Untitled, 2012. Mix Media - Acrylic and Watercolour Paint with Gloss Medium. 40 x 30 cm
Untitled, 2012. Mix Media - Acrylic and Watercolour Paint with Gloss Medium. 28 x 26 cm

Untitled, 2012. Mix Media - Acrylic and Watercolour Paint with Gloss Medium. 23 x 25 cm

Untitled, 2012. Mix Media - Acrylic and Watercolour Paint wirh Gloss Medium. 40 x 30 cm

Untitled, 2012. Mix Media - Acrylic and Watercolour Paint with Gloss Medium. 30 x 22 cm

Untitled, 2012. Mix Media - Acrylic and Watercolur Paint with Gloss Medium. 35 x 30 cm

These are the final Pieces I have been working on for the year, considering both the materiality of the surface and the materiality of paint. The surface has be come mainly a hard substrate with using wood and hard board to paint on, I see this process more completed and confined than the works on paper and the qualities that paper up hold is constantly causing the image to ripple and bend from the surface it is painted on. I wanted to show a variety of different hanging methods for my final presentation, the way in which they are placed can be read through groupings or a whole series, this gives the viewer something to contemplate. The forms, although seem very similar, have an individual complexity to them as they each transform and emerge in different ways. Some tend to be more load mouthed about their process while others are keeped quite and concealed, I think this is a good way of demonstrating a quote that I have returned to a lot when making quoted by the word of Charline Von Heyl: 'I want to blur what we percieve as familar creating this sense of the raw and the cooked' I see my work a lot like this quote as I tend to cover my tracks by creating a form that we haven't yet percieved before, yet there is a sense of connection between viewer and painting as the works reveal a certain memory that may tend to struggle to reveal something defined in the mind.

Here is My Year 2 statement that discusses further my thoughts:

I treat my practice as an incomplete recipe allowing failure to occur. My process is informed by the work of Jan Verwoert, which explores the discourses surrounding his idiom: ‘Emergence’ (2005). The concept of emergence eludes any simple definition. It is a process of becoming, which is in a constant state of flux. My working methods are compelled by a commitment to materiality and repetition. Through superimposing form upon form, the image releases the previously silent, unspoken and unseen. Tapping into the relationship between foreground and background, one layer implies the next, revealing corners and edges that emerge and recede upon the surface and when exposed to light shadows have a tendency to dance back and forth, transforming the image from what it once was. Against the purity and calm of white wall, the prismatic dispersal of colour is capable of seeming dangerous or unstable. Colour becomes a dominant sensation; it draws you in to investigate this tension and clash.
The biomorphic forms call out for attention, wanting to be admired by the passing voyeurs who are encouraged to engage the work through their movement. With each glance, gaze, moment of scrutiny, the image emerges or subtracts in different ways against the static surroundings. The perceived image is in itself a state of flux. Watermarked pigment on a surface creates transparency while the opaque ground solidifies the form. Through their beauty and enchantment, forms may activate a memory of those tiny objects or things that go misplaced in the world, which we normally take for granted. The memories become more vivid, although each viewer may interpret the work differently, developing their own conclusion to linger in the depths their mind. The painting is ‘light’, providing a view that is unconfined and open to all possibilities, understandings, scrutinies and emotions. Untainted by noise, through both making and viewing, desire for knowingness is transcended.

These are the works that have been developed for the year 2 critic tomorrow. I wanted to display a series of five, but still think many need more developing (more layers applied) for them to work fictionally and aesthetically. I think that the works on board have been more successful because they do not crinkle or warp like the previous paper works, they create a more 3D dimensional approach, where I have left the sides of the frame naked from paint containing the image and colour field only on the front of the mdf. I think the texture and gain of the wood responds well to the forms that are presented as they both seem earthy organic.
Untitled , 2012. Mix medium: Acrylic Paint, Water Colour and Gloss with 4mm Drill Holes on Hard Board.
When thinking about these works, I wanted to explore new medium and surface. This hard-board is to create a slightly raise form emerging out from the wall, by the thickness of the wood. It adds another dimension to my exploration as the sides and edges of the wood are painting casting its blue shadow onto the wall. This makes the viewer engage fully with the work as when viewed from each side of the painting a new form emerges or subtracts due to the tiny incision cuts and the finely drilled holes.

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.

Untitled, 2012. Mix Media: Acrylic Paint, Water Colour and Gloss on Paper. 29.7 x 21 cm

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
This is the work that I have been working on today. I am unsure if this will be the finished piece but I will leave it for now. What I was exploring her is relationship between the geometric form against a organic form and how they can co - exist as one object. I have been working with this idea for awhile now, but in a more subtle way. I wanted to emphasis this shape bring it out from under the surface of the paint and connect it to the floaty form above.

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.

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  -->
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.  
Kristy Gorman

Untitled, (2006)
Oil on Canvas
31 x 21 cm

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.

Untitled. 25th August, 2012.
Gouache, Acrylic Paint, Gel Medium and Pencil on Hot Press Paper. 29.7 x 21 cm

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.

This is an extension to my previous work - I'm looking at how change and order can adjust to the figure, field and colour of the work.

Untitled. August, 2012. Paint, Gel Medium and Pencil on Paper. 59.4 x 42 cm.

Untitled. August, 2012. Paint and Pencil on Paper. 21 x 14.8 cm.

Here I was looking at how I could manipulate a texture, through the positive and negative space. The way the paint has dried has a similarity to the mark making, the water colour drys in a similar way I etch the surface with a pencil and scalpel.

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.

This work is bigger than the previous ones, I was thinking of ways that the fluid form interacts with a geometic form and how the marks interact with these two on a matt and glossy surface.

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.

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.
Untitled. August, 2012. Acrylic Paint, Ballpoint Pen on Felt.

Untitled. July, 2012. Paint, Gloss, Pencil on Paper. 29.7 x 21 cm.


Untitled. July, 2012. Paint, Gloss, Pencil on Paper. 29.7 x 21 cm.

Untitled. July, 2012. Paint, Gloss, Pencil on Paper. 29.7 x 21 cm.

Untitled. July, 2012. Paint, Gloss, Pencil on Paper. 29.7 x 21 cm.


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.

Untitled. June 2012, Paint on Paper and Aluminum. 40.95 x 60.1 cm

Untitled. May 2012, Paint on Paper and Aluminum. 50 x 42 cm

Untitled. June 2012, Paint, Paper and Aluminum


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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