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Individual Tutorials Tuesday 2nd October 11:30 am tutorial with Virginia Bodman Monday 13th November 14:30 pm tutorial with Peter Wolland

Tuesday 31st October - 2nd Group Tutorial

Tuesday 31st October – 2nd Group Tutorial

Time: 2pm to 4pm Lecturers: Peter Wolland Lothar Goetz Exhibiting Students: Bethany Jackson Jack Knighton Vicky Lambton Christine Leedham Rebecca…

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Tuesday 24th October - Group Tutorial

Tuesday 24th October – Group Tutorial

Time: 10am to 12pm Lecturers: Virginia Bodman James Hutchinson Exhibiting Students: Sophie Hawkins Elizabeth Hannan Kayleigh Hardy Allyson Jackson Zoe Harrihill Deborah Halliday Attending…

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Peter Doig - All Round

Peter Doig – All Round

Peter DoigThe Architects Home In The Ravine1991Oil on Canvas200 x 275cm Peter Doig – uses the materiality and versatility of oil paint to its absolute maximum as an expressive medium. He generally works in thinned oil paint placing colours, mark making and paint on the canvas in a way that registers its maximum aesthetic impact. His use of painting languages creates rich surface textures. The…

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Clare Woods - Process and Visual Complexity

Clare Woods – Process and Visual Complexity

I enjoy the visual complexity and the properties of enamel based paints Woods uses in her paintings. Many of her processes are exceptionally simple. The video I have included here gives clues to how those processes flow to create a finished work. Woods is also interested in similar subjects, reflective surfaces such as bodies of water, landscapes, rock formations, takes photographs herself and…

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Sigmar Polke - Alchemy

Sigmar Polke – Alchemy

Considered a post-modern painter, Polke’s intent can only be measured through his surviving work as he gave very few interviews and was suspicious of any art-writers, journo’s or critics. He deployed style as merely another tool and referenced many art languages in one painting. He combined figures, paint languages and effects against each other without hierarchy as if they were merely abstract…

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Hernan Bas : Allegory, narrative painting, romanticism.

Hernan Bas paintings interest me insofar as the figure situated in the landscape interests me. I have a lot of landscape painting ideas but have difficulty situating the figure in the landscape despite the desire to do so. Bas’ paintings may offer some solution in this regard. The expressive use of paint that is not entirely representational, the rich colours used, brushwork and pictorial space are interesting, reminding me of the language used by both Peter Doig and Makiko Kudo. The current landscape work is more relevant for my use than his earlier work.

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Hernan Bas An intellectual considering ground lightning, 2013 Acrylic and airbrush on linen

Hernan Bas the primordial soup theory (homosexual), 2010 Acrylic, airbrush and household gloss paint on linen 152.4 x 121.92 cm

Hernan Bas – Figure in Landscape Hernan Bas : Allegory, narrative painting, romanticism. Hernan Bas paintings interest me insofar as the figure situated in the landscape interests me.

Makiko Kudo - Painterly Hybrids

Makiko Kudo – Painterly Hybrids

Artist Makiko Kudo: context – Micropop Movement, visual influences: Manga ‘Otaku‘, art historical influences: Impressionism, Post Impressionism – Claude Monet and Henri Matisse Kudo is concerned with the act of painting; her work fuses contemporary Japanese subculture, Otaku social stance and painting language of Impressionism. Vivid colours, painterly brushwork, simplified spaces are…

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Michael Porter - Process and Materials

Michael Porter – Process and Materials

Michael Porter’s practise is informed by natural landscape. He repeatedly photographs particular locations. The resulting images of natural forms inform his final paintings. He develops them by building up successive layers of paint and associated materials. Process is a large part of the practise used to create intriguing surfaces and visual playgrounds. Porter explores the materiality of…

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Due to the restrictions of the brief for these posts for ART 300; I have listed a reference or link to the three sources of theoretical writing that underpin my practise. The three theoretical blog posts have been combined into one blog entry; creating a piece of writing, which explains the interconnected nature of the theory and how it relates to my practise in a way that is more readable and complete.

Hybridity – Everything is connected to everything else, or, an expanded art practise. Within these broad terms I can explore my interests in Painting, Post-Internet Art, Digital Technology, Micropop and Post-Impressionism. Connections are made from pop culture, manga, music, science-fiction, film, TV and historical art languages.

Kling Klang 2017, Oil paint on canvas, dyptych

Kling Klang uses science-fiction narratives from TV Series, modifying them in the manner of manga doujinshi ‘fan art’. And will also have a QR code collaged onto the surface when dry, serving digital content.

By incorporating diverse influences in my practise I am creating a reconfigured personal vision that ties in closely with the ethos of the Micropop movement.

2. Micropop – A playful, often childlike style of art which is concerned with the inventive power of employing the banal and forgotten, using fragments of information gleaned through one’s own experiences without reliance upon major institutional ideologies. The Micropop ethos is to work playfully with every day things to create a new chain of relationships and hidden meanings.

Personal development of style:

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Typical Manga Figurative Imagery

Makiko Kudo, After a Typhoon (2011) Manga Imagery painted in Impressionistic Style

My figurative work negotiates a line between manga imagery and post-impressionism.

I use imagery generated from personal photographs, documents, drawings and created characters, in conjunction with curated and created digital content in my paintings to achieve this.

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Initial Drawing

Digital Development

Final Character

3. The Digital and Post Internet Art – Indicates practise in contemporary art and criticism that refers to society and modes of interaction following the widespread adoption of the internet. The term means being “internet aware”, it describes art that is about the internet’s effects on aesthetics, culture and society.

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Collaged image based hypertext link

The Mech, Collage and Acrylic on Canvas, 2017

Image based hypertext link for Kling Klang 2017

I use image based hypertext links collaged into the paintings, connecting to web pages serving created or curated digital content. The painting becomes a portal that serves information, highlighting the function of painting as a rich carrier of information. This also links in with the making and using of banal connections in playful ways advocated in the Micropop ethos.

Three pieces of art writing:

Staff, C.G., 2013. Imag[in]ing the Digital. In: After modernist painting: the history of a contemporary practice. [online] London; New York: I.B. Tauris, pp 176-199

Wallis, S., 2003. Well Connected: Hybrids, Philip Guston and Kraftwerk. In: Critical perspectives on contemporary painting: hybridity, hegemony, historicism., Harris, J. and Tate Gallery Liverpool eds., Tate Liverpool critical forum. Liverpool: Liverpool University Press : Tate Liverpool, pp 247-268

Matsui, M. and Art Tower eds., 2007. The age of micropop: the new generation of Japanese artists. [The Door into Summer- The Age of Micropop, February 3 – May 6, 2007, Contemporary Art Gallery, Art Tower Center]. Tokyo: Parco, pp 83-85

Theoretical Underpinning Due to the restrictions of the brief for these posts for ART 300; I have listed a reference or link to the three sources of theoretical writing that underpin my practise.

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These works were shown in the Baltic 39 Project Space in Newcastle rather than the main space in the Baltic which I didn’t see. The works exhibited in the Baltic Mill main space can be viewed here.

http://www.balticmill.com/bloomberg-new-contemporaries-2017

Video introduction:

What I found interesting was the strength of painting in the exhibition, expressed in the amount of painted works that had gotten through to the shortlist.

The work was not always easy to engage with, and that was particularly so of the installation pieces and the video media. What was unhelpful for the audience was the lack of accompanying textual information regarding the artists or their practise. This could only be accessed by buying the £10 exhibition catalogue. There were two catalogues chained to a small shelf outside the gallery space and the security attendants for the exhibition almost followed us around as if we were shoplifters … as we were trying to look at the work. It was an uncomfortable experience and sent the clear message that visitors were not to be trusted in the gallery space. I only stayed long enough to quickly take photos of the work and didn’t really take much from the works because of this.

Bloomberg New Contemporaries 2017 These works were shown in the Baltic 39 Project Space in Newcastle rather than the main space in the Baltic which I didn't see.

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The Popes, Collage and Acrylic on Canvas, 2017

Topos, Acrylic paint on Canvas

The Mech, Collage and Acrylic on Canvas, 2017

Unsupported Personality, Acrylic on Canvas, 2017

During the early and middle stages of studio practise in Stage Two I worked with materials and processes using abstraction and was avoiding using figure work because it comes preloaded in a sense with narrative. But with the Schema Series I began to investigate using figure and narrative that remained undeclared and uncertain.

The Schema series was a move forward but it also felt like beginning steps, clumsy, unresolved and focused too much on QR codes which could become nothing more than a gimmick. In Stage 3 I want to continue to build on the progress made but create work that is more elegant, spatial, clean and has more sophisticated colour.

I began this step by creating KLING KLANG 2017:

This is a psychological space in which multiple connections between various interests and issues can be explored; creating a narrative that can still remain undeclared and ambiguous despite the tendency for the audience to read received or preloaded ideas regarding the figures in the painting.

*KLING KLANG – Title inspired by essay Well-Connected: Hybrids, Philip Guston and Kraftwerk by Simon Wallis in Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism page 263.

‘Man machines and science-fiction funk – It was the binding of music and visual culture through concerts, clubs and ‘happenings’ in the 1960’s that laid the foundation for the kind of connections I proposed in my outlining of hybrid painting practice earlier in this essay. What we now have through contemporary technological culture is very much the ‘expanded mind’ that so many proponents of the supposed benefits of LSD were espousing in the 1960’s. Technology allows us to create and access these worlds without having to alter our brain chemistry. The 1960’s gave us a legacy of strategies for breaking down the hierarchies as the influence of Pop Art began to pilfer and play with the surrounding commercial culture. Artists could look much further afield for subject matter and were not afraid to open up their work to the everyday facts of popular and media imagery and cross-cultural dialogues. This is the kind of impetus that inspired the German electronic pop group Kraftwerk who have been a hugely important influence on the hybrid direction of contemporary Western culture. Since the mid 1970’s they have made records that redefined our relation to technology and developed a whole soundscape that is now global in its impact. The synthetic and highly crafted sound that they developed in their Dusseldorf Kling Klang studio created a new relationship between humanism and the technological culture of computers, robots, nuclear power stations, international travel, fashion and money.’

1st Reflection During the early and middle stages of studio practise in Stage Two I worked with materials and processes using abstraction and was avoiding using figure work because it comes preloaded in a sense with narrative.

Julie Mehretu makes large-scale, gestural paintings that are built up through layers of acrylic paint on canvas overlaid with mark-making using pencil, pen, ink and thick streams of paint. Mehretu’s work conveys a layering and compression of time, space and place and a collapse of art historical references, from the dynamism of the Italian Futurists and the geometric abstraction of Malevich to the enveloping scale of Abstract Expressionist colour field painting. In her highly worked canvases, Mehretu creates new narratives using abstracted images of cities, histories, wars and geographies with a frenetic mark making that for the artist becomes a way of signifying social agency as well suggesting an unravelling of a personal biography.

Excerpt taken from White Cube. [online] Available at: <http://whitecube.com/artists/julie_mehretu/> [Accessed 16 Oct. 2017].

I’m particularly interested in the colours Mehretu employs, which are well thought out; and the way she suggests space, movement and its compression through the highly layered abstract mark making and geometric shapes … the painting language is tightly focussed and more geometric in nature than that of Sigmar Polke’s work – I feel it offers me similar solutions of a way to work with colour fields, drawing and gestural painting on one canvas. I want to work with multiple images that support a narrative theme rather than illustrating a scene. I’m not there yet but her work offers me a way forward as does Sigmar Polke’s layered works.

Despite the amount of mark making in the painting, the sense of vast space, movement and breathing space is very dynamic – Mehretu achieves this by building up layers of dynamic lines and using small geometric shapes which are layered – I also enjoy the subtle way she creates spatial depth through the use of line work and the size of the geometric shapes and their position in the paintings. The sense of architecture is achieved without solidity or a sense of freezing the image into stillness. Her use of colour is also quite subtle – the figure/ground relationships are achieved through generally using subtle pale or desaturated tones for the ground and highly saturated colour for the figure.

Mehretu mentions in this video, making connections within a psychological space – and that is something I began to explore in Stage Two with the Schema Series of paintings – though I didn’t use those terms when I described it at the time.

The Schema Series

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The Popes, Collage and Acrylic on Canvas, 2017

Topos, Acrylic paint on Canvas

The Mech, Collage and Acrylic on Canvas, 2017

Unsupported Personality, Acrylic on Canvas, 2017

Mehretu also discussed that she works with narratives, they remain undeclared for the most part; this is also true of the Schema Series. I like the fact that many drawings can be made and layered into the painting and do not have to make sense in a rational way. Gestural mark making can also be employed. The full gamut of painting languages and materials are available for use here.

Interesting Links:

https://www.youtube.com/watch?v=iejZMhJv030

Julie Mehretu Julie Mehretu makes large-scale, gestural paintings that are built up through layers of acrylic paint on canvas overlaid with mark-making using pencil, pen, ink and thick streams of paint.

The Dialogus Exhibition at the Vane Gallery, Newcastle upon Tyne on October 4th 2017, was part of the launch event for the second annual edition of art publication Lungs.

I attended the exhibition to lend my support as a contributing artist with paintings in the magazine; it was also a great opportunity to meet with one of the curator’s and editors of Lungs magazine Sheyda Porter, who is an alumni of the University of Sunderland.

This was the first time I had visited Vane Gallery and was pleasantly surprised that the location of Baltic 39, and Laing Gallery are very nearby.

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Lungs 2017 issue

Lauren Drummond, Outpost (Framework) mixed media installation 88 x 208 x 106 c,

Steven Lowery 2017, Spineless Jelly Domain, 2017, biro, felt tip, collage on lined file paper, 30 x 21cm

Emma Bennett. Constantine Doors, 2017, Acrylic on Concrete Fondue 25.5 x 19.5cm

Emma Bennett, Constantine Lockers 2017, Acrylic on Concrete Fondue 25.5 x 19.5cm

Steven Lowery, 2015, Beyond Septic, biro, felt tip, collage on lined file paper, 30 x 21cm

Joe Jefford, Little Blue Men, 2017, Digital Illustration, 200 x 25cm

Mark Chapman, Untitled (High Rise) 2017, Photographic Print, 72 x 52cm

Mark Chapman, Untitled (Alley Fire) 2017, Photographic Print, 52 x 72cm

Molly Bythell Kiss Me? 2017 oil on canvas 100 x 110cms

Molly Bythell, 2017 Open for Business, Oil on Canvas, 130 x 150cm

Matt Wilkinson, Composition i 2014, video 6.23 minutes

Zara Worth, A Drawing Made by Cutting Up My Body Weight in Celery, 2016-2017, paper, 72 x 92cm

Vane Gallery

Curated by Lungs Project

5th – 21st October 2017, Vane Gallery, Pilgrim Street, Newcastle.

Emma Bennett, Molly Bythell, Mark Chapman, Callum Costello, Lauren Drummond, Joe Jefford, Steven Lowery, Liam McCabe, Amy Roberts, Matt Wilkinson, Zara Worth

Dialogus @Vane Gallery The Dialogus Exhibition at the Vane Gallery, Newcastle upon Tyne on October 4th 2017, was part of the launch event for the second annual edition of art publication…

2014 - 2015

2014 – 2015

Featured Illustrations https://weareoca.com/visual-communications/lizzy-hannan EXHIBITIONS http://www.artwithaheart.org.uk/pop

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I visited this exhibition in the summer prior to returning for Stage 3. Baltic 39 Project Space is a very professional white cube exhibition space with good lighting. I wanted to check out the standard of work as I am considering entering during Stage 3. It was heartening to see a painter win the prize and to see a number of paintings, sculptural and digital works on display.

Winning Entry by Joy Labinjo

Jesus Christ is Lord 2017, Oil paint and household paint on canvas, Joy Labinjo

Details:

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Labinjo’s work uses family photographs as a reference and explores race, culture and therefore identity. The figures are juxtaposed upon or within imaginary spaces which create a sense of a slippage between the real and imagined as we process the image. The figures are highly stylized and the narratives are both familiar and ambiguous which creates a slightly disorienting sense of ambiguity. The family photograph is an interesting subject. There is a weight of narrative, knowledge and understanding in a family photograph for those who know the family and are familiar with the context and circumstances of its being taken. However, family photographs of strangers or unknown ancestors are loaded with both mystery and familiarity. The familiar format of the casual snap of family who are consciously posing or those unaware are recognisable to most of us, yet at the same time can be quite mysterious – this can disorient or also give the viewer the space to create their own narratives and interpretations. The brushwork is smooth, descriptive rather than ‘expressive’ or gestural. Shapes are either flat or suggest different viewing angles and planes; Labinjo may be influenced by Francis Bacon and the Cubism movement, but that is a guess.

I’m very interested in continuing to explore ambiguous narratives and spaces using figurative painting during Stage 3; I have been working on this during the summer break – which is a continuation of my progress at close of Stage 2.

Other entrants: Realph Heygate

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7.4 2017 Oil on Canvas, wooden shelf

4.4 2017 Oil on Canvas, Wooden Shelf

44, 69 2017, Oil on Canvas,

Holly Shaw:

A Slip up of a slip up, 2017 – Silicon, sweat bands, rubber glove, rubber conveyor, rubber conveyor stripes, USB, foam, metal, TV screen

Nicole Gault:

The Trinity of Adam and Steve 2017, Ceramics and Fired Clay

Liam Fallon:

Use your muscle, carve it out, work it, hustle, 2017 – MDF, Jesmonite, primer, steel, PU

Millie Layton:

Au Courant 2017 – MDF, foam, motors, gears and steel

Motsonian:

Ore 1 and Ore 2 2017 – Wood, hardboard, paint, video projection

Charlie-Mae Bloom:

Automation! or I’m Not Afraid of the Future because the Past was Worse 2017 – Corn Broom, Digitally printed linen, curtain hooks, lebkuchen cookie

The standard of the work is quite variable – which in itself can challenge the viewers notions of what art is – however I would have expected a higher standard of technical ability and making with some of the more sculptural pieces; this thought didn’t help me engage with those works that reminded me of junior school paper pulp projects.

Having said that, the mysteries of some of the works made them very engaging and memorable and it was an exhibition I did enjoy for that reason.

Woon Prize Exhibition – Baltic 39 I visited this exhibition in the summer prior to returning for Stage 3. Baltic 39 Project Space is a very professional white cube exhibition space with good lighting.

I visited this show at the Great North Museum aka The Hancock Museum; a surprisingly small show:

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I was quite surprised that there seemed to be very few graduates exhibiting their work for the show; the standard of work is equal to that at Sunderland University. However, I would have expected more professional supports and standards of hanging of the paintings – though space may have been a constraint here. The exhibition space itself could have done with better lighting; it was far too low for a white cube space and didn’t do the works justice; photography turned out dark and there seemed to be a lack of energy to the pieces – as if the exhibition space itself was sapping the life out of the works.

Paintings: Fifteen painted portraits of female celebrities grouped around a central vertical column of four paintings. These are all painted by one artist – the slightly loose expressive style of brushwork is uniform throughout the fifteen paintings. The size of the paintings varies between a4 size and 4ft x 3ft – the most recognisable portrait at the centre of the grouping is 90 year old Iris Apfel … though I have no idea who the other women are they surely belong to current contemporary culture. I believe the themes here explore the female gaze (the direct gaze returned to the viewer is less easily identified as passive and is instead cagey, more challenging and opaque). This pushing of the portrait genre into new areas such as youth, fame and beauty is characteristic of the work of Elizabeth Peyton. The idea of the photograph and the female as subject comes through very strongly despite the fact the photographs have now become painted portraits. The transition the artist has created from photograph to painting has not been able to obliterate the various conventions of posing for a vanity or publicity shoot – and perhaps this is where the strength lies in this series of work. It calls attention to the conventions which are at odds with the traditional conventions of portrait painting and creates an uneasy dialogue between both mediums. The painted portraits allow the eye more time to linger over the images – that also calls attention to the act of looking but doesn’t quite work since the brushwork is so uniform, sticking closely to the photographic reference. My personal taste isn’t for this kind of work since I believe it isn’t strong enough as a portraiture genre to easily compete with photography and can be crowded and jostled out and lose my attention. This wouldn’t be work that would stick in my mind.

Yellow Cloth Ribbons: Two bunches of strips of identically coloured yellow cloth, fixed by looped cord vertically to some sort of wall panel at about 5 to 6ft in height. The cascading strips of cloth seemed to me to belong somewhere between sculpture and the expanded field of painting. Artists working in this genre are often responding to the materiality and open-endedness of the medium of painting, as well as the fluidity of the role of artist as painter and the material possibilities for painting, often incorporating the jargon of adjacent disciplines The work seemed most obvious to me as metaphors or synonyms for the painting language of pours splashes, dribbles and drips. The panel becomes the canvas and the two cloth bundles the paint. I felt that there was a correlation between the work of the colour field painters … particularly Barnett Newman and Eva Hesse

There are some intriguing works here; the pink dusted seed shaped sculpture and the objects resembling fetish masks which seem to have been created with the site specific theme of natural history in mind, and the large installation piece – all of these deserve some thought and pondering over.

In summary, it was an interesting show, however the works themselves were let down by the slightly shabby gallery and lighting. The paintings were let down by the slipshod way they were hung but it was worth seeing and some of the pieces still have me scratching my chin.

Newcastle University Degree Show 2017 I visited this show at the Great North Museum aka The Hancock Museum; a surprisingly small show:

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