Sarah Daniels Art

BA(Hons) Fine art and Art History student at Plymouth University

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Layering images 

Due to the nature of time and human error, true repetition is impossible, and difference will occur no matter how identical the repeated moment may seem. Simple actions such as sitting, standing, and walking are recorded by the artist to capture attempted repetition. The layering of images documents the attempt at repeating a singular action and emphasises difference occurring in the moment, the exact action cannot be repeated.

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Display in isolation! Experimenting with suspending my work in a domestic setting 

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Photographing works at home 

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Dissertation writing! So many books, so much research!! Almost done 

‘Dresses dada, loves dada, lives dada’: the re-examination   of Baroness Elsa von Freytag-Loringhoven as a central figure in modernism.

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Footprints

Mark-making experiments at home   

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Some close up of my charcoal 'drawing' pieces

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Performance 4

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Repeat

An action cannot truly be repeated, for repetition relies on a steady continuation of environment and circumstance, the state of passing time and human error means that it is impossible to recreate an exact motion. Repetition is doing or saying the same thing more than once, the exact moment cannot be repeated due to the nature of time passing and the difference will occur no matter how identical the repetition may seem.

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RISE by KV Duong - Live body painting performance at Streatham Space Project (London UK), Oct 2018

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Project Bulge 

Makers week collaboration project- A playful investigation into the word ‘bulge’. exploring political, tactile and digital avenues. 

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Èdouard Manet, Luncheon on the Grass (Le Déjeuner sur l’herbe), 1863, Oil on Canvas, 208 x 264 cm, Musée d’Orsay, Paris.

Strategies of Modernism: Manet’s depiction of the female subject in Luncheon on the grass.

Rivalled with landscape painting, the female subject dominates artworks in late nineteenth century in Pairs.Societal shifts change the way artists depict women, the approaches to the same subject by male and female artists were fundamentally different, due to the class and gender structures in place at the time. Berthe Morisot (1841-1896) and Mary Cassatt (1844-1926) are clear examples of this division in gender and representation. Both artists oeuvres consist of traditionally gendered subject matters such as the domestic, family and nature. The backdrop to these artists lives was the streets of Paris,which was ever evolving throughout the decades following the transformation of the city by Georges-Eugène Haussmann in 1852. Haussmannisation as it was known involved widening of streets, the demolishment of overcrowded medieval neighbourhoods and the renovation of public spaces such as parks and train stations. This innovative development shows the modernist ideal of progress, the city was a focus to many artists works. There was new attention on leisure time and entertainment and with this came an intense gendered division of appropriate spaces. The impressionist artists aim was to capture the essence of modernity in their paintings, they depicted the ever-developing world and new public spaces.

Èdouard Manet (1832-1883) was a pivotal artist working in the nineteenth century. Although he never identified as an Impressionist artist, he led the way from Realism with his radical artworks. Many of his works epitomise key modernist views which emerged in mid-century France. Luncheon on the grass (1863) is a progressive piece breaking away from tradition in both subject matter and style. This painting was refused from the authority on art at the time the academic Salon in 1863, and subsequentially shown in the Salon des Refusés established by Napoleon III in the same year. Luncheon appears to almost be a parody of traditional painting, Manet plays with the composition harking back to scenes of classical painting such as Titian’s Pastoral concert (1509). The scene portrays two clothed male figures and a nude female, Manet used many devices that mirror classically accepted paintings; a pyramidal structure, a still life in the foreground and a bather behind. However, Manet’s scene shows contemporary figures wearing modern clothes and can’t be mistaken for allegorical figures. The subject matter is of everyday life, with the emergence of Realism at the beginning of the century, artists began to question the hierarchy of genre which had customarily dominated the arts. Manet’s depiction of the female nude would have been most shocking, her body is flattened with little modelling. Although nude, typically deeming her passive, the female figure looks directly out at the viewer. Manet has subverted the male gaze by no longer allowing the male voyeur to hide behind a guise of ‘Venus’ to explain her nudity, thus enjoying the female body behind the pretence of classical scholarship. The “spectator is made self-conscious by having the women at whom he is looking at stare back at him.” This is radical for the art world. An artist is representing a female figure not as passive but as assertive and confrontation. The way in which Manet has depicted the female figure in Luncheon challenges tradition in art with the lack of mythological narrative. This is the beginning of the every day being used as a genre for artists to depict in their work, changing the way women are represented in artworks.

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Richard Serra "Hand Catching Lead" from 1968.  B&W, silent.  I ripped this from the LE MOUVEMENT DES IMAGES DVD that was released by the Centre Pompidou in 2006.

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Performance I 

Timelapse of first experimental film in series 

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Beyond Realism | Dada and Surrealism

Beyond Realism brings together some of the finest examples of Dada and Surrealist art from the National Galleries of Scotland’s collection, featuring works by artists such as Leonora Carrington, Salvador Dalí and René Magritte. This expanded display provides an opportunity to view our world-famous collection in greater depth. With over 40 works by 17 artists, Beyond Realism explores the two principal forms of Surrealist work. The first form is unpremeditated art that relies upon chance effects such as random mark-making and scraping – the type of work practiced by artists like Joan Miró (1893-1983). The second form is the creation of apparently irrational images that occurred to the mind, particularly in dreams, in a realistic style. This route was favoured by artists like Paul Delvaux (1897-1994) while other artists like Max Ernst (1891-1976) combined both approaches in their work.

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During the summer I took a trip to Australia and visited a Duchamp exhibition at the art gallery of New South Wales in Sydney: The essential Duchamp. The exhibition was showing an extensive collection of works by Duchamp on loan from the Philadelphia Museum.

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Each one of my prints has gone through this process to create it, does the time spent affect the value of the artwork in anyway? Each print is individual and hand printed, the photopolymer method shows just how easy it is to manipulate the image with different colours if ink and ways of developing the plates