this is a summary of what the first 6 weeks in college has been Work Statement
Progress Review Oct. ’08
Initially this year I was intrigued to discover if music had an influence on my studio-based work. As it plays a large part in my life; I play it and I listen to it whilst working, I thought it interesting as a starting point to investigate whether it influenced me, directly or indirectly.
I began working with the idea of memory and/or nostalgia with ideas related to exploring music or soundtracks from different periods of time which imply memory or experience. My work last year dealt with mapping; taking notions of travel and distance; grid-like uniformity expressed in sterile and flat-tone grids and systems in my work. These were displayed against a backdrop of contrasting vivid-colouring gestural-expressive brushstrokes.
This ‘mapping’ can be applied to my ideas of memory and nostalgia. When I think of a particular time, it is in terms of what general mood permeates the memory, and in terms of what music I was listening to, or what complimented the period. The notion of tracking-down imagery within song relates to this also
I began taking two different approaches to the idea; I wanted to create dense and detailed atmospheric pieces based on old images I had taken. I was interested in the titles referencing song titles. Nostalgia, being ‘hardwired’ into the brain, I wanted to alter these images into fitting dreamlike scenarios. This painting below was derived from a photograph of a street party on a dark night. I wanted an illustrious rich night sky, full of movement. Jetstreams, stars, night-birds and cold steel armor (derived from a Joy Division lyric) were words which sprang to mind when thinking about creating a painted version of this image. The process entailed, scraping away the paint, aswell as dripping onto the layers. I looked to the work of Peter Doig and Ana Laibach during this process.
I have also been working on a second lot of work where I tried to apply a more edited and minimal approach to the work. I became interested in making small-scale paintings in a series which contained singular minimal forms. These were undertaken without the aid of a brush, instead gloss and emulsion-based paints were poured onto a surface. Loosely based on the form of postcards, these images are simplified flat-tone images from memory of beaches, sunny skies, fried eggs, streetlights, wine stains etc.
Gary Humes’ work influenced this work with his bold simple iconography/imagery and use of household gloss paints, which provide a clean, clinical and plain sterile surface.
I’m interested in the possibility of collage as an option for continuation; a selection of objects used separately or in conjunction with the paintings, thus creating a scrap-book feel, or that of a curio.
To progress from my starting point I would like to first of all focus on the process and find a realisation of the two styles. A progression of the use of the basic, singular minimal forms in a marriage and contrast with the more dense painterly, gestural plains. I would like to continue working from photograph, memory and music.
Progress Review Oct. ’08
Initially this year I was intrigued to discover if music had an influence on my studio-based work. As it plays a large part in my life; I play it and I listen to it whilst working, I thought it interesting as a starting point to investigate whether it influenced me, directly or indirectly.
I began working with the idea of memory and/or nostalgia with ideas related to exploring music or soundtracks from different periods of time which imply memory or experience. My work last year dealt with mapping; taking notions of travel and distance; grid-like uniformity expressed in sterile and flat-tone grids and systems in my work. These were displayed against a backdrop of contrasting vivid-colouring gestural-expressive brushstrokes.
This ‘mapping’ can be applied to my ideas of memory and nostalgia. When I think of a particular time, it is in terms of what general mood permeates the memory, and in terms of what music I was listening to, or what complimented the period. The notion of tracking-down imagery within song relates to this also
I began taking two different approaches to the idea; I wanted to create dense and detailed atmospheric pieces based on old images I had taken. I was interested in the titles referencing song titles. Nostalgia, being ‘hardwired’ into the brain, I wanted to alter these images into fitting dreamlike scenarios. This painting below was derived from a photograph of a street party on a dark night. I wanted an illustrious rich night sky, full of movement. Jetstreams, stars, night-birds and cold steel armor (derived from a Joy Division lyric) were words which sprang to mind when thinking about creating a painted version of this image. The process entailed, scraping away the paint, aswell as dripping onto the layers. I looked to the work of Peter Doig and Ana Laibach during this process.
I have also been working on a second lot of work where I tried to apply a more edited and minimal approach to the work. I became interested in making small-scale paintings in a series which contained singular minimal forms. These were undertaken without the aid of a brush, instead gloss and emulsion-based paints were poured onto a surface. Loosely based on the form of postcards, these images are simplified flat-tone images from memory of beaches, sunny skies, fried eggs, streetlights, wine stains etc.
Gary Humes’ work influenced this work with his bold simple iconography/imagery and use of household gloss paints, which provide a clean, clinical and plain sterile surface.
I’m interested in the possibility of collage as an option for continuation; a selection of objects used separately or in conjunction with the paintings, thus creating a scrap-book feel, or that of a curio.
To progress from my starting point I would like to first of all focus on the process and find a realisation of the two styles. A progression of the use of the basic, singular minimal forms in a marriage and contrast with the more dense painterly, gestural plains. I would like to continue working from photograph, memory and music.
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