Field Overview

My field started with figurative modelling. I was unsure what to expect when I first signed up for this field, but I am extremely happy with the outcome of the whole project as it led to some of the major techniques used in my subject project. Clay is something that I have used before, but nothing to the extend in which I had to use it in this project. I learnt many techniques and different ways of manipulating, constructing and building with a variety of clays. Although, during the couple of months, I realised that me and clay weren’t the best of friends; perhaps I was thinking to much of what it could be rather than what it was? Either way, I created more pieces that I was unhappy with, than I was happy with. This did put a strain on my field project but I was able to overcome this by drawing with charcoal. By using Charcoal and paper, I was able to try new ways of drawing, such as, 20 second drawings, drawing with expression, life drawing and so on. This connected my field and subject and made me take a different and more exciting path for my subject work. In the end of this field, as a group we made a collaborative final piece which went on display in the foyer of the CSAD building. This was something that I had never done before, and working as a team can be a challenge but luckily I was paired up with some amazing people who I can now call friends. Our final outcome was delicate and narrative. We all contributed 1 or 2 pieces of art, whether it was 3D or 2D. The feedback we got from our collaboration went really well and not only this but we were commended for our teamwork.

Preparation for our 8 day trip to Morocco started before Christmas, We were asked to research Marrakech before our arrival at the end of January. The few weeks before the trip, I was extremely nervous and didn’t quite know what to expect, despite conducting research throughout Christmas. the sessions were compact with preparation for this trip, including lectures and workshops. Alas, I felt nothing could prepare me for such an inspirational, once in a life time trip. The week of the trip, and  I learnt so much from being in a culturally different environment. The colours, smells and people were so different to our life in the UK and at times it was quite overwhelming. The market places were phenomenal. People everywhere, bartering and cat-calling the people that walk past there stalls. The roads, packed with cars, donkey/horse carts, motorbikes, all pushing past like they were desperate to get somewhere (most of which would have definitely been illegal in our own country).

Whilst I was there I came across the Jinn, which had been mentioned from time to time and could be seen in peoples day to day life. At the Hotel, rose petals were placed on the sinks, fountains and toilet lids to keep the Jinn at bay. The Jinn, I soon learnt, was a mythical creature that was found in the Quran. They are mischievous creatures that cause havoc on the people and can only be kept at bay with an offering of rose petals. I found this extremely interesting and I knew from that moment, that I wanted to continue my field project on this subject. Coming home from this trip, I began researching in to the jinns. The information I found was that they were described as being born from the ashes of fire. This instantly made me want to interpret these creatures for myself. I began testing with materials such as fabric and ink. creating inkblots with the sub-conscious was a key medium in this project and was influenced by my subject and last field project. Further testing with ink and paper, started to influence my subject work as I moved from charcoal to ink.

Both field project had a large impact on my art altogether and I have learnt and experienced so much in the past year. All the techniques have been used their full advantage and I believe they will continue to be useful to my practice.

 

 

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Field and it’s influences on Subject

Both, figurative modelling and Morocco, have been incredible influences within my subject work. Figurative modelling made me realise that drawing freely and within certain time frames gives amazing results as to the final or even half finished pieces. Not thinking about a piece too much is something that I had always turned a blind eye too because I felt I couldn’t create like I could if I thought about it beforehand. To my surprise, the sub-conscious mind is very powerful and led me to start drawing creatures with a few flicks of charcoal on paper. At this point, my project took a turn for the better and I was drawing freely and sub-consciously.

As for the trip to Morocco, the ideas of the Jinn ( a mythological, religious creature that causes mischief and chaos) was a common figure which was brought to my attention throughout the 8 days spent there. With my constellation relating heavily to my subject of  the sub-conscious and perception, I knew that the jinns was a perfect project to undergo and try using art to show my understand of what Jinns are. With this also relating to my subject work, I knew I was taking on a fascinating and free project or trying to understand spirits and the way we perceive them. My thoughts on what Jinns could look like, came from it’s original source, the Quran. The Quran describes these sprits as animal/ human-like figures who are born from the ashes of hellfire. This made me start using ink-blots and creating creatures using ink. A lot of this was inspired from the figurative modelling project, as I wouldn’t have thought about this if I wasn’t apart of such a helpful and inspiring project such as this.

My interest of individual minds, spirits, mythology and history is definitely present in all the projects that I have undergone this year. I have never been more excited to see where my work will take me and I believe spirits will be apart of my practice for years to come. As I am doing my dissertation on such a subject, I will be carrying on with this particular subject in my final year project as well. Without the help and inspiration from both the figurative modelling project and the Morocco field trip, I doubt I would be where I was today, excited and intrigued as to where this project is and where it will be leading me.

The field projects continue to inspire me in my current practice and in my side projects, such as ”a drawing a day”. I create fully made characters based on the creatures made from inkblots. Not only this but as I walk through the park where my site project takes place, I am constantly reminded of these creatures imagine them really being there, it makes my journeys rather magical. the field projects help me with drawing in general, when I am stuck with what to draw or having an art block, I am able to remove that block and create by just using spontaneous strokes with different mediums.

 

Lotte Reiniger and Walt Disney

Lotte Reiniger, a pioneer for animation and in particular, Silhouette animation. Originally from Germany, Lotte created over 40 animated films in her career. I have taken interest in her work, which was originally brought to my attention by ‘the book of animation’ which discussed techniques of animating throughout the years. Lotte was an Artists which started the book off. I was enthralled by the stories that she told using simply black and white silhouette characters. Although there was little detail in the characters being portrayed, there is always a so much detail in the backgrounds and as a viewer, I always understand what is happening throughout the story.

Walt Disney, a world famous artist and key figure in animation and it’s history. As I start to develop my own work I seem to realise that I have been unintentionally influenced by the classic Walt Disney animations. Although both mine and Disney’s are done in a different method, there still rings a type of nostalgia in my developing work which I can’t help but relate to the animations created by the genius of Walt.

As for my own work, I have been inspired by her since the first idea’s of using silhouettes to portray spirits. As I have said before, Lotte’s characters are simply black but are very readable in emotion and movement. The spirits that I draw lack much detail because I want people to imagine for themselves, what spirits would look like. I don’t want to force feed an idea of what spirits look like and therefore keeping them simple with a silhouette style, allows them to keep the imagination free and open to the spirits which I am bringing to peoples conscious mind.

 

Animation progress

Currently, I am working on the animation to accompany the illustrations for my final piece. Hours of work and I have barely scratched the surface, but I am happy with where it is going so far. With inspiration from traditional Disney animation and animations by Lotte Reiniger, I feel confident I can create an eerie yet magical animation with a modern touch of using photoshop.

A glimpse of the animation can be seen here:

 

Site exhibition 2nd may 2017

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This whole experience has taught me how to be an independent artist and organise my own exhibition for others to see. Working with nature is unpredictable and worked against me through out the whole day. Despite it being sunny, the wind was strong and throughout the hours, I had to flip over/chase down some illustrations which had been fighting with the breeze. as annoying as it was, I had expected it and embraced it as part of the whole experience and exhibition ‘performance’. I had a few people ask me what the whole thing was about which was exciting but also daunting as I didn’t really get an opinion from anyone who had walked by.

despite what had happened, I was happy with how the day turned out. It started off rocky, with park workers ripping some work down and telling me I would get fined for putting work up (despite having permission from the council) but ended well with seeing many people interested as the walk past, not knowing what the were. I could see people’s mind work as they tried to understand the creatures, which gave me a thrill.

 

Preparing for the Site exhibition

As I prepare for the site exhibition, I focus on how I want the individual illustrations to look. I have photocopied the 25 illustrations which will be hung up with string, around the park. I was going to laminate each A5 piece but I decided against this due to the fact that It would have taken the spirits out of context. I believe it would have made them feel official and almost like a business advertisement. The thought of them flowing around in the gentle breeze is something that excites me as it is completely natural and gives the spirits a life of their own. As for the string, my original thoughts were too use fishing wire, which is clear in colour and would allow the spirits to look like they are floating. I ordered some string but unfortunately it didn’t arrive in time. Instead I used a natural yarn which worked well and didn’t take it out of context.

Along with the spirit drawings, I had make some photoshop pieces that would accompany the spirits. On these pieces have sentences that I believe you can hear the spirits calling out or saying. Because they were computer made, I felt this didn’t match the idea of nature or divine. I decided to recreate these pieces using ink, I freely wrote these sentences, trying to use as much expression as possible.

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Personal Statement

Sophie Woodrow, the artist of my choosing, has in no doubt inspired me. As I start this project and decided to work closely to the work that she does with porcelain creatures, I never knew I would learn so much about me and how important my sub-conscious mind can be.

This year, All of my projects are linking in very well. my dissertation, field and subject all have something in common and I have never been more excited to create works of art that not only mean so much to me, but hopefully make people understand themselves more as well.

My interest in character design, history, spirituality and mythology has had a massive influence on the way I am working. Both subject and field have combined into one and I have learnt a lot about new cultures and continue to do so.

The way I am working, with ink, is a new field for me but It is definitely something I will continue to work in. The sub-conscious movement of the brush has become clear to me, its exciting to see a character emerge that i will never be able to replicate.

Without Figurative modelling, I would have never have found this technique of 10 second drawings, mark making or impulsive drawing.

As for Morocco, I was able to discover a creature called the Jinn which has inspired me in creating a ‘thin place’ for the site exhibition project. the thin place is referencing to the celts connecting themselves to the spirit realm.