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Today's Document
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Janaina Medeiros

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My final piece
t
preparing the exhibition
cleaning the floor cleaning the walls
I was honoured with the task of finding and deciding the colours we wanted to use in our exhibition as we had all decided that we wanted a room with some colour to complement our projects
The making of my brain
Strarting with the wire frame.
Book binding using the Japanese method. Was initially just experimenting what pattering I could create with the thread but was pleasantly surprised with the outcome.
Review of the week and what needs to be done.
Jean Michel Basquiat (1960-1988)
Although I’ve known of Basquiat’s artwork for a long time, I have never before stopped to actually look at it; this is why I decided this project is a perfect time to look at his work more extensively.
Emerging from the punk scene in New York as a young graffiti artist, Basquiat quickly rose to fame for his neo-expressionist work. Despite the chaotic and ‘unstudied’ look of his work, Jean actually developed his pieces intertwining traditional practises mixed with his out rough style.
Basquiat’s rich heritage he inherited from his parents, his mother Puerto Rican and his father Haitian, led to him being fluent in French, Spanish and English; French symbolist would even come to inspire him in his later work.
Aesthetically inspired by Basquiat’s work I created a series of poster sized images starting from my original automatic drawings I did at the start of the project. I first photocopied the drawings and changed the colours help represent the emotions they were supposed to represent and added type using Letraset.
I then painted over these with emulsion paint which gave them a matte white overlay. Then I drew quickly a face or a mark that represented the feeling I intended to depict with a fat ink pen. I reworked into these over and over with different materials such as wax crayons, paint pens, coloured pencils, graphite, permant markers. Below are the finished outcomes and the negative versions. In a few you can see lettering and faces. I did this to enforce the emtion into the viewers minds.
Here I am adding the some of the layering to the pieces. This is a stick with graphite taped to the end of it. I used it as if I was violently sweeping the floor, it's definitely harder than it looks to draw with.
Overall I am happy with the outcomes and it taught me that you can never have too much layering.
http://www.theartstory.org/artist-basquiat-jean-michel.htm
Book Binding
Experimenting with two different techniques of book binding: saddle stitch and Japanese bind, I’ve realised that I honestly don’t have a preference as they each have their strengths and almost no weaknesses.
Stapled saddle stitch means that a staple has been used to bind the book however you are limited to the number of pages in your book as staples can’t go through too many pages because they’re too small.
A bind similar to this is the traditional five-hole saddle stitch which is created using a needle and thread. Saddle stitch is in the crease of the pages and weaves in and out 5 holes. In my opinion the saddle stitch is very modest and hidden, I Iike it as it is simple and neat I was also quite good at carrying the binding out.
Whereas, a Japanese bind is not at the crease of the pages but at the edges of the paper, which can be single sheets. Japanese bind is a four hole binding, the thread weaves in and around the paper. Although, the pages can get crease at the binding and even ruin the book, regardless of this I still really like this method of binding books. Japanese binding can also be changed with creative styling with different patterns in the thread and can even spell words.
Drawing machi
Using a spray bottle I sprayed ink on to paper to get a sprayed/dripping affect.
Phrenology
Phrenology is the detailed study of the shape and size of the cranium as a supposed indication of character and mental abilities.
This is a podcast from testing my classmate, Sam on what he could see in ink blots in the style of Hermann Rorschach ink blot test.
In the podcast you can hear me and Sam discussing the what he could see within the splodges of ink. I tried my best to try and lead his mind to what I wanted to think he saw and asked questions to help this along. Since doing this I believe it was very helpful as I got to see what other people saw in the ink blots I made in ten seconds - which essentially mean nothing at all.
David Carson
In my own work I have realised that is very difficult to get a message across using just imagery, I discovered this through peer assessment where I asked a set of peers what they think the work displays and it turned out different from person to person. To combat this I have decided to experiment with type I will put these experiments in another post.
David Carson has inspired me because ever since being introduced to his work I have realised that type doesn't have to look a certain way, it can be as crazy as you wish. His refusal to stick to the graphic design norm of having a clean, composed style was ground breaking. Taking this concept of his work I have used type with a versatile mind-set.
His quote “Don’t mistake legibility for communication’ has a strong and profound effect on me as it essentially means that just because you can read something doesn’t mean that it says is the intended message of communication. This is vital for me to think about when considering type in my work since I need to communicate feeling throughout type that doesn’t necessarily have an obvious meaning for the audience.
Comparing my work to a peer’s work
My peer, Rory, viewed my work and suggested that it resembles work done by the artist Malevich in the sense of design process and minimalistic mark making. From this he took inspiration from the structural aspect of the imagery and created the piece on the left. Using a thick brush like my self and made marks on to the page with ink in a calligraphic style. He then added to this with a pen to create a silhouette-like scene of an oriental landscape.
I like how he has added to his mark making and from this I would like to add onto my own calligraphy style mark making.
Glazing My Pots
Today I glazed my pots using earthenware glaze. After researching sheOne, I have decided to use a similar technique to the football boots he collaborated with Pele Sports to create where he essentially overlaid his design. In response to this I glazed my pots as a whole and then went over them with a brush to accentuate feeling. Glazing was completely different to what I had imagined - I had envisioned pouring the glazing over the pots and it creating a perfect shiny layer over my pottery. The reality was dipping my pots into tubs of glaze and leaving them in too long and ending up with a thick layer of glaze which was easily ruined by just touching it.
Left: This glaze was an attempt at reciprocating the dark inner feelings with flourishes of light, the light representing hope in life.
Top: This pot was glazed pink inside to represent the tenderness of the teenage mind and the white the clear outlook on life. Black marks blemishing the mind, the darkness that comes with each mind.
Right: For my textured pot I chose to only glaze half of the bowl, this was to keep the texture on show. Again like the bowl on the left, I have used black to conceal the clay representing the darkness in life.
Bottom: the most contrasting pot in the series would be this one, similar to that of a honey pot I tried to make the pot look as if it was overflowing with feeling.
sheOne
SheOne is an artist I was introduced to in my first year of this course, I immediately really liked the aesthetic of his work because I felt entangled into the swirls and markings of each finished piece. sheOne, real name James Choules (1969-) is a British artist who works with vast range of materials and processes on a huge variety of platforms such as largescale public murals and gallery exhibitions to original fashion pieces. He first began experimenting with the use of graffiti in 1984 along with a wave of English graffiti artists in that era, however you can see that his work is much different to that of other graffitti artists such as Keith Haring and Jean Michel Basquiat. Below are two examples of their graffiti, Basquiat sitting with an installation piece and Keith Haring’s infamous Crack is Wack mural.
Basquiat took a much darker approach to his work with elements that look very sinister to the average onlooker whereas Haring’s mural takes a rather child-like and light-hearted theme. sheOne however, is recognised for is expressive, abstract manner towards his graffiti outcomes. Choules’ flourishes any canvas he comes into contact with these bold expressive and winding lines and marks to me this draws in the viewer, it drags us in like a tornado throwing our viewpoint around the vast scale of his work.
"Choules' work, like all good urban art, makes subtle use of its environment. It's about a highly advanced technique of lifting detail from the surface with subtle flourishes of light and shade. Having watched him at work, I'm always amazed by where he paints and how he does it, on one occasion i saw him paint alongside several other artists on a long wall in east London. Most of the artists chose the flattest, smoothest surfaces for their piece whilst Choules went straight for a crumbling, crooked and semi hidden wall (the last place you'd choose if you wanted people to see your work). He then set about utilising the crumbling stone and peeling paint, lifting it out further with his trademark black flourishes. On another occasion i saw him paint in a burnt out paint factory, moving through the space adding little details to old signs, doorways and even an abandoned forklift truck. Unlike a lot of the street art mob, Choules isn't on a mission to become famous. He's an artist traveller who uniquely inflects his persona with subtlety on the world around him. One of a kind" (Rob Swain, 2013)
Rob Swain talks about witnessing Choules at work. According to Swain, Choules would choose the most distressed and broken parts of a wall to display his graffiti (unlike other artists that would choose the flattest and whitest sections); he would then exaggerate and a bring forward these imperfections with his flourishes of light and shade. I think this idea of adding to a canvas’ blemishes is similar to idea of a girl wearing makeup to conceal or distract others from their least favourite features, whereas instead of concealing them Choules prefers to complement them.
Above is sheOne’s ‘Saturn XI’ alongside and page from one of my experimental zines. Comparing my own work with the artist’s I can see that the monotone colour scheme from afar suggests suggest there is a similar message, howbeit when you look deeper at them both, Saturn XI has a sense of fluid quality contrasting from the chunky solidness of my own work. My point of view is that my work looks as if I have thought more about the layout and composition of the finished outcome even though I didn’t, I worked straight from inspiration in attempts of transferring my emotion into it. Saturn XI however looks as if it has been thrown on to the canvas without thought yet sheOne has purposely contemplated the placement of each wave and swirl.
Something that especially I like about sheOne as an artist is that he applies his art to any surface and I find it so interesting as to how he can apply it to anything he comes across. He even did a collaboration with Pelé Sports creating a limited edition design for a pair of football boots (below). Potentially I could now think about applying my work to something completely different instead of just paper, I would like to experiment with 3D elements in the future.
http://www.blackatelier.com/info https://www.urban-nation.com/de/artist/sheone/ https://80sinsanity.wordpress.com/2012/03/15/art/ the mammoth book of street art
In response to Yuichi and Jean Arp’s technique and materials I have produced three 8 page zines from the outcomes I created from those experiments. I made these zines by putting the finished outcomes through the photocopier, just like how traditional zines are made. Below are illustrated instructions as to how I made these specific zines:
As this was just an experiment I decided not to worry about pagination as I didn't desire a certain sequence for the imagery. Despite this the finished zine still relates to gestalt and narrative theory in due to the fact it has been put into sequential format connected by the similarity of imagery.
Instantaneously, I could see that my zines had likeness to that of John Virtue’s work, which I was lucky enough to view at my local art gallery, Colchester Firstsite. Below is a set of pictures of my favourite piece from Virtue’s exhibition ‘The Sea’. This exhibit brought together a large range of his work from canvases, paintings on paper and the artists own sketchbooks which all featured studies of the sea from the North Norfolk coast, near to where the artist was based.
The artist paints exclusively in black and white in order to ignore a colourist take of the scene and instead responds to the structural movement of the natural current. He works to a large scale unlike my work to help portray the ever-moving element. His use of gestural marks, drips and obvious brush strokes are to enforce the image of the large immersive sea.
Although Virtue’s canvases are depicting a seascape there is a huge similarity between his and my work from the monotone colour to the messy execution. Now that I have looked back at Virtue’s work I feel inspired to work in a bigger format - even though I previously decided I would like to produce predominantly zines in this project, I could create something big and then make it smaller. Resizing is something I would like to experiment with as soon as possible.
Another artists style of work that I see within my black and white gestural art is SheOne’s. I will talk about this in my next post.