16.04.18 final day installation reflection
This is what I've resolved my final piece composition to. Overall, the minimalistic arrangement and small size of work creates an impact for the work. The contrast between the large space gives the viewers more focus on the small details of the work. In contrast to the other compositions where there were many different prints on one wall, this was much easier to look at.
Although I have developed my project much further than from the final piece that I chose to show, I felt like it was the most appropriate piece to highlight. This piece was created as one of the few first digital manipulations that I have tried on my works, by changing saturations and hues. This piece was therefore a turning point in my project, and even though I also like the other developments that came after this work, I value the importance of this piece as well. I also decided to keep it simple, as I do not want to overwhelm the "final piece" and make it the most detailed. At one point, in order to come up with a final piece, I tried to combine all the techniques that I have learnt throughout the process of this project, for example combining layering, paintbrush strokes, painting, image manipulation and collages together, but it resulted in looking too busy and too much is going on. Therefore I think that I have made the right decision to choose these pieces for the final work, and I am overall pleased with my project.
reflection on final piece decision
I found that by laying out my work like this (picture above), it makes my final piece much more sophisticated and the large space surrounding the small painting gives an impact on the atmosphere of the artwork. Also, I have tried to nail the painting onto the wall, and this definitely worked better than the big chunky metal clips. Although I like this painting being on it's own, I am also open to printing another painting of the same size, of the same image but with the colour modification different from this one, because that was what I did in the past, where I modified the same image to create different versions of it.
Final Piece composition 1
I have decided on a series of prints. In total there are 6 prints. Each of them represents a stage of discovery in my project, and each of them I feel like are good representatives of the discoveries I have made in this project.
For example, I have included works that showed more of a pattern-like quality, along with pieces that were composed more like a painting. My intention for this set of works would be to have each piece deliver different messages for the viewers. Although the overall tones of the works are similar, I have tried to use spacing and composing different colours next to each other to try to create different effects for each work.
This was my first day that I got to see how my composition for my final pieces looked in real life, after planning them in my sketchbook. In my opinion, to my surprise, even though the sizes were different and the layout was not that organised, the dynamics between each print worked and it was pleasing to look at. However, even though I wanted to conclude my works by showing off a variety of my development process, I found that it did not really comes to a conclusion. I would like to add more consideration to choose only one or two pieces for the final composition. This is because if I leave the 6 prints on the wall it looks like the whole project itself, not a realization or resolution of the project.
Even though the smallest piece (top left) was completed earlier on in the project, I found that I gravitated towards this piece. Therefore, I am thinking of using only that design, making it more refined and minimal rather than a lot of work being put on the wall.
I decided to use metal clips with the same sizes to keep it neat and professional looking. However, I found that their size were too alarming to be put next to my works that seemed dainty and delicate. Therefore I will explore another way of installing my work such as using a small nail to pierce the paper into the wall.
Plan for printing
Plan for printing
After I was deciding to print all my final pieces and works the same size, with the same paper, I realised that my set of work that I chose to represent my whole project of experimentation, look very similar to each other. Of the 4 pieces I chose, they all looked pretty similar to me and they had similar depths, colour schemes and techniques used.
So, I thought to myself, why? Why do I have to make them all the same size? Why do I need to use the same paper for each?
Therefore, I have decided to print out my works at different sizes and with different types of prints/ paper, to suit each work best. I looked back through my sketchbook to see what went well and what techniques that were unique to my work and stood out to me. For example, this piece. I had completely forgot about using the brush tool technique on top of my works, because it was just an "experimentation" and focused on something else to "progress" my project forward. The effect is very puzzling and you can't really tell which layer is "real" and which is not, and that is something I wanted to be represented in my final pieces. Although my layers of lines are subtle they do make a big impact in my opinion.
I've picked up a few of the pieces that I would like to take forward into my final composition of prints, and found that the only thing keeping me from using them were the fear of them not being in uniform. They all need to be printed differently, with different sizes and different types of paper in order to look the best they can possibly can, and throughout this week I will plan on how and what I will print them on, to create a group of unique and dynamic set of work.
Today was the first day back to school after the easter break and I had to plan ahead for the week because time is limited before the hand in date. I need to come up with an idea on what I should print out before the weekend because the print shop will not be open on the weekends. So far, I am pleased with what I have created and I feel like it summarises my project well, combining many aspects that I was initially interested in. For example, distance, covering up, fragments, colour relationships and connotations with certain symbols/ colours.
Today, I just spent the studio day refining and cleaning up my works. For example, for the experiments that I did with paint onto my prints I stuck the paper on a thicker card so that it felt more sturdy and clean. Also, I tried to print my works using laser printer because I found that the effect that the inkjet and laser printer gives are different so I wanted to try how it would actually look if I professionally printed it. I tried to print a set of four designs that I recently made. I am thinking of printing it in a series of 4 and maybe just A3 size because I have other bigger prints that could be put alongside it. I did not want to conclude my project with one "final piece" but rather series of works that each represent different aspects of my process, because I put a lot of emphasis in the importance of process in this project because many things that were created are intuitive and experimental.
Reflection on Wassily Kandinsky's work
His works aimed to connect with human emotion through a form of language that everyone can be able to understand on a deeper level, without the social boundaries such as culture differences, language barriers etc. I find that although abstracts should be something that is like Kandinsky stated; universal, but in the present day, I still feel like there is a barrier for some people who may not appreciate some forms of art such as abstract art. I agree with how everyone could appreciate the colour relationships and familiar forms that have been pulled forward by abstract paintings, and personally I can connect with abstract art, but as an observation I still find some people who do not "like" abstract art and I thought that it was an interesting point to mention.
That lead me to think about my own project, as it is about something personal, but everyone has experienced it in different forms, which is childhood and upbringing. Will people be able to connect with my work like I have intended them to? Does it really matter? Those are questions that I asked myself, but for now, I think that my aims are to deliver what I really want to deliver, with the hope of people being able to connect with it but if they do not, at least provoke something in them and promote some kind of interesting.
I found it interesting how Kandinsky viewed painting as something spiritual. I agree with this statement, even though I do not really know the extent to which I would call my connection to the painting spiritual, but I feel like there is something to be said about that. It is hard to describe, but because I have just "started" to practice abstract painting during this foundation course ( as opposed to realism) I feel like there is a completely different energy to the work and from me. Abstract painting to me is something that is very personal, and also very situational. I think that my works would have turned out to be different if my head was at a different place on the days I paint, and everything is fresh and unpredictable.
reflection on the white cube exhibition
I am surprised when I researched about Pier Paolo Calzolari and discovered that he started his career as a painter. This hi lights even more the fact that although myself, and other people that are in "2D fine art" or identify themselves as painters, does not necessarily mean that we paint. I really find the studio environment inspiring because a large amount of people are creating with anything but paint. There are even sculptural 3 dimensional and video based work and if people did not tell me I would not assume that this group of works are from "2D"
reflection on project- easter break reflection
Thinking back to what I intended to explore on my project, I think that I have both looked at both the sentimental and the more melancholic side of nostalgia, or a representation of those feelings. This is because a key part throughout my whole project was distance and concealment.
Also, although I am experimenting with real paint this easter break, I have not stopped developing my work digitally. I just wanted to experiment in multimedia and try new ways of creating a painting. I wanted to bring in some contrast and focal point to my prints that are very translucent and misty. I tried this by creating new compositions where I used the highest opacity on just a small portion of the whole painting. I have also discovered that my compositions that are printed on inkjet printed and normal a4 paper seem more muted and washed out, more blended than it does with the prints that are done professionally and on laser printer.
easter break reflection
When I tried to paint on my works previously, I had used acrylic on normal A3 paper with my prints laser printed. I found that because I had mixed a lot of water to make the paint translucent and subtle, the paper got creased and softened. As a result, although I thought painting onto prints worked at some level, I felt like this made the painting look less blended. Because the paper quality was so thin, the line between a digital print and a painting wasn't crossed over very well.
However, I am liking the was that my prints are turning into, so I decided to try again but this time with quality paper. I used the prints from the print shop that costed one pound each. The paper was somewhat thicker and a bit glossy. In my opinion, this improved the quality of the outcome quite a bit. The paint did not get absorbed through the paper and although I thought the paper would be waterproof and acrylic would not adhere to it, through experimentation, it actually worked out. Now the paper is crisp and clean, with no creased, mushy parts. The paint application was so much smoother too. Now the paintings look more ambiguous as to if it is a painting or a print.
acrylic on quality paper
Reflection from my visit to the National Portrait Gallery
I was intrigued to how James Barry's portrait of Samuel Johnson actually reminded me of a much more contemporary artist, Jarek Puczel, whom I love the works of. Although the paint style is different, (ofcourse), I liked how they crossed over in the parts with less detail and more of just roughly painted colours. I found this trip to the National Portrait Gallery amazing, not only because of the works there but I am very enlightened by how a very dated and "traditional" painting reminded me of an artist that I know but haven't thought of in this project, and now I am going to incorporate because I have been reminded of.
Although I have to admit that portraits are not my favourite "category" of art but just by looking at everything in this gallery it had inspired me and reminded me of things in so many ways, allowing me to reflect on my project and continue my works with a new perspective.
Today I focused on how to arrange and install my works onto the wall. Overall I thought that the prints worked really well on the A2 scale and they did not pixelate or lose its quality. However, as today is the last day before easter break I did not want to finalize my project yet and I wanted to experiment more. Even though I am content with these prints and in my opinion they conveyed what I wanted them to (a sense of delicacy and colours that evoke feelings of nostalgia) I thought I could still try other directions. Therefore, I will keep these prints as they are precious, and work on something else that is more physical and experimental. I am thinking of going back to working on top of my prints and finding a balance between them, bringing the prints back into the real world.
Over the easter break I am planning to possibly make more patterns from new stitches, while also working on top of my existing prints to see how it turns out. Also I am planning to visit more galleries over the weekend because I feel like everytime I go to galleries they give me ideas on how to install, arrange and present my work.
Although I like my prints that seem very clean and pattern like, I would like to go back a step and produce more prints that interact more with colour. This is because I was initially intrigued by how colours are layered and interact with each other and in the most recent print there was not much of that. However, I still think that it is a nice experiment to try and try something new that is different from my other works.
Pheomenology Of Perception, Chapter 4: Nostalgia and Television MY REFLECTION
Although this was one of the harder books to understand in terms of concepts and vocabulary, it looked so interesting that I decided to give it a try anyway. I chose to read the chapter on nostalgia and television. I did not understand everything that the author had to say, but I got some of the main ideas. This was very interesting because it was similar to the basics I have learnt in Psychology, which I really enjoyed studying, and I believe that the way I think about my projects have been enhanced by studying all these ways of thinking. For example, how different people have different upbringings and the can affect how they think differently, social learning theory and how people can adapt to the society by imitating, and so on. This linked to how in the chapter they mentioned "reproducing past successes and familiar forms." Which I interpreted as how we are creating things from all of our past experiences, which explains why people from familiar upbringings can talk about certain subjects eg. television programmes and relate on a higher level.
When I created patterns with my work, I thought back to when I read this chapter and how the television can create a sense of home. I felt like my work had a wallpaper like quality and I could see it being decorated in the living room of a familiar space. I talked about how I perceived nostalgia in the beginning of the project, as some kind of familiar, yet unfamiliar room at the back of our heads and now I am linking back to it unconsciously, which I find intriguing.
I focused on creating Patterns by using my works. I figured out that my work has a potential for it to be made into a larger scale, and I thought that turning some of the works into patterns would work in larger scale. I used photoshop to edit and repeat my works manually, so it is not technically an identical pattern but I just arranged images to form a pattern-like composition. This gave it a human-touch and a personal feeling to it because this greatly contrasts other patterns and how people associate patterns with. Patterns are usually industrially and mass produced, and everything has to be identical. However, sticking to the Digital vs. the analog, I am somehow creating something that resembles the digital, computer produced by analog and manual means, if that makes sense.
Therefore, I did not use the pattern or repeat tool or anything that produced identical patterns but I simply used the magic wand tool to paste the images wherever I wanted it to, to vaguely form a pattern and then using the pen tool to blur out the edges to make the image fit together as a whole.
A2 Digital print
I put out my work in larger scale (a3) and printed it out in order to put them onto the studio wall for me to physically see how it looks like. In my opinion I much prefer my works when they are professionally printed and larger scale. For example, using the laser printer to print A3 gives it a much nicer feel compared to when it was on a4 printed by my inkjet at home. Also, by seeing my work "in real life" now I have an idea to how large I want to digitally print my work to display as an outcome, and how large I can print it without it turning too pixelated. So, today was full of experimentation where I carefully think of what and how many I want to print, because digital printing at a larger scale takes time and also costs quite a bit, so I have to put thought into it.
In conclusion I tried to print digitally in A3 and A2. I only tried one piece with A2 and the results were quite positive in my opinion. In fact I really liked it and thought the work became instantly more powerful. I would want to continue printing on a larger scale but I do not want to pixelate my work, so an idea came up where I turn my work into smaller patterns instead, and make it tesselate to result in a bigger piece without getting pixelated. This idea was influenced by the works of Neil Raitt too, except his works were all done by hand.
For tomorrow, I would be interested in creating patterns from my work and see how it prints.
In the studio today, I focused on experimenting more than usual today. I have found a way of working that aligns to my vision of how I want the project to progress which is working digitally and I am happy with the results, but I did not want to conclude a solution for my project. I wanted to constantly experiment, and I wanted to re-work into my works and also find a new way of making.
I started with a simple idea that came into my mind. Instead of scanning my works, why not manually layer my works itself? To make this possible I had to make my works translucent, so I printed my works onto tracing paper. Then, I manually layered them and stuck them down on my sketchbook and even though it worked and designs could be seen through different layers, I did not like the outcome as much as scanning and doing it digitally. In my opinion, it just took away from the softness and delicate nature of the works because cutting it up made it look more rough and unrefined.
Secondly, I tried printing off my works then reworking on it. This was decided because I reflected on my progress tutorial with Emma, and we came to a conclusion that experimenting further with my digital work and somehow creating a subtle transition back into physical marks and making would be interesting to see. I simply took this idea and applied it quite literally where I just print my works and then work on top of it with a pen. In my opinion, I was really interested in the results that came out and I think that if I add minimal and small drawings onto my prints that works best and enhances the work.
Discovering Miho Kajioka's work and learning more about the wabi-sabi tradition had enhanced my views on my work and influenced it. I have seen my works as incomplete and many of my works are revolved around working in many steps, and not really leading to one final piece or anything, and I tend to just keep producing art without the intention to bring it to a conclusion. Most of the time, my digital works are from my physical works that could be seen as unfinished, but then I bring them through a long process of modification and keep finding a new context for it, therefore it is never complete and it is imperfect in every way.
I've realised that I have always sort of had this way of working, but now actually learning about it and seeing a term for it is quite an eye-opening experience. Today, I am working digitally and I tried different compositions of editing my work to create something new. I am also thinking about printing my work professionally to see how it turns out.
I have planned to make a painting in my sketchbook, by using compositions that I have created using tracing paper and the clone tool on photoshop to make patterns of my work. So, today I started the painting. I did not know how to mimic the textures of layered thread and yarn, but I knew I wanted to play with the technique of painting in multiple layers to create this sense of distance and blurriness. I took inspiration from Dee Ferris and how she makes her paintings seem foggy.
I tried to add in shapes such and circles and mainly just applied colour where it kind of resembles my reference photo of my scans. However, by accident I spilt water onto my canvas and as an attempt to "fix" it I used paper to scrape it. The results of that shaped my work and made me turn it into a completely new direction. That action left my painting with a light spot, where the water used to be. However, I found the technique perfect for layering and creating depth. So, I proceeded to repeat this process multiple times with multiple shades of colours and shapes. I found that this gave my painting more character as opposed to it being very flat and neat.
Overall I am very pleased with the experimentation with paint that I have achieved today and even though it is a bit different from what I normally do with paint, because I like to be precise and neat, this was definitely an interesting turn of events.
Because I am also interested in the idea of using digital tools to enhance my work I feel like my painting has some kind of graphic element to it and I am intending to use my painting again digitally.
Digital Vs. Analog
With my new idea of the digital vs. the analog, I wanted to further my exploration with photoshop and see if I can create larger scale prints and paintings digitally. What I have in mind is to create prints and patterns with my scans, then maybe trying to print it out professionally to see how it looks in person, transferring the digital back into real life. Neil Raitt gave me inspiration to play with the idea of tessellation and patterns to see how my work can develop into a more industrial looking piece, supporting the idea of "faking" the analog and artificially creating nostalgia.
Also, looking back at my work and shapes that I have created I have realised that it is quite hard to distinguish what I have stitched, eg. me and my friend's arm holding a book. The images are very personal to me and I doubt nobody will be able to tell what it is without me telling them, however I feel like it still produces a sense of shared nostalgia. I have realised that it does not have to portray something obviously related to childhood, but random and surprising images and actions can also trigger nostalgia.
I decided to work on a single outcome today, and I wanted it to be something of a larger scale than what I have produced so far. I made the decision to use the technique in my sketchbook where I use strokes of coloured pencil to create an abstract design/painting, now on an A2 sheet of paper. The first half of the day I was just concentrating on making identical sized marks of different colour. However, once it covered a large portion of the paper I realised that although I liked the way it looked it lacked dynamic and everything looked too identical. This was when I chose to switch things up a little and introduced different sizes of strokes into some areas of the painting. This was a decision that I, again, used intuition and then evaluation to come up with and it was a decision that in my opinion made the piece into a more interesting piece.
As I work with both physically making outcomes and also work digitally, along with reading "Television,memory and Nostalgia" I came up with the thought of
"Digital vs. Analog"
Nowadays, there are many ways that people seek to recreate something that resembles the old times. For example, when you take a photo on your phone, there are many different ways and applications you can edit your photos to make them look more retro and seem like they came from an analog camera. My question for that is "Why?" and "Why do people seek to resemble the time when photographs were taken by analog cameras, back to the time when everything was not instant?" Most of the time, the new generation who seek out this technique of creating the "fake" analog, they did not even exist in the period where technology hasn't taken over everything, and they, myself included, was born in an age where we do not remember a time without technology or the internet.
After trying out many ways of sowing onto tracing paper, and trying many ways to alter tracing paper I felt like I wanted to move on to another surface. I chose soft scrim as it was a very transparent and thinly woven type of cloth. I experimented with different texture, size and types of yarn and thread and I thought of moving forward with this idea by continuing to develop on this piece of cloth by stitching in layers and maybe even dying the cloth. As this would take a long time to develop, I was thinking of starting something else simultaneously.
I was interested in the shapes and forms of my strokes of stitching. I found stitching a very therapeutic and calm way of working and I wanted to recreate the effect but with a different medium. So, I chose to use coloured pencil to draw small, stitch-like strokes with different colours to create a "painting". The results were very interesting in my opinion, and I would like to try to work more on that on a larger scale, outside my sketchbook.
I have finalised my project proposal today. The final edits were to make my project plan and description more detailed and more technical. In my opinion, this would allow me more room for comparison once I have developed the project, to look back and see if there are any major changes from my initial thoughts.
Now, I am just starting off to work on my sketchbook with tracing paper and I have started to scan them in order for them to create layers. In my opinion I thought that the results were good in terms of giving a feeling of familiar shapes and form yet they are concealed in a layer which makes them distant. I would like to continue to develop this way of working and I would like to experiment more with scanning.
In this project I want to create both tangible objects using my technical skills but also want to explore the various ways I can enhance my work digitally.
I continued to work in my sketchbook with tracing paper and stitching. I really enjoyed working this way and I feel like the act of stitching and sewing itself is very therapeutic. When the act of sewing gives me a sensation of calmness, I feel like this enhanced my work even further to amplify the level of calmness and peace my work brings when people look at it.
Also, as I get more used to tracing as a surface to work on, I am now noticing and getting used to it's properties. I think that tracing paper is the perfect material for me to start off this project with because it allows us to play with the use of proximity and distance. When tracing paper is layered on top of another (any surface) it creates this sense of distance and it is like the object underneath the tracing paper is further away, and concealed, because of the translucency. This made me think about memories and how tracing paper has a similar effect because memories are kind of at the back of our heads and they are always concealed, even though they are a big part that makes us who we are today, just like how we can still see the things underneath the layer of tracing paper.
Today was the first day back in school to start part 3. Although the tutor did not have time to come around to check my project proposal, I have discussed with my friends about it and they thought that the ideas were clear and possible. It was also interesting to see how other people are planning to develop their works. In my opinion I was satisfied with my proposals and I thought that it was clear and had a purpose although it also has space within it for me to develop a broad variety of work.
I wanted to focus more on making and creating instead of taking a long time to finalise a project proposal, so I spent most of this day making. I followed my own timetable well and started the day off well with materials that I had prepared beforehand, and those were cloth, tracing paper and multi coloured threads. As I stated in the project proposal, I really wanted to experiment with different types of surfaces and mediums and one technique that I especially wanted to use was sewing and embroidery. Sewing somehow gives me a flashback to my childhood because I spent a lot of my time growing up with my grandma because my parents were busy. She was the one that taught me about sewing and I remember that it was one of the activities that I really enjoyed.
Maurizio Anzeri also was influential to my thought processes and my reflective process today. I had used him as an inspiration to use thread to create something delicate but instead of covering up parts of the body and creating new focus points I simply overlay my stitching to enhance the background and create a new context to the whole image.
Television, memory, and nostalgia
The title got my attention so I decided to read this book. I knew that I was interested in memory and nostalgia but I haven't yet looked deeper into it into what causes it. So, when I saw the word television I realised something. Television was a big part of my childhood, and most likely a big part for many people that are from my generation too. I find it interesting and funny at the same time that although it was a big part for me growing up, as it was a major source of entertainment, I rarely use the television now. In my opinion, people are now beginning to rely more on technology to bring them instant entertainment, and watching television sometimes does not grant them that. On the other hand, other platforms such as Youtube and Netflix allows people to only watch what they want, without having to wait or have to go through advertisement breaks, therefore this may have caused people to watch television less. In my opinion, watching the television brings me back memories of quality time with my family and random conversations that spark while watching, and to me, watching television is more of a social event than something that I would do alone. In contrast, watching Youtube on my laptop is something that I do alone, and therefore I think that the feeling of nostalgia that comes with television is the memories associated with the people I was surrounded with.
This thought aligns perfectly with the quote that I have found in chapter 4 of the book:
"The nostalgic is enamoured of distance, not of the referent itself. Nostalgia cannot be sustained without loss"
I found this quote very accurate, and this had lead me to think about the flip side of feelings of nostalgia, the melancholic side. Even though most people relate nostalgia to feelings of joy but there is no denying that there is that small lingering feeling of sadness that follows, because of how we are never going to be able to go back to that stage in our life.
reading week reflection
Also another interesting aspect that I have slowly realised throughout the entirity of this course is my increase in familiarity with different mediums. This may sound very obvious and straightforward but I have became more aware of what artists use to make their work. For example before I had this many oppurtunities to see artwork at a regular basis in London, I would have seen a painting as a painting and may or may not be able to recognise what the artists have used. However as I observed more and more work along with using more mediums myself I am now able to tell from a glance what the artists have used, and in Makiko Kudo's case I could tell that she had used oil painting instead of acrylic. This might sound very obvious but it was just a small detail that I have realised recently.
Today was the day before we went off on our reading week off school.
I have decided that I would call my project Fragments of Childhood. I have covered my vision for the project and my aims and intentions are, however I realised that I was a missing one big part of memories. The fact that they are very subjective and hard to trigger, and it is a complex process, and it is not something that can be straightforwardly dug up.
This project would definitely be a challenge for me as it would be an interesting process to discover the different ways a memory can be dug.
So far, in part two I have been working with a few concerns and areas of interests. These are:
- How people have different memories associated with the same objects, and how people look at the same objects differently because of the schemas that they have developed as an experience
- Working with intuition.
The materials I have worked with are:
- Cutting, folding, sewing
- wood panels, sanding my own surface to control how smooth my brushstrokes are
I have experimented a lot the past few months and I intend to carry this on to the final part. However I have noticed that although I let myself be experimental in terms of medium and surfaces, however I still maintain a sense of delicacy through out the entire part. It may be something that I do unconsciously but I like to make each and every work of mine precious even though I adapted an intuitive way of working I still make it remain refined. This is an interesting point that I would like to take forward because it relates to the idea of preciousness of a childhood and preserving nostalgia.
How I want people to engage with my work:
- I intend for my work to trigger the audience's memories in some way, hoping to achieve a rush of nostalgia and longing when they see my work and the familiar tones and colours.
- Also, I want my work to be very personal to me, but still remain relative to them in some way
- Make the work very delicate to make them want to interact and touch it, want to treasure it, as memories are precious. This could be done by the type of material, eg very soft material and small details.