 42 cm. |
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| Untitled. August, 2012. Paint and Pencil on Paper. 21 x 14.8 cm. |
This is my current work - I'm thinking of different ways to approach the form made from a varied mark making process. Recently i have been thinking about scale of both the marks and the paper, thinking about space, placement and colour.
 | |
| Untitled. August, 2012. Paint, Gel Medium and Pencil on Paper. 21 x 14.8 cm |
This work focus on the colour relationships between background and foreground and how the marks and colour interact with each other through light and the complementary relationship. The form is placed directly in the middle of the paper, making it float in the opaque colour field.
 |
| Untitled. August, 2012. Paint, Gel Medium, Pencil and Pen on Paper. 59.4 x 42 cm. |
 |
| Untitled. August, 2012. Paint, Gel Medium and Pencil on Paper. 59.4 x 42 cm. |
By varying the scale of the paper and form the placement of the size becomes a major part of the work, by placing the form in the top of the page a sense of gravity manipulates the work, making the work seem "light"
 |
| Untitled. July, 2012. Acrylic Paint, Gloss, Incisions Cuts on Paper. 21 x 14.8 cm |
  |
| Untitled. July, 2012. Acrylic Paint, Gloss, Incisions Cuts on Paper. 21 x 14.8 cm |
 |
| In these works i was interested in the colour combination's of foreground and background, these two pieces both show a hard edged line on the fluid painted form which comes to interest me. Each water mark becomes more defined making a strong connection with the marks that sit on top. |
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| This is my most recent work. I have been interested in trying new materials and how the water marks and pen marks will act upon the surface of felt. what was most interesting was that the pen and paint became merged with the water and presented a hard edged pen outline on the paint. This became some what out of my control as these two gestures formed as one. The painted form becomes more interactive with the small pen marks. |
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| Untitled. August, 2012. Acrylic Paint, Ballpoint Pen on Felt. |
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| Untitled. July, 2012. Paint, Gloss, Pencil on Paper. 29.7 x 21 cm. |
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| This is what I'm working on currently, experimenting with different mediums seeing what happens when line disrupts the colour field. This was also of interest to me in first semester but using mediums such as matt paint and gloss contrast well together and effect the way the light hits the line on the paper. |
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| Untitled. June 2012, Paint on Paper and Aluminum. 40.95 x 60.1 cm |
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| Untitled. May 2012, Paint on Paper and Aluminum. 50 x 42 cm |
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| Untitled. June 2012, Paint, Paper and Aluminum |
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post-TALK WEEK:
BVA
What were the
significant issues raised in the critique?
The use of pins was one of the first questions raised
in the critique. The question being that it was to distracting and makes the
viewer want to see the incidental properties of the paper and that the forms
were boarder conscious. The affect of the work made for a traumatic effect,
through the labour intensity of the marks. A Bigger scale with a centred form
would make for the viewer to get emerged in the colour void and mark making.
What issues
surprised you or offered a reading that you had not previously considered?
The different approaches to what was reminded of the
form and marks, flocks of starlings was an interesting representation as I had
never considered the forms of starlings emerging from the sky had a similar
formation as my mark making. The Traumatic approach to the work I didn’t
consider as I saw my work as a quite soft gesture that became like suede
through light. The scale size was also something I will pursue 2nd
semester as I have tried out smaller scales but never thought to an extensive
large scale.
What changes
did it bring about immediately in your work?
I was interested in the hanging of the paper, trying
to make it flat and without pins. I used Aluminium sheets that I transferred to
the backs of the paper and then attached hocks for hanging. This worked out the
way I planed for, but in the future I would use heavier Aluminium as the sheets
had the tendency to bend with the paper.
Can you identify areas where you will have to develop further aspects of
your practice in order to achieve your desired results (intent), eg. your skill
base, further testing, research specific material, look at wider social,
political and historical contexts. Describe what actions you are going to make
to develop your work.
I intend to develop my mark making and scale of the
colour void, in order to do this I will experiment using further materials as
the surface. Such as canvas and wood, another material brought up in the
critique was to experiment of Memphis carpet (still researching) and to also
develop a way in which I am satisfied with how I make a mark so I endeavor to
try out different etching process.
Was there an aspect of another critique that you attended which raised
issues pertinent to your own art making? what were those issues?
A few things
that I had picked up in another critique is that you are never aware of the
boundaries of looking and that mark making causes rhythm, pattern and
consideration to the surface in which it sits. Each are self contained. These
comments were brought up in Jessica Duke’s critique, which I think coincide
with my work as Jess’s work is highly about process and accumulation, which has
a strong relationship to mine.
Jenny Horrell –
year 2 BVA, Paint/Print.
Hey Everyone,
Here
is just a small overview of the work that i started at the beginning of
2012 at AUT, which I still consider is still in the developmental stage.
I
consider
my work as an investigation of a mark making process. Tonal
shifts made through an etching process form positive and negative
spaces on the opaque colour field. The various mark directions of the
incision form delicately on the surface of the paint. Through these
clusters of fine incisions a sense of tonal shift making a change and
fade into the paper alluding to a hypnotic effect, through light. I
want the viewer to engage withthe work through their movement, as each
direction of viewpoint is a possibility for a new form to emerge or
subtract. When having an encounter with the work time and value become
more intensive, through the accumulation and obsessive mark making.
The pastel colour fields have a relationship with the architectural surroundings and with each other in contrasting ways.
The
works are still "Untitled" because i don't want the title of the work
to interfere with the viewers experience of the work, I want the work
to be completely about the individual's connection with what I present
them
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