STUDIO EXPERIMENTATION

These are photographs of my experimentation in the studio space based on point perspective and mark making. Using the squeegee through mark making I fount quite successful to relate to construction, correspondence and balance. To put simply when you create marks with a corner of a squeegee it then corresponds in the opposite direction. I fount this an interesting connation to relate back to architecture as the way a building is constructed.

 

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ARTIST RESEARCH

Gary Annett-

Gary Annett was also one of my main inspirations for my FMP. What I fount most interesting about Annett was how he took photographs and the life he gives to an image. He is such an amazing photographer and his work is what brought me to realisation  to what I wanted to achieve in my photographs. To give meaning. But the way I interpreted this is that its not so much about how you take a photograph but its then what you do with it. Clearly its important to have the eye for a photography but the way he edits his photographs is to highlight and shadow the images. I then began to edit my photographs and discovered my own flare and style through architectural photography.  

 

 

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Unknown Artist-

 

These photographs I fount from when visited Art14 art fair back in Febuary, also inspired me to continue using monochrome photograph. I feel it creates more definition to a image.

 

 

 

 

 

CHALLENGING DISILLUSION.

When I first decided to base my FMP on architecture I merely did this because I was good at drawing buildings not because I saw the art in designing a building. I thought I had discovered that it wasn't as interesting as other areas of Fine Art I could have explored. I began to feel quite disheartened by my choice but I then began to challenged myself to think differently. This compilation of photographs were created on the basis of challenging disillusion. What I mean by this is to give every building the justice its disserved. During my FMP I studied 'deselecting' and 'structure'. At the time I didn't quite understand my own work and responses, but by looking more deeply into what I was trying to understand came these photographs. These photographs are an extension to this idea and let me explain more clearly.

 I wanted to look at architecture in a more contemporary way and how building could be express through fine art. Rather than simply looking at architecture as a design or drawing I became more interested in the history of a building or lack of. (SEE PREVIOUS POSTS) . I think all buildings have their own character and by editing these photographs the way I have. I think gives the sense of humanising a building by giving it movement. By doing this I gave life to an animate object, by doing this gave me the ability to connect more with the brief . I wanted to give these simple photographs more conceptual meaning.  Each building holds its own timeline and by distorting the images the way I have I think gives the sense that they can move through time in more ways than one.

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FMP PHOTOGRAPHY

ARTIST RESEARCH

Antonio Sant’Elia.

 

Sant'Elia is renownly known for his futuristic drawings and he has become a huge part of my inspiration throughout my FMP. What mainly drew me towards Sant'Elia is that the fact he doesn't work from reference in terms of style of architecture. All his work is monochrome and I think that's a aspect of how he identifies his personal style. I also carried this through majority of my own responses. I also noticed his tendancy to encorptrite these tall powerplant-like towers  in his art work. This I feel almost gives a quite morbid concept.

 

 

ARCHITECTURAL DRAWING PROJECTION

 

I based my Final Major Project around Architecture. I began to experiment with video art using basic video editing software such as Vemo and Windows Movie Maker. This is a video recording of a projection drawing I did on to acetate. I fount by projecting the image then gave me the ability to move the image in relation to the angles on the wall (corner of the room) and how this changed the image in terms of point perspective. Through my research I fount when drawing and designing buildings the point perspective is really important. In my opinion it is the most important skill to have as an architect to be able to draw buildings accurately. The acetate print was photocopied from one of my drawings. I have studied a history of different types of architecture and in this print I designed a combination of 'Futuristic' architecture and 'Renaissance'. I will be posting photographs of images that have inspired me and I hope that they could inspired you.
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VISIT TO TATE MODERN

While visiting Tate Modern I got to see Cy Twombly's work in person, seriously overwhelming. I didn't expect them to be as large as they were. Great day out, sorry for the low quality. Everything was taken on my phone. 

CY TWOMBLY

ENVIRONMENT RESEARCH.

I think the concept and idea I had while designing my body of work for ‘Environment’ could be seen as quite unorthodox to the original briefing. I wanted to study into the body and how this is your own personal environment. So inevitably I was inspired by quite a lot of unconventional artist such as, Jackson Pollock, Cy Twombly, and Jenny Saville. My body of work, was split into three different categories through my thought process. Figure drawings, Incidental markings/mark making and mark making into the theme of ‘Motions’. All under the umbrella of ‘The Body’.

Jenny Saville was one of the first people I look at when I came up with the concept of the body and relating that to the environment. I mainly began to look at her drawings, especially of pregnant women. I think I done this because it was the obvious option and plainly looking at the body as a simple silhouette rather than what’s inside. Jenny Saville is well in my comfort zone as I’ve studied her work many times before, and I think moving away from her style of work was a good choice on my behalf.

Pollock was my main source of inspiration into incidental markings. What most intrigued me about Jackson Pollock’s work was his ability to change a tone or connotation to a piece, simply by using different techniques of mark making. He was able to create a sense of rhythm and style to simple marking. Making it not so simple. The style he painted in was almost as if he was distorting an image to an extent, where you can re-interpret it in whichever way you wanted. My final piece was basically a collection of different mark making techniques into bodily-functions eg. Burping, coughing, swallowing, pulse etc. And by what I had interpreted from Pollock’s work helped me understand how to visualize something that can’t necessarily be seen. He also inspired me to work on a much larger scale. Once I had collected a variation of different mark making techniques I organised them into a complete composition.

As I began to research deeper into mark making artist I came across an artist called Cy Twombly. Cy Twombly created a more poetic way of representing mark making in comparison to Pollock. Pollock’s work represents to me marks of a distorted image, but Twombly’s shows more of a distorted concept. Which was a really interesting insight to grasp and contribute to my work. I could definitely describe my work as both of these things. While researching this artist I came across a video on YouTube of Twombly’s exhibition at the Tate museum (19^th June- 14^th September 2008) The director spoke about his interpretation into Twombly’s work and this was a good source of research for me because it questioned my own perceptions. Tate's Director Nicholas Serota - “You close your eyes and you make a mark. Then you make another mark and then you make another mark. Then you build up an image which is coming from within, rather than representation”. Toward the end of the brief I understood that, that was exactly the way I wanted to express myself during my mark making process so Twombly was an ideal person to look at for this brief. Twombly was someone I began to look at toward the end of my briefing and his inspiration moulded a lot of what I had created and covered a lot of what I was trying to do, including clarifying my own concept. I don’t regret looking at him last because my thought process through this brief was a really interesting too see come to life through visual recordings. 

CY TWOMBLY

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JACKSON POLLOCK

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JENNY SAVILLE (DRAWINGS)

STUDIO WORK

Not the best photo, but studio work on 'Environment' and Body. More to be posted tomorrow.  

ENVIRONMENT EVALUATION

My overall interpretation of the ‘Environment’ brief was to make the brief relate more to myself and the way I done this was basing it around the Body. Rather than looking plainly at what’s around you I wanted to study what’s inside you. I found my thought process through this idea very difficult to come across in my visual recordings.

First I started looking at figure drawings and artist that mainly have work based around the human silhouette. But while writing in my reflective journal I realised that I had been slightly led astray from my initial concept. I think this was because I was looking at it far too literally. Whether that was a success or a failure to add to my body of work I don’t know. But by doing this it led me to think the totally different and I began to do studies of incidental markings. Drawing ink splatters on the floor, photographing random scuffs and marks that you wouldn't usually look at. This helped me understand and realise that what I was actually trying to make visual recordings of, I couldn't exactly see. Following the similar idea that Picasso had when he went to a market. He went to a market when it was closed to see what hadn't been bought rather than what had been. This helped me to think more ‘outside the box’ and look at conceptual artist such as Dario Escabar, Jacob Dahl Gren etc. This inspired me to create pieces that where based around every day object that could be related to organs e.g. Lungs- Balloon, Stomach- container.

I then began to look at motions for example, swallowing, breathing, heart beat etc. This then progressed to my final piece. I sat in a spare studio space all day and recorded these motions by simply listening to myself and ‘the way my body ticks’. I tried to replicate this in my recordings but I found that I was thinking far too much and not actually listening to myself. So I went on youtube and played a ticking clock sound effect and played it out loud as I work. The clock ticking replicated my own pulse and helped me create different pieces to a rhythm. Once I had collected a decent amount of recordings I then stapled them to the wall to create a complete composition. It almost seemed like a brain storm of visual recording of the internal body. From my many struggles throughout this brief, I think it was a well suited way to sum up the brief for me as a final piece. The body is a very difficult thing to understand and I think this brief made me realise the difference between the body and the mind. They work totally separately and we subconsciously dismiss our own music.

I don’t think I would have done much differently apart from doing more research, but I think I have gained an awful lot from this brief into my own understanding of myself.