Travelling home from Wales to Northern Ireland to see my family for Easter something happened that I witnessed really captured the fragility of the human condition and made me face the reality of our existence as the human race.
My flight home was delayed for two hours because of high winds and also engine malfunctions, but finally getting on the plane late at night thinking I could read some of my books for my dissertation to pass the time. The cabin crew were coming around with their trolley for snacks and drinks and were getting closer to me the woman next to me in her mid fifties was asleep and so seemed like everyone else on the plane. This was when the turbulence started rocking the plane up and down, suddenly the seat-belt sign came on and at this same moment the lights went completely off in the plane. The cabin crew looked around and then the cart went flying spilling a cup of tea over me and smashing into the back of the plane. Everyone woke up and was in a panic. It was a thunderstorm outside and the woman beside me started jolting then she started having a panic attack as did many others. She asked me if she could hold my hand I said of course hoping it would calm her down. As the turbulence got worse I had to get her breathing deeply again but she was in a mental state which I couldn’t free her from. Seeing this woman who is a stranger to me need to hold my hand and help her through the idea that she thought she was going to die made me realise a lot how delicate we are as humans. She thought it was the end for her and was crying and loosing breath but needed comfort from anyone even a stranger like me. Seeing someone in that state mentally and how it impacted on the physical body, breathing and crying was really integrating reflecting back on it. Coming face to face to a person feeling like they were going to die in that moment was terrifying and enlightening. The way she looked and how she forced her energy of pure loss of control of her own existence into my hand I could feel her pain as if I was watching her being slaughtered from the inside out.
She eventually calmed down after I got her a glass of water and the turbulence stopped. She started explaining her panic attack in detail of how it felt for her. She said that she thought she was going to die and that she felt like it was the end for her, so her mental state caused her to go into this frenzy of almost giving herself a heart attack because she could feel her “life flashing before her eyes”. As an outsider trying to help her and seeing her condition made me see how it effected her from the visual outsider and also try and understand her experience from the way in which she described the situation within her mind. She couldn’t stop shaking even when we landed I started to talk to her about her family to try to calm her down and I think this distraction worked. The reminder of her family and better times she has had within her life as she explained things like her daughters graduation day and where she lives stabilised her. You could see that this was one of the worst experiences she has ever had and for me seeing this and reflecting back on this moment makes me see how fragile we really are and how we all are wounded from within as well and our outer body reflects on it. In some ways we try to release it physically by holding someones hand to make your self feel that your not alone and crying, how the body oozes water out of our eyes as a way of removing the negative energy from the body and freeing it.
I feel this experience on reflection has made me really come to terms with what I am talking about with my dissertation of how we are all very fragile forms that crumble and are weak. This and many other moments in my life will make me want to further my understanding of the human condition both mentally and physically through writings and essays from physiologists and psychologists and how artists encapsulated these ideas into their work.
An Installation: Any arrangement of objects and materials or images can be claimed as installation art
Is installation a distinct artist practice?
Any arrangement can be installation, no specific process is involved
Where did installation begin?
cave paintings in Lascaux?
Sistine Chapel, Michelangelo?
Marcel Duchamp, Fountain?
Where ever it was created it is nothing without the gallery, Conceptual installation needs the gallery space to be art.
Panoramas became popular across Europe and became a more elaborate way of working creating illusion.
Hendrick Mesdag, The Mesdag panorama 1880, increased illusion with environmental pieces e.g. sand and other materials which made the environment feel more real. This panorama is lit by daylight making the shadows change, illusionism is increased by the moving of natural light. Lack of spacial queue increases illusion as it includes more than a painting. Some of his panoramas contained sound to further the illusion
2. Mass spectacle
The illusion that you are inside of something. Engulfed within a space.
Gesamtkunstwerk- this is translated as a total work of art and is when the spectators’ senses are being attacked by all or many art forms e.g. music, poetry, painting, drama.
Richard Wagner- The Ring Cycle 1848-74 -This is artwork in many forms and is every way of representation overflowing of dramatic gesture.
Robert Wiene, film stills from the 1920 movie “The Cabinet of Dr Caligari”. The scenes are painted and dramatic lightening is painted encompassing the whole space.
4. Modernism– an attack on easel painting
El Lissitzky- Proun Room. This piece spreads around the whole environment creating a new world or environment.
There is not just paintings but posters and slogans on walls, the whole wall was used.
1st international Dada fair- This was a show of Dada artists work in Berlin in 1920. The mannequin on the ceiling is dressed in a German military uniform and has a pigs head on it. as this time was just a couple of years after WWI this was highly offensive.
Kurt Schwitters, “merzbau” was Schwitters equivalent for Dada. His studio was made into an abstract sculpture but there was hidden compartments with pieces of his life and pieces that were meaningful to him, making this piece of work sentimental and highly personal.
El Lissitzky- Soviet Pavillion, Dresden 1928
Propaganda for Russia was displayed on every part of the building. The use of three large belts was playing on the idea of motion and the piece can do more.than just wait quietly for the viewer to come.
Marcel Duchamp- Coal Sacks, This piece was 1200 coal sacks hanging down from the ceiling of which you walked under. The piece’s intention was to imaging the sacks full of coal, making them threatening and a danger. This piece was part of a larger exhibition.The International surrealistic exhibition in Paris in 1938. Beds for artists, the floor of the exhibition was gravel and earth with the place having an overwhelming smell of coffee. The sound in the place was the sound of someone laughing, shown in a dark environment, this overwhelmed the visitors, visitors were given bike lamps to see. The over all effect on the viewers made this an overwhelming environment.
Marcel Duchamp- One mile of string made in 1942. Duchamp took over a gallery covering it from corner to corner in taught string making it difficult for the audience to see the artworks on the wall. The string occupies all the available space and the artist brings kids into the space to distract the viewers.
Yves Klein- The void 1960. This piece was the audience was given a blue vivid colour cocktail when they arrived. the gallery they went into was entirely empty with nothing to look at other than white walls. The dye in the drink would later turn their urine blue. The work thus had a shared and a private dimension, waste product of the body leaving the gallery.
Claes Oldenberg- The store 1961. Making ordinary consumer goods; replicas made in mesh were messy, inadequate, oversized, the painting of the wall itself,the display cases reused to become a part of the installation as a whole.
Allen Kaprow-Words 1962. This piece was a dusty environment were visitors created the work themselves and used the words to make new poems and become creative actors within it. A number of record players in the space on which the visitors were invited to record onto and play into the space.
5. Modernism- The installation shot
Photographic reproduction became cheaper individually and collectively and more widely shot. What the work looks like inside the room and the relation of the object and the spaceit is not difficult to imagine them to create this installed space.
Joseph Beuys- The Pack. Collectivity is evident, the photography of this work makes the work look so good as it has been made to look good to reproduce.
Survey 1. Spectacle- The minimalist panorama
Richard Wilson- Oil black floor. The silence within this piece is consuming, disorientating the viewers, giving them a sense of vunerability. The flat reflective surface only has a thin layer of oil through it, however it appears to be deep. The reflective surface gives a sense of vertigo.
They create an imbalance between the viewer and the work. This imbalance may be experienced as:
The idea is to limit perceptual stigma on the one hand and on the other floods the viewers.
Olafur Eliasson- Weather Project. This artist very cleverly plated the ceiling with mirrors to massively increase the sense of space. Interestingly this lead to a change in behaviour among viewers. Many lay down on the floor to contemplate their reflection high above.
The change in behaviour makes this a relation work.
Both these works use reflection and contemplation to product a benign sense of the infinite.
Yayoi Kusama, Installation sense( or mirror room) 1992. This piece uses reflection in a more aggressive way. She is interested in how repetition and reflection can cause objects and individuals to disappear. She often photographs herself as an object being absorbed into her environment. However this is not a self portrait it is more that the artwork is containing her, engulfing her as it dangers and dominates her.
Mona Hatoum, Marbles carpet. This piece was an aggressive use of space as the marbles forced visitors to walk around the edge of the room. Her other work, Light Sentence is also quite disturbing as the moving light at the center of the installation creates threatening shadows which tend to keep visitors towards the edge of the room.
Cornelia Parker- Cold, Dark Matter. In this piece the use of light is in quite a different way from the previous artists. The material stays constant it is still the same shed and the same amount of light within it from beginning to end. However as the form changed after blowing up the shed the light coming from the center of a once functional shed shines around the shattered pieces of wood. The light tends to draw the visitors in as the objects are presented with life to them.
Cildo Meireles Missoes- how to build cathedrals. This piece contained 600000 coins, 800 communion wafers and 2000 animal bones being hung from bags above the audiences’ head illustrating the power of religion.
2. Narrative Installation
Ilya Kabakov- The Man who flew into space from his apartment. How do we know what the story is, the work shows a habitable but unusable space with doors, beds,tables e.t.c. Often the viewer is kept out of the space. The man who we imagine living in this room has dreamed of flying into space. The artist planned to take a whole disused apartment block and in each flat make an installation about a particular obsessive character.
Louise Bourgeois- Cell XXVI. Her work is more abstract than Kabakov’s apartments, but they present us with an enclosure and a sense of habitations, questioning what form of life is this? We feel empathy for the being in the cage fearful and full of anxiety as the body turns into shit. This piece is a self reflection of the artist’s mental state looking at self reflection of feeling trapped in a metaphorical cell, we dive into the human mental state. You are not allowed to go into the cell however your imagination lest you imagine going in and getting trapped inside your own head. You can look into the mesh and look at the being but you can never feel what the being can actually feel as we can’t get in.
Louise Bourgeois- Cell V. This piece contains heave dense balls behind lots of doors enclosing them into a small space. Is this home or are they trapped as there are ways in and out of the cell.
Louise Bourgeois- Hands and Mirrors. There are doors within doors in this piece and inside there are many mirrors. We question what are the hands doing? showing affection/aggression?
What is evident in all of these pieces is that the closure is dominating. Is this connected with a child’s curiosity and fear of the adult world? Louise Bourgeois uses the spider in her work to symbolise her mother. Seeing sewing as a livelihood and feeling of being a bad daughter, maintaining the mystery she hasn’t been able to get into order.
Mike Nelson- The coral reef. This piece makes the audience question what might have been going on in each installation. Difficulty to relate to the direction, disorientation is in someways threatening as the installation portrays forms of life being in neglected parts of the city. It is not symbolically unsettling, partly ridiculous, all rough, not a fine work, narrative/inhabitant in each and all of them disorients the viewer.
3. Relational Works
Relational aesthetics- Human relations. This type of installation makes the audience react differently than they usually do in a gallery space prompting the audience to work with each other. This type of art produces a model of sociability, deconstructing the rules of everyone looking the same way at several paintings on the wall, each viewer gets an individual experience. Is this form of art more or less democratic? Artists could equally spend their time creating an arena for social interaction.
Helio Oiticica- Tropicalia. In This environment you can explore, lie down, even having a cup of tea can be appropriate behaviour in this art form.
Ernesto Neto- Walking in Venus- Blue Cave. spices and flour are in the giant bean-bag like surface, they release a smell which is noticeable but not overwhelming. the artist wants people to play with the objects he makes, they are to interact with and the art form is not complete without interaction.
Humanoids- These pieces can only become art forms when people put them on. They are not designed to do anything but make people communicate and laugh with each-other over how foolish they look and feel in these forms. sharing foolishness with other people, have a bond with people doing the same thing.
Pipilotti Rist- Pour your body out. This is not just a piece of video art, it is also an installation with more than one screen, this piece encourages different while watching it as their is big pillows to lie and sit on. You could have a conversation with someone and it could actually compliment the video instead of fighting with it.
Pipilotti Rist- Lap Lamp. This piece is more about the individual than the audience as you are forced to watch the projection on your lap and as the audience enters the space they feel as if they are intruding on something personal as the projection makes the one watching the projection vulnerable.
rirkrit tiravanija- Untitled. This is an artist who creates the gallery into a space where people can come and get free food. He divides the room, making conventional gallery behaviour exposed to those eating in the space.
rirkrit tiravanija- Fear eats the soul. This piece is democratic as it opens people up to having a conversation.
All his work is temporary events, with traces of the event left on show referring to the activity that occurred. Does this become art or not art? The packing cage could be a plinth, rubbish takes on another aura of art form as it feeds art world insiders.
Thomas Hirschhorn- Bataille Monument. This piece was created in a rough housing estate and the only way to get there was by a cab that was designed to take people to and from the place. It usually was closed when they got there making people interact and communicate. This shed like hut had a bar and also brought money into the area.
Felix Gonzalez Torres- Untitled (placebo). This piece is a floor full of sweets, representing the wait of his lover, symbolic, relational quality within as he invites you to eat the sweets and drop the wrapper somewhere in the gallery.
Ai Weiwei- Sunflower seeds. This installation let the audience interact and walk over the individually painted ceramic sunflower seeds making the audience behave in a non-gallery way. Each seed is hand painted and there is 2 million seeds, representing the population of china and how there is a mass of people however each one is individual. This piece was then restricted to the public to interact with the seeds and there was barriers so people couldn’t touch the seeds making it a much more ordinary piece of art. The changing of interaction completely transforms the piece as you can’t make out the individual seeds, they have just become a mass.
Is all Installation art Theatrical?
Berlinde de Bruyckere- Cripplewood. This installation is made up of wax showing that the inorganic can suggest the organic, dark, wood, created into a grotesque being, suggests more than it shows. There is pillows and rags illustrating a insured being. There is nothing wrong with it being theatrical as it makes it more suggestive.
Modernist- During this period in art, artists were showing more painting with brushstrokes shown clearly and where honest about the paint. Paint was declared as paint on the canvas and the public was disgusted by this change. This was true to the paint but theatrically it was seen as impure as theatrical qualities were for decoration and suggested an over exaggeration.
Is it better to represent something or experience it ?
Casper David Friedrich- The sea of ice. This piece I believe is a greater representation than the experience as it shows the emotional coldness within it.
Anya Gallicco- Identities and surfaces. With this work you can feel a physical coldness within it.
What do you understand by co-existence criterion? How can our behaviour in relation to an artwork be used to judge its quality, social discipline, exercise of power, in the presence of the art work can judge the quality of the artwork.
Richard Serra- Slanted arc
Liam Gillick- Discussion Benches. Are they working? Social exclusion. Gillick is happy for people to ignore his work, he makes it to not hold visual interest. Instead he has posters and prompts for discussion. Cooperate conversation existing. His piece “Rescinded production” was the background to other activity.
Carsten Holler- Test Site. You as the audience become part of the artwork, an object for other people. people willing to queue can be the artwork in itself. Is it a democratic form? Visible yet private experience, it is a sketch of how a city could become. This became an advertisement, experimenting with concept, confrontation death, cannot change the order you just have to submit to it, a brush with mortality. Everyone is reduced to a child-like state.
Santiago Sierra- A 160cm line tattooed on 4 people. This piece really interested me, He got together prostitutes and drug addicts and paied them the equivalent of two blow jobs or a shot of heroin to get this line tattooed on their backs. When it was happening they were laughing and joking at them all having this line on their backs, however that line will be with them forever, mental scared, their bodies are not their own they are used and are not their own self.
Santiago Sierra- workers who cannot be paid, remunerated to remain inside cardboard boxes- This was a rather uncomfortable installation as people were paid to be in a box. As a form is this democratic? This is a political statement. The concept behind this piece was make the issues with benefits and guards that are paid to do nothing to be made aware of. They were paid to be in a box, this changes the way people react to the boxes as people are caged within them for up to 4 hours in a box. This piece made aware the repeating problems occurring in society, creating people into objects.
This summer mostly I have been working in the cinema in my local area. Working in such a busy environment let me observe people and the way they respond to certain things, I’ve seen first dates, families, kids groups, couples, teenagers, pensioners and people with special needs. It has made me really see people from a first-hand perspective. I can’t help but observe the sunburnt people coming in from the sun and seeing the different colours of skin. After a while I was tired and they all turn into just the same blob of organisms and cells walking up and repeating that same movie everyone else has been going to see. I’m repeating myself and repeating this same process over and over to different people it makes me question my own sanity at times, because I am not even looking at their faces or remembering them in any way because all I am doing is serving them. When I think about it, it’s quite sad but I think the way I am feeling about people now is the way many of us see people, we can’t hold every single person we see or talk to in our memory we can only mould them into people with our imagination as that memory has lost of them.
I found Constellation really interesting this year, as we got to see different lecturers talk about different aspects of Art and Design. It has been exciting to learn a different key element of Art and Design in lectures each week as none of them were the same. As a Fine artist I found a lot of the lectures relevant to my work as it helped me further my understanding on key artworks, and also on my perception of things. I really enjoyed Cath Davies lecture in particular as it talked about fashion and the meaning about the Doc. Martin boots in culture today and in history. She talked about branding and how it adds a statement to the boots giving them an added cultural meaning in visual and material culture. She went into detail into how Doc. Martin boots can give you an individual fashion and political statement which made them more meaningful as material things tell stories and when you buy them, you buy a piece of that object, a memory or buying the story objects have. I really enjoyed how she made a pair of shoes and their history interesting and deep within meaning, changing my perception of them.
For my essay options and Constellation groups I could pick, I was going to choose Cath Davies, however as amazing as her lecture was, It I felt had no relevance to those like me who paint so I decided to pick Dr. Martyn Woodward, he wasn’t in previous lectures in former terms, however his proposal for what we would be looking at was really interesting as it was on Embodiment and Unseen forces we do not see occurring. I really loved my weeks in Constellation when I picked Martyn Woodward as every week he opened our minds to new ideas and different ways in which to look at things and discover a deeper, more significant meaning within artworks. In the first week we looked at how the expression of line could portray a different emotion within an artwork and how it the thickness, speed and structure of how the line is produced could change the way in which we view artworks. I really enjoyed his lecture on week four as it really resonated with me. We looked at unseen forces within the world around us and the idea that we are connected to the world around us. We looked at work from Maurice Merleau-Ponty’s essay “Eye and Mind” and I did some further reading into the essays of Merleau-Ponty after this lecture. We looked at how the flesh of the body extends into the flesh of the world and how painting is a process of capturing forces we cannot see however we can feel happening. I learnt from this week that the task of painting is to render visible and this made me look into the work of Edvard Munch. Edvard Munch I felt within his words and artworks he describes similar forces to that of Merleau-Ponty’s portrayals of our connection to the world around us. I began to look at Hidden forces we cannot see occurring like gravity. I investigated gravity by dripping watercolours from the top of the page to the bottom. Drips on the surface moved down the page if I tilted it vertically this had already been investigated by others and in some ways didn’t interest me as much after I experimented with it, so I decided to look into more physiological forces instead of scientific forces. I questioned the force of eye contact and how it has a fix on your body when someone makes eye contact with you. Eye contact can say emotions feelings of someone in ways in which words can’t. I looked into the work of Edvard Munch, specifically his work he created with people making eye contact within them. In these pieces he described eye contact as “tiny threads” going from each of the figures eyes connecting them together. He paints these fine threads in his work, that idea of creating these forces seen in his art really intrigued me in how he changes our perception of how we, as an audience, react to these invisible forces.
I really enjoyed developing my essay and developing new ways of perceiving forces of human connections. It made me as an artist, more open to illustrating these forces in my artwork. Constellation has really helped me as an artist look into artworks from a more physiological point of view, and has made me open to new theories and ideas in which I can bring to my future artworks. Martyn Woodward’s lectures every week captured my imagination and made me perceive the world and embodiment in slightly different ways each week. I have learnt a lot within each week of constellation and with embodiment and the unseen, it made me as an artist want to explore deeper within these paths of perceiving art from this deeper much more meaningful view.
For this project of “The City” I explored the power and influence the city has on us as human beings, and how advertising can manipulate our thoughts. I initially looked at WWII, propaganda within Germany and how people were treated in concentration camps. I looked at the way in which prisoners lost control of their lives due to those in power. I explored subliminal messaging within my work that made me realise that advertising, like propaganda in WWII, can change our perception of right and wrong. Advertising can manipulate men into wanting a product on an advertisement because they are sexually attracted to the women placed beside it. The woman in this sense, has become an object of his desire controlling him to think if he buys this product he can get a piece of this woman in the advert.
Looking at power and control within my work, I explored advertising that has created women into these objects of men’s desires. This made me want to look into how they perceived right from wrong. The models in adverts are inviting them in to look at women in this way. With this in mind I wanted to illustrate the ways in which women could lose control of their lives, due to men who have been brainwashed into thinking it is appropriate to undress a woman with his eyes in an advertisement so he would think that he can control this woman in any way he wants even through rape.
These pieces I did over a series of time by mark making and using oil paints and Alkaflow to give a glossy layer to the surface of the paint. Oils were quite challenging as I have never used them before but I have grown to love them, the way they sit on the canvas surface is so beautiful and blended so well unlike the plastic look acrylic gives. Each of these pieces have some form of sexual act going on from within them, every single piece has a rape scene melting through the mark-making of the background. I was influenced greatly by the work of Cecily Brown and her use of mark making. With my mark making most of them are short marks made on to the surface using warm colours of pink, red, orange, purple and so on. I wanted to blog about them on the same post because they all have the same feelings within each of them. I thought cautiously as I let my figures melt into the background, some are more evident what is happening than others but all contain forced sexual acts of rape. Rape I was looking at because advertising changes our perceptions of what we see as right or wrong as I have wrote about before in other posts. These pieces I looked at the colours and marbling of Bacon, Gammon, ham, steak and
any other pink meat I could find in the fridge to give the look of flesh. Raw meat helped me pick my palette of colour I chose for most of these pieces. I enjoyed creating these marks and building them up over each other letting them melt together to form this meat like quality. Most of the figures I used one colour which was lighter or darker than the background to create them and make them melt within the background whichever way the paintbrush let me to go so. All these paintings are very two dimensional with no use of shadow just blobs of colour to emphasise a rape or something horrible occurring. I looked at the work of Kara Walker and the way she only shows shadows of people on her white walls, it is very two dimensional but it really does makes an impact. I really liked this idea of having it flat in contrast to my dolls because not only does the colours appeal to the viewers eye as sweet and innocent, but when they see the characters emerging from within the background it makes something that is sweet into something rotten and disgusting making them question why they enjoyed it in the first place, in the same way as how if they could see what advertising does in manipulating them, changing their perception they would think more cautiously of what is influencing their thoughts and they may see women as humans instead of objects in advertising.
For my final piece that is influenced by my group work I have decided to work in 3D creating more dolls and having them as a series of pieces. Group work has influenced me as our theme was influence and control and by looking at ways in which we could be controlled by what we eat, with this in mind I wanted to look at influence and control but within advertising and subliminal messaging throughout the city and how the perception of good and bad has changed due to being manipulated by advertising. These dolls to me are a memory of childhood and this world of imagination we created around dolls with playing with them and giving them a life as children. I feel this childlike to my dolls but there is a guilt behind me having this feeling as I feel that something is wrong with me enjoying these dolls as they are doing horrible sexual acts. There is memory of childhood enjoyment and a guilt for enjoying dolls which are not for children. I created these dolls so when someone else looks at them they have this response.
The other two couple of dolls I used actual doll parts and disfigured them by melting them and burning them with a heat gun to illustrate how advertising has disfigured people’s perception of what is right and what is wrong. For me these dolls are another form of drawing I can stitch them and create them in any way I want as an artist even how I can control the situations I put them also can be evident within them as I was the one who made them rape each other. However this is a response I had to how advertising objectifies women, men can wear the product they buy so they are buying the women in the advert to wear also, this product will get them this object-women if you buy this product.
These dolls I gave him real dolls arms and for the woman I gave her melted legs and a doll head, I sewn on breasts and genitals onto both and then made my sculpture through swinging them untidily together. I then wanted to show pain in a different way in this piece so I god strings of wool and died it read and sewed these strings onto her genital area like strawberry laces you buy in a sweet shop to represent blood coming from inside of her and the forcefulness of the man who is raping her.
These dolls have melted pieces from the same doll. The male has melted legs and the woman-doll has the melted torso. This piece was really fun as I wanted to make it out of proportion. The woman-doll has longer arms than the man I wanted to play around with how I could show pain again but in the expression of the woman forced down on all fours to take whatever she is given by the forceful man-doll. I started to sew singular blue threads to the centre of her eyes and let them hang to the table, I kept on putting single threads into her eyes until I was satisfied that they represent the floods of tears the woman-doll is producing from this amount of pain the man-doll is causing her.
The dolls I have made are made from tights stuffed with newspaper and cotton wool. I gave them faces by stitching them on with my bad stitching skills however I think my bad stitching gives these dolls a more naive quality. I gave them genitals and made the male doll rape the female doll by sewing him on top of her by his genitals to hers. When I made this piece it was like I was creating images from my head on to these dolls. I am really happy with the outcome of my first rape scene made from dolls as there is no love involved, no joy but a child-like pain, and a obscure violent scene for dolls to be in as dolls are these pretty playful things. But there is nothing happy about these dolls I have made there is no love between them. I really do love making dolls and using my influence of Jose dos santos I can thought provoke my audience in the way he does with his dolls. Their expressions on their faces are dazed he really doesn’t care what he is doing to her as long as he is having fun she isn’t important to him, she is his plaything. She has no control. she is his doll he can manipulate and control in any way he wants.
These two large paintings I did in oil colour. As these were my first large scale experiment with oils. I wanted to look at blended soft backgrounds in comparison to unblended harsh marks left on a canvas. I enjoyed painting both as both I had to adapt very different techniques.For the blended one I used more lighter and fresher tones to create an innocence within the paint in comparison to the subject matter I was painting. This piece had a surrealistic quality about it that I liked seeing the figures fading into the background as if they are connected to the background by their skin I made me want to try making the figures fade in the background of my unblended experiment. The unblended piece was interesting as I attacked the canvas with colours and jagad brush strokes as well as blending the figures into the background by making marks on top of them. This piece I enjoyed more to create as I was giving the paint and brush strokes of energy I lost control of my painting techniques with piece as a rape victim loses control of herself when the rapist takes control.
Cecily Brown’s work has influenced me quite a lot to do what I am trying to say in my work with the use of mark making instead of a realistic approach. Her work illustrates people having sex and doing other sexual acts, however she does this in a quite interesting way she makes her figures in her paintings connect to the environment around them which she creates which is in some ways abstract. She creates an energy within her work which feels alive and a movement within the way the paint is placed on the surface and the palette of colours of which she chosen in the painting reacts instantly to the eye. Her range of colours she uses are mostly from skin colour to red creating sometimes this meat like texture. She does something within her work that makes me as an artist excited, she brings her work to life and in some ways eliminating shamefulness and bringing sexual acts to life in the painting mot by the figures but by her brush strokes. The energy of her brush strokes are alive, bold and confident, these brush strokes make us feel the energy she is showing us without even seeing the figures, the figures only show it is a sexual energy she is capturing. For me her work has inspired me to try mark making more in my work as realism pieces do not justify what I am trying to get across in my work, I want people to enjoy my work and feel the energy I have put into each piece but also feel like what they are looking at is wrong. Unlike Brown’s work I want to use this technique to capture something slightly different, yes i want that energy and for my palette of colour to be kind to the eye, however I want to engage my viewers into feeling that this energy is not a kind energy I am creating, but making them visualise the pain of losing control of yourself and someone dominating you.