Documentation: Painting

One of my objectives for this last period of time in the studio has been to make a return to painting. There are certain developments ive made in theoretical and historical practise that have allowed a transition back to apply paint and concentrate my efforts, with more awareness and a continuous flow. My new work is an exploration of the abstract and the autobioraphical, which i worked with in my film piece for the final show. As well as working towards my degree show im creating a series of works for a solo exhibition in Geneva late this summer. I intend to improve proffessional aspects of my practise with this opertunity, in line with plans to continue onto the Masters of Fine Arts course in September.

Ive taken to my space in the studio, and used tutorials to improve my contextualisation and proffessional understanding, with pier criticism being central to  this period. As usual ive photo documented my process, and had contact with the woodwork shop to create the sixteen canvases i need for the project.

Key Moments: On joining the course three years ago, i decided i wanted to make a departure from graffiti and initiate an adventure in fine art painting. To be returning to painting now  and to create a final statement in paint is a final objective and is also bridge into my MFA, via self directed study over the summer.

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Context: Spalding Gray

i was surprised to watch a short cut from the film ‘Drunks’ featuring Spalding Grey acting. It made perfect sense that the clip featured a monlogue delivered in character,  a perfectly flawed alcoholic at an AA meeting. Its interesting that Gray is in acting, it makes sense. Some people cross over boundaries in the arts. I think his role is expressed in part as an autobiography, true to life in action. His father was an alcoholic and his mother suffered from severe depression.  He is only afterall acting and to be a good actor must require preperation and purpose, also sensitivity and understanding.

This relationship between acting and making art films is an interesting parralel. It makes me think of the artist and his subject, his field and his intention. In my work ive reintroduced work of mine from sixteen years ago. Looking at my final piece, with the Autobiographical content makes me think of the shaman story teller that resonates the difference between seeing and believing. The art of healing crosses boundaries in reality and synthesized reality. To find a sence of balance in my historic autobiographic ive tried to work with sensitive nature and the real aspects of looking at film.

key moments: Finding footage of an actor/ film maker acting really set me thinkin about sensitivity to subject matter and my role as editor of autobiography. Im contemplating relationships between objectives and consciousness, the nature of progression and the momentary grasp we have on what is real to us.

Context: W. Kandinsky

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‘The more abstract is form, the more clear and direct its appeal.’ W. Kandinsky

Kandinskys’ painting was one of the first abstract works that id ever seen. Appropriately Kandinsky is reputedly the first artist to experiment with abstract paintings, which were a response to an unusual Sensorial ability and appreciation of music.

When i realised Kandinsky was creating whole pieces of music based work, i tried to do so myself. I looked at the numeric structure of music, time signatures and rythmic notation. This was twenty one years ago, roughly half of my life. Again i picked up representation of music in my art some five years later. I moved from listening to music in cars to Djing and buying music on vinyl. I bought a drum machine, upgraded my turntables and studied music and art.

This period of time on fine art at Csad ive taken every opertunity to follow up on music and art. Like Kandinsky an appreciation caused me to interchange elements of audio and visual stimulation. My final piece includes a sample of a Proust poem spoken by myself, which ive consciously changed to sound alien or foreign. This piece which contains my own music is set to run at the same time as my film, as a reflection on audio reality. The message is that you dont have understand something for it to be beautiful.

Key Moments: Kandinskys representation of music in his painting helped me understand the different ways perception forms the beginning of an artists process. It stays a part of the consciousness of the artist while they explore and develope, individualy or as part of a movement with shared ideas. To take into consideration the appropriate connection an artist has with forms of notation, abstract and in my case a central part in film, is central to understanding my work.

 

 

 

Context: Oscar Fischinger

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In the late summer of 2015 i went to Berlin by myself for eight days. ive been interested in German artists after visiting the Bauhaus and the art/design/architectrure crossover.

My focus has moved from from an environmental study back into abstraction and aesthetics and intention. Fischinger said

Everything in the world has a spirit which is released by its sound.

A piece with movement and a time base shares rules and conventions with sound. In recording, in playback these conventions are there to be descoverd and worked on – the rhythms that began to make music tie in with Fischengers animated shapes. The release in the yet un named piece im making is also in space and sensation. Fischinger uses space in his animation and his visual coordination of individual parts with music is the centre of something beautiful and experimental, as he was part of an experimental force in animated film.

“The real artist should not care if he is understood, or misunderstood by the masses. He should listen only to his Creative Spirit and satisfy his highest ideals, and trust that this will be the best service that he can render humanity.”

Fischinger, quote.

He was making films in America after fleeing Nazi Germany, and believed experimental film and animation were vitally important areas of film, and personal freedom in persuing his artistic aspiration.

Key Moments: As an art student to be in this area of art is exciting. I feel that im on the verge of something worthwhile; working with film. The process ive been through has brought me round to painting.

With the film almost ready for show, ive started a series of paintings to accompany my screen projection. The experience of making a film over many months has given me new insight into expression, and in painting coordination and timing. I learnt the significance of timing and simplicity, complementary elements and relevance of a current message. Id like to continue with ideas of art being theraputic, and afferm the importance of communication.

 

 

 

 

 

Documentation: Objectives of Autobiographical Art

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In an attempt to find my self in direction im creating an Autobiographical piece, a last statement of the course. My Historical piece aims to show something of ‘self’ to the viewer. I retrace my steps for twenty years, in an attempt to start a circle, sphere or cypher; ‘life material’.  My interest in story telling comes through explanations from a Shamanic or Schizoaffective perspective, the artistic temperament, a sensitivity used to create something presented or offered to the viewer.

My part is non speaking, the audio in the film play the part of the voice. This voice is a representation of myself as an artist in action. There is, i feel a place for silence, and a place for action. There is communication of self, presence and physical expression.. my hands and my face. The sound plays an active part of this exploration, an articulation of recorcorded voices. I hope that the use of audio and visual parts give the viewer a sense of cut and paste, recording and sampling, techniques that in an attempt to create something about myself have made me realise ive found something valuable. This action could represent our grasp  on reality and how we are able to record and edit, to reshape meaning.

Key Moments: im organising my work into two parts, film and sound. Writing about the Auto biography, a fifteen minute long piece, is to explore the conditions of my work, who, when and where.

I had regular sessions with the AV technicians and learnt how to master obscelete video with specialist equipment. I used my own music writing software to develop an audio track, with regular sessions in my studio space. This was a great oportunity to have peer observation and suggestion.

Documentation: non objective animation

 

Animation of the Non Objective. Following a period where i painted and made an instillation which conformed to the architectural angles in early drawing, i wanted to create a studio piece which eliminated all elements of reality and create something in the Non Objective way. The formality of truth in painting is taken away and reflects a more medatative side of my work. It is an Eastern Philosophy that has been in the experience and techniques i used to remove thought from art. Ironically the method is a generator of meaning, either working in the opposite direction or within the boundaries between action and non action.

I took to working with simply line, experimenting with spacial arrangement, and the movement in ‘the through time’ aspect. My piece is a time based, where the arrangement is nothing more than the passing seconds it takes to watch it. It to me is a moving Mandala, created purely for aesthetic reasons, my enjoyment of silence whilst i work.

key moments: the making of the animation follows several other animated creations for projection. Ive become familiar with One Stop animation studio and Adobe Premier final cut, both located in the Audio Visual Suite. I liased with the Technicians for instruction then spent some time working with the software and cameras. I established the abstract method which corresponds to my final paintings. The other objective in my paintings is from the auto biographical element. This exists in written form which ive used for nearly twenty years; recording daily happenings, meditation. I used written word with drawings.

Context: Mondrian ‘Broadway Boogie Woogie’

Mondrian made a massive impression on Eve Polgar and Sandor Valy who made the 1943 piece ‘Broadway Boogiewoogie.’ They share his vision of 1940s New York with his translation to paintings, my inspiration being their film and audio.  Further more they bring elements of film and music together in the piece which for me is a perfect realisation of music and art together.  In my piece i intend to use the same format, Broadway Boogiewoogie reminds me of my time spent in New york. Memories put me in mind of some of my first recordings onto high definition tape and life sixteen years ago. This single HDV tape being the first element of my piece.

Choosing abstraction alongside autobiography from my footage, i look for conditions that sum up and relate to the intentions of the work. For example the  relationship between the two pieces is dictated by the flow of the footage, significant moments in story and within that story gestures. Ive edited the film to make it sequential. ive focused on creating a tangible reality of two films existing in the same time and space, though they have obvious differences, both pertain to states of mind and communications, silence and using the voice.

The Non Objective abstract is potentially the final movement of drawing and painting in my work. The Autobiography locates my physical presence in the piece, and to the viewer a glimpse into my existence and recorded past time. The piece Broadway Boogie Woogie is about vision, with regards to location and presence, happenings and translation into painting and moving image.

The truly modern artist is aware of abstraction in an emotion of beauty. (Piet Mondrian)

Key Moments: descovering a piece like this brought about a further commitment to choosing one format for my own studio work. Ive been aware of Mondrian since i was a youth. To me his work speaks of clarity and seems to translate or abstract reality of living in New York in a statement similar to that of a set of way of life paintings.