Bridget Riley To a Summer's Day 2
Phenomenology Of Perception by Maurice Merleau-Ponty
Miho Kajioka: Unfinished Spaces
I came across her works by chance when I went to the Photographer's Gallery where her works are in the area that are purchasable. Miho Kajioka is a fine art photographer, and her works sprung from when she was reporting as a journalist at Kamaishi city when it was struck by the tsunami and earthquake in 2011. She was inspired by when she saw roses blooming next to a destructed building. I could only imagine the beautiful contrast between something so graceful being juxtaposed alongside something devastated by the hands of destruction, and when she saw this she knew it was impossible to use words to describe in a normal journal, so that was when she decided to come back to art as a way of expressing.
This was a good example of a Japanese tradition called Wabi-sabi (侘寂), and since then, that made her works revolve around this concept. The definition of Wabi-Sabi is the acceptance of imperfection and transience, yet still finding beauty in it.
Distinct properties of the of wabi-sabi are: signs of imperfection, asymmetry, simplicity and unrefined roughness.
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.
Lazika, Georgia, 2013
Lazika, Georgia, 2013
I was drawn to this piece because of two main things; it's colour and the way it is positioned. Normally, I would see paintings and artwork within The Photographer's Gallery, or most galleries to be placed prestigiously on the wall, mostly at eye-level. However, This piece was placed very low and it required me to bend down to look at it. My initial thoughts were I wanted to know why the artist had chose to put it at this level.
Still Life With Flowers -Dee Ferris
Dee Ferris' Work caught my attention because her works are beautifully captivating, using layers to create this sense of fogginess and distance. Somehow, looking at her work, I can't help but feel this lingering feeling of melancholy, like I am missing something.
I find that her works align with my project and my aims because although the painting seems abstract and it is hard and subjective to tell what object is in the painting, it gives off a very specific feeling to the audience. I think that it is interesting how the choice of colour and blurry, soft strokes of her brushstrokes can connote such sadness.
My annotations on Chapter 4: Safe Returns: Nostalgia and Television
Nancy Rubins DIVERSIFOLIA
My Visit to the Gagosian- Nancy Rubin's Diversifolia
"Diversifolia" refers to the tropical American tree grown in southern United States, and also refers to a species that possesses a wide range of leaf. Although the exhibition did not include any colours or texture that resembled nature or plant-life but the way that the animals were arranged resembled trees.
Overall, I really liked the balance of the whole exhibition. This was because although there were many animals that looked distressed and alarmed, they seemed to be arranged in way that balances out the chaos.
Maurizio Anzeri's Clockwise
This room that exhibited Maurizio Anzeri's work seemed very uniform and organised. This was partly because this scale of his works were pretty much similar throughout the whole exhibition. My first impressions on his works were that they were very precise and detailed, and it seemed like he was adding pops of colour to black and white photography. However as I progressed through the room I felt uneasy and the atmosphere of his works seemed to be quite eerie. This could be partly due to the fact that he chose to hi light certain features of the human face such as the eye and the mouth, and once I focus on the eye it somehow turns into something unfamiliar when it is pulled out of context from the whole human face we are known to see. Also, the photographs that he used were black and white and seemed vintage, so everything seemed unknown and unfamiliar.
I was first drawn into his work because I want and intend to use stitching and embroidery in my project and would like to see the extents of what it can produce, so this was an amazing example of how detailed and puzzling the act of sewing and embroidering can be. Overall I thought that this was inspirational for me to come see Anzeri's exhibition.
Josh Faught- My visit to the SAATCHI gallery
Iconoclasts: ART OUT OF THE MAINSTREAM exhibition
I was finding exhibitions to visit for my new project, and I was intrigued at the title of the new exhibitions at SAATCHI gallery.
a person who attacks or criticizes cherished beliefs or institutions.
a destroyer of images used in religious worship, in particular:I was drawn to this word, along with "Art of the mainstream"
My visit to PACE london- Sam Gilliam
I had been to this exhibition when I was doing part 2 of the course, however he is one of the first artists that came into my head when I knew what I wanted to do for my final project, and his works are now more relevant to me than ever.
I was particularly interested in Sam Gilliam's work, "May III" and "P.A.C, And Then", also his 3d one which was "After Micro W"
I found that it stood out to me the most in the whole exhibition. This may be because of the surface he used to paint on, and the technique he used. Although he painted on a canvas but the stretcher's shape has a bit of a difference on it, where it is bevelled. This created a subtle difference but to me it was impactful somehow. Also, the techniques he uses on the canvas to create a cloth like texture drawn my attention to it because it made the piece look delicate.
Although the pieces seem to be abstract, but in my opinion the positions and the way the "cloth looking" textures are arranged gives the painting some kind of dimension and perspective, making it look like a painting of something architectural. This may only be my interpretation, and I don't know if the artist has intended for this effect to happen but I found it really ambiguous.
My Visit to Tate Britain: Marguerite Humeau: Echoes
Marguitte Humeau's Echoes
Today I went to visit the Tate Britain to see Marguerite Humeau’s Echoes. My first impression even before entering the room was that it had a very eerie and almost inaudible background voice. I couldn’t really tell what the person was saying because it was distorted but once I went into the room the sound track made the whole piece seem even more unfamiliar and alien. In my opinion everything in the exhibition seemed very manmade and artificial, especially having the tubes flowing through every piece in the room. It reminded me of a hospital. However, I must admit that I really enjoyed the colour palette that is chosen and everything was aesthetically pleasing to look at, even though the meaning behind the work wasn’t thrown at us as viewers. I tend to look at work before reading the description to get an overview idea and opinion on it first. After reading the description I realised that it was about life and death and the sculptures took inspiration from sacred animals, and the exhibition focused around poison and cure. The most interesting aspect of the meaning to me was the use of colour. First I thought that pastel tones were used simply because they were so pleasing to look at, but I was surprised to know that such a lovely shade of yellow was used because it was the shade of the venom of the Black Mamba snake.
Joan Miro's "Maternité"
Joan Miro has managed to reduce "maternity" and the love of a mother to her child to be as simple as possible. I can just about recognise the female form but if I am being honest, the title has its own purpose to help us identify what is in the painting and without the title it may be harder to recognise what is being portrayed. He strips off all the things that we associate with the human bodies of females and their babies, leaving just the emotional and symbolic aspects behind.
The work, regardless of it's lack of realism, leaning more towards abstraction still manages to convey a treasured moment in one's lifetime. The precision of his brushstrokes and ability to compose his paintings ables him to reflect the care and preciousness of the act of giving life to another human being.
I personally love the works of Miro, and since the beginning of the project I knew that I wanted to use him as an inspiration because of the sophisticated nature of his paintings. They always make me feel so calm and also reminds me of youth and childhood because I associate his paintings with ceiling mobiles because of the similar shapes
Hach Winik by Miquel Dewever-Plana
I purchased this book because it caught my eye instantly even before reading it. The cover of the book was simply so unique, and it looked so precious. When I opened to see what was inside I was amazed. Miquel Dewever-Plana had captured the essence of the people of the Chiapan forest, the Hach Wink in a series of captivating, moody and delicate selection of photographs.
Miho Kajioka: Unfinished Spaces
Miho Kajioka: Unfinished Spaces
If I had to describe her works, I would say that they are minimal, yet complete. For instance this image of sheep depicts two small figures of sheep that we can barely recognise, amidst an engulfing space of black. Her photos are very simple yet seem to make us think that it delivers a deeper meaning, and everything seems eerie yet we want to discover more about it. This might be because of the proximity of the focus points she uses within her photos, and how most of them are incomplete beings. For example we can only see the lips of a human, and also in the photograph with the lady wearing a kimono we could not see her face.
I really liked her work and wanted to research more about her because it aligns with my work and how I intend to produce just fragments instead of whole memories.
These photographs portray figures that are meant to create an effect of an optical illusion. These are created by the students of the chess school located at Khirdalan Heydar Aliyev Centre, in order to help the younger people develop their abstract thinking skills and spatial imagination.
I liked the idea behind this because when I saw the pieces I wasn't sure if they were entirely photography or edited/painted in some way because the angles that everything was placed seemed abstract and everything looked so clean and perfected.
My Visit to The photographer's Gallery, Khirdalan, Azerbaijan
Dee Ferris managed to use abstraction to portray a bouquet of flowers in "Still Life With Flowers". Although there is no clear form that suggests there is a bouquet of flowers, we, as audiences can still sense it. This is because of the colour she used and the contrast that it gives. The white is very clear yet blurred at the edges, creating this soft and translucent texture.
To me, it is like the flower is being concealed, but there is no physical wall that conceals it from us, but the way she uses her brushstrokes makes it seem more emotional and how we can't quite remember how the flower looks like because it is in our distant memories.
Neil Raitt effectively uses repetition and the idea of using patterns to create his paintings. I have also noticed that his work mainly surrounds nature and symbols that represents it such as mountains and trees. His paintings are a reinterpretation of landscape painting. In my opinion, he is a landscape artist, however he does not follow the traditional way and uses adapts a more abstract way to mirror real landscapes.
I find his work fascinating because of the pattern and tessellation seems like it was created by a machine, where everything perfectly aligns, similar to how prints are made on textiles, but he managed to create that illusion by using oil paint.
nancy Rubins DIVERSIFOLIA
Nancy Rubin's Drawing, 2018
Everything in the exhibition seemed to have similar properties. I thought that everything was made of some sort of metal, like steel and aluminum, therefore I also assumed that this piece in the corner of the room was of the same type. However, to my surprise, when I read the information about this piece it said "Drawing, 2018, Graphite on rag paper". That amazed me and instantly made me gravitate more towards this piece in order to get a closer look. I found it really puzzling and interesting how graphite could replicate such an iconic texture such as metal.
I always knew that graphite had some sort of shine when used on paper, and from my personal view point I did not appreciate as much, and preferred more matte monochrome tools such as charcoal and soft pastels. This piece of work has shown me how that aspect of a medium that I have seen as undesirable could be used effectively in order to create a whole new effect. The artist has effectively used the qualities of graphite to mimic the shiny surface of metal to transform such a matte and rigid surface such as rag paper.
Makiko Kudo- My visit to the SAATCHI gallery
This was one of my favourite painters that I have seen face to face. The paintings are so delicate and colourful. Also, immediately, somehow as soon as I saw the paintings I knew that the artist was Japanese. Personally, I admire and follow up on many Japanese artists and there's a particular style that reminds me of that. Not surprisingly, when I went up to look at the name of the artist I found out that she was Japanese. I thought that this fitted with my project very well because of the colours and paint style that the artist has chosen that was very childlike and mild.
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 this 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.
The Professor (Scott) 2014
Hand woven and crocheted hemp and gold lamé (hand dyed in colors to match the 2013/2014 fashion forecast), Indigo, wool, sequin trim, coffee spill (resin), pins, and Scrapbooking
These histories directly intersected in a specific component of the exhibition: woven replicas of portions of the Names Project’s AIDS Memorial Quilt (1987–present), the largest ongoing, community fiber project in the world dedicated to the memorialization of people lost to the AIDS pandemic. Like the film Longtime Companion, the quilt’s sentimentality and its function as a vehicle for grieving was received with skepticism by many AIDS activists, not to mention prominent members of the art world, where the same attributes were, and often continue to be, regarded as hallmarks of non-serious art. As many observers and supporters of the quilt have noted, its aesthetic and emotional power is rooted in the very terms of its dismissal; for instance, its amateurish quality is a form of craft that highlights a human touch and fosters emotional connections to handwork and materials. Faught’s signature style of decoratively dense eccentricity in fiber is similarly charged, and throughout his installation, craft was deployed in the service of a broad investigation of dismissed or suppressed histories, lifestyles, and feelings.
“He is survived by his longtime companion”: Feeling in the Work of Josh Faught
Minjung Kim- my visit to her exhibition
This was the second time that I came back to the White cube. I was pleasantly surprised and I'm also confident to say that this was my favourite exhibition in the white cube mason's yard! Upon entering the first room of the gallery, everything seemed very washed out minimal. The exhibition had a very calming and zen ambience around it. Even without knowing that the artist is korean, I could tell that the works were originated from an asian culture because of the familiar delicate nature it has. I was amazed at the detail of the work. Also I liked how each piece changes depending from the proximity in which you are looking at the piece from.
When I entered the lower ground gallery I was surprised again! Although these works were from the same artist and same exhibition with similar techniques, the ambience completely changed. These were much more playful yet maintaining the delicacy. I was captivated by how the artist had used hangi paper to create such playful compositions.
Robert Ryman's interview On Paintings And Pictures
After reflecting on this week's discussion on the Robert Ryman's interview text, I found that it affected my way of working. This is because I've become more aware of the technical aspects of my work rather than focusing on making every action have a deeper meaning. I've learnt that everything counts as the piece of art, including the way it is installed. In my opinion, I think that Robert Ryman's work could be argued as both conceptual and realist. Although he claims to be realism which is partly accurate because he is using paint to recreate white paint, however I think that there is no denying the fact that there are conceptual procedures that he took in the making of the painting, for example thinking about the way the painting is presented and the process of that too. However, in my opinion it is an ongoing debate that will never end because it is very subjective. There isn't a clear line between what is conceptual and what is not.
I just let my mind think less about what I am doing but I made sure that I was constantly doing something instead. I found it a new experience and enjoy creating without thinking but instead experimenting with ways of making. I found that it made me focus less on making my work perfect but instead focusing on developing it further through the use of using many mediums.