Danielle in ISO @danielle-louise-jean - Tumblr Blog

Body of work complete, incorporating one of the experiments from assessment 1

Painted version of the line drawings. Coloured piece more successful than brown line work. Brown/green glaze work seems quite flat and relatively mainstream. I do like the line work in the top right corner though, the next experiment will fuze this line technique with a colour scheme that synchronises the red gradient and the orange/blue fence works.

Through watching the videos (and readings) by Elizabeth Pulie and the MOMA video of Agnus Martin’s work, my own technical/practise philosophy occurred to me. Although the toilet paper collection and the focus on solidarity (the influence we all as individuals have one each other) etc was of interest to me, it was not the reason why I make art. Pullie discusses a common trend in artists to pursuit concepts of social commentaries in their art practise. Although this gave my gradient/intersecting line artwork meat it didn’t explain why I was focusing so heavily on line/gradient. I realise my interest is on the influence that simple, individual elements on the canvas (or other supports) have on each other to create meaning and/or a visual experience. This week I have spent time experimenting with line and colour to pursuit this, focusing on colour vibration, line influence/distortion through reputation and the meditative quality of this style of art making.

Gradient line piece is making slow progress. The most effective use of my time has been through layering, so I’m playing a lot of the waiting game ... I was concerned about the colours I had picked once I started painting (matching Bunnings palette colours to the actual oil paint tubes available is not foolproof) but I think they’re growing on me! The intention was to creat colour vibration, there is evidence of this happening already.

The painter’s work, on view at Tina Kim Gallery in New York, focuses our sight while urging us beyond it

Kim Tschang-Yeul’s practise concentrates attention on form namely the precision of line, colour and gradient. Subject matter is embedded with subtlety and simplicity. Frieze published (2020) “Working in large expanses of colour and tight, airbrushes gradients, Kim’s abstractions fuse pop chroma and psychedelic regress, reducing form to jittering mandala-like arrangements while pushing it towards the hypnotic effects of op art”.

His conceptual focus appears to work within the domain of ritualistic art making, merging modernism, minimalism and pop in the process.

Trip to Bunnings lead to this experiment with colour combinations. I really like the last colour combo with the dark red ‘Glazed Ruby’ 183 background. There is a boldness about the colours and a flatnessto the background. However I’ve been thinking about potentially applying a final glaze layer to alter the total paintining colour/quality. This idea came to me when I accidentally applied a filter to my gradient painting shot (see last picture). Next task is to test out on my original experiment the glaze/filter idea to see if it’s actually possible/effective. —> has anyone tried this??

To conserve on paint I’ve been using coloured pencils. Research on the symbolic meaning of colours provides a backbone for my colour choices/combinations

Claire’s feedback suggested working on my gradient line piece and expanding from it. Colour, layout and positioning are three key areas of improvement. Given my first piece was simply spontaneous and expressive, I have now been focusing on the type of lines, positioning and the use of colour to convey a message/meaning.

To keep the theme of recontextualised values, my aim for this line gradient painting is to reflect the importance of social distancing and the overarching value that underpins this behaviour which is social solidarity. “Social solidarity emphasises the interdependence between individuals in society, which allows individuals to feel that they can enhance the lives of others. It is a principle of collective action and is founded on shared values and beliefs among different groups in society.”

The curved lines are seperate yet linked. The shapes that develop out of the layering of lines references the impact that each person within a society has on others.

Sketches of material form.

Painting the inside of the rolls might provide interesting effect on the viewers perspective, with the idea that the painted image/text will emerge from the material as you walk around the work.

This work is about recontextualised commodities of value in the current climate of COVID-19, with a focus on 1) people obsessive requirement of toilet paper and raised issues of panic buyingand 2) the phone as a multi purposeful lifeline, for news, legislation changes, social connection, entertainment, intimacy, banking, income etc. Themes of need vs want

Painted image- red phone

Or

Painted text - “call me”, “pick up the phone”, or abandon phone idea and write “WANTED”

Raises questions of positioning. Will this be located on the floor to be viewed from above? Will this be mounted on the wall so that the image changes and is partially obscured depending on where the viewer is situated? Will this work be hung from above so the viewer has to stand underneath the artwork to view it, consequently hightening the concept and sense of impact.

The contribution from apartments in my vicinity/block has been really humbling and encouraging. Support from my friends and family has also come in hard and fast with my collection of used toilet paper rolls growing by the day. Laying out the material made obvious just how many of these rolls I will need (crap!) to produce a sizeable painting so I have now expanded my call to arms out to social media.

I have started to play around with the formal qualities of the material to see what shapes can be created. This elementary and simple process of arranging and transforming material has opened my eyes to the flexibility that support can offer/take on. Usually my main focus is on what to apply to the surface of a support. But here I am in complete control of all elements of the painting, both in constructing the support to my own desire and then the choice of paint, colour and the position of the paint.

lelli2120

inspired by the landscapes of Carla Klein I’ve been looking at areas that evoke a sense of emptiness/peacefulness/quietness/eeriness/abandonment/uselessness around Sydney. Due to the current circumstances I haven’t been able to physically go inspect these areas, so instead I’ve been taking screen shots of these areas on google street view. The fact these images of every street exist in Sydney/over the the world could be the catalyst for its own work, but it certainly has raised some interesting perspectives on the the paintings I will be completing.

The street view has characteristic perspective, at times the image is distorted and magnified. These images bring into question ideas of surveillance, and with regards to current circumstances this kind of virtual exploration has a new layer of relevance and realism. I wonder how many people have street viewed the crowded beaches of Sydney.

danielle-louise-jean

This is brilliant! I would never have thought to use google I would have probably just taken picks out the car. Your pieces will be stronger for the mutual relationship shared between the concept and methodology :)

I always spend so much money on my assessments whether its the mediums or the support material etc! As I unfortunately lost my job over the weekend (amongst many others) and we are in near lockdown I have a marked limitation on funds and resources. I would like to combine my work with colour and gradients etc with a resource/material that has become one of our highest valued commodities - toilet paper (though just the rolls). Verging on the cliche at this point, yet effective.

Gradients, blur techniques, off colours, line.

The goal was to play with masking tape, layering, and gradients. I quite the wood-like aesthetic of the initial linseed stain layer that I left bare once the masking tape was peeled off. An interesting effect and end product produced by accident.

Ugo Rondinone inspired piece. I began my experiments influenced by this particular painter by starting with the basics. In this case, it was getting to know how to produce seamless (relatively) gradients and generating energy and heat through divisively chosen colour transitions.

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