Workshop- Paint
Paint Workshop
Colour
Organising items into colour, spectrum of colour and complimentary colours. This practice is done very often due to the high importance put on colour for aesthetic purpose, the design industry specifically. There is a definative importance of the colour based importance of work. The way in which each individual responds to colour/monochrome scale within a piece vastly effects the overall reading of the work
Hurvin Anderson- 'Hurvin Anderson’s paintings flirt between abstraction and figuration, their tranquil scenes merging unstable ideas of memory, conjoined histories, and cross-culturalism. Peter’s Sitter’s 3 imagines a home barbershop, a cottage industry taken up by many newly arrived Caribbean immigrants in the 1950s. Rendered in a reduced palette of blue, white, and red, the scene conveys the experience of freshly acquired British identity, its aspirations and hard realities. The brilliant tones and translucent veneers of the floor and ceiling hark to the open expanse of tropical seaside, while the opaque geometric walls and modest furnishings create a rigidly grounded environment, conveying a sense of disorientation an displacement.' (http://www.saatchigallery.com/artists/hurvin_anderson.htm?section_name=new_britannia) Anderson's work was of great interest to myself due to the strong thematic aspects and also the use of simplification. The simplification of the painting could allow the meaning to be displayed more clearly to the viewer.
Tauba Auerbach- Artist of interest due to the process of her work. Although Andersons thematics are of great value. The complex strategy and outcome of Auerbach's work speaks to the inner abstraction. The almost surreal aspect of the work connects to my psychological interest. Reviewing more of her work lead me to contemplate the fact that work such as this, illusory, could be used in conjunction with thematics.-Tauba-Auerbach-large.jpg)
Research into artists lead me to consider the relationship between all the senses working together to produce an overall attitude/psychological involvement. Josef Albers talks of similar issues within his book. The belief that colour and art are fundamental mediums for deeper understanding into many aspects of life. 'I have taught my students not to apply rules or mechanical ways of seeing. '
Later interaction with the large scale paper and paint meant we were free to further develop our understanding and expression of colour.
Colour
Organising items into colour, spectrum of colour and complimentary colours. This practice is done very often due to the high importance put on colour for aesthetic purpose, the design industry specifically. There is a definative importance of the colour based importance of work. The way in which each individual responds to colour/monochrome scale within a piece vastly effects the overall reading of the work
Hurvin Anderson- 'Hurvin Anderson’s paintings flirt between abstraction and figuration, their tranquil scenes merging unstable ideas of memory, conjoined histories, and cross-culturalism. Peter’s Sitter’s 3 imagines a home barbershop, a cottage industry taken up by many newly arrived Caribbean immigrants in the 1950s. Rendered in a reduced palette of blue, white, and red, the scene conveys the experience of freshly acquired British identity, its aspirations and hard realities. The brilliant tones and translucent veneers of the floor and ceiling hark to the open expanse of tropical seaside, while the opaque geometric walls and modest furnishings create a rigidly grounded environment, conveying a sense of disorientation an displacement.' (http://www.saatchigallery.com/artists/hurvin_anderson.htm?section_name=new_britannia) Anderson's work was of great interest to myself due to the strong thematic aspects and also the use of simplification. The simplification of the painting could allow the meaning to be displayed more clearly to the viewer.
Tauba Auerbach- Artist of interest due to the process of her work. Although Andersons thematics are of great value. The complex strategy and outcome of Auerbach's work speaks to the inner abstraction. The almost surreal aspect of the work connects to my psychological interest. Reviewing more of her work lead me to contemplate the fact that work such as this, illusory, could be used in conjunction with thematics.
Research into artists lead me to consider the relationship between all the senses working together to produce an overall attitude/psychological involvement. Josef Albers talks of similar issues within his book. The belief that colour and art are fundamental mediums for deeper understanding into many aspects of life. 'I have taught my students not to apply rules or mechanical ways of seeing. '
Therefore, auditory aspects could be used in conjunction with paint to create and overall attitude or emotive involvement. This would then lead the individual into a sense of openness to engage with the piece of work. Some of the collected objects involved natural form, I deliberately chose these leaves and foliage to contrast the very artificial colours already gathered. When mixing colours, this became interesting due to the use of artificial colour to create a very natural blend. This is a vital aspect of the workshop for me as I lead to thoughts of natural pigment and the interaction of that and artificial colour pigment. After assembling a shelf upon our white background, arranging objects allowed us to form colour associations and inspect tone.
Later interaction with the large scale paper and paint meant we were free to further develop our understanding and expression of colour.
The automatism style had loose association to the shapes involved, my group worked very well together. upon reflection, a collective further would unearth further strengths and weaknesses that our individual practices could bring to one another. As the workshop progressed, we advanced to other groups 'colour stations'. This allowed us to develop our own style and observe others.
We then moved back to our own work and continued to consider how we could enhance it. My concept of attaching 3D items was on the mantra that a project entirely based on paint should pay homage to tools. This is why a paint jar with colour water was attached directly through the work onto the wall. This free way of working developed my own ideas more than I had expected. Works such as this, although not literal, or metaphorical, speak volumes of the creators and the situational factors. If done again, the work could not be reproduced. therefore it represents an exact moment in time. The coloured paint enhances this, monochrome has associations of dullness that overcrowd the moment of creation.
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