Unit 12 Live Brief; Omnipotent Oil Painting

During the afternoon of the 8/12/2016-I was tasked with producing an oil painting on an A2 stretched board-from a secondary image that was pre collected and printed in monochrome and in A5. I felt that as this was a reference image, I didn't need to go additional lengths such as A4 and full colour.

After a short explanation of the media, we were using, by the tutor; with the vital elements spoken of, regarding the nature of oil paints, how to correctly dispose of them and their properties as a medium and how the paint would alter the surface it was applied to.

A completely new medium to me, oil paint was exciting as it was unfamiliar. And evidenced in both the completion of a successful piece and my through enjoyment of using oil paint, its safe to say, that I am delighted to have used this medium and proud of what resulted in the application of it.

Now oil paints are very different from typical medias such as acrylic-which are applied flat in solid colour and dry swiftly. Oils may never dry fully-so in order to preserve a piece done in oils-one must apply a glass case over the piece. When working with oils, one uses the piece as part palette-i.e. paint is mixed mostly on the canvas- as one works-rather than in a separate palette. Which is a disposable cardboard one for oils.

More importantly-oil and water do not mix-so the standard process of cleaning brushes and plastic palettes with soap and water, and washing the contents down the sink-is not a suitable cleaning process for oil paints. And the typical water pot is replaced with a commercial vegetable or sunflower oil when rising ones oil painting bushes. Noting that there are separate and different shaped brushed used when painting with oils.

When disposing of oil paints, one disposes of the cardboard palette straight into the bin, and the murky oil in the cup-soak it up the liquid as much as possible to do so, with tissue-and dispose of this is the bin. Plastic palettes aren't used with oils, as the shiny smooth surface of the plastic means that the paint would slide off, in a manner that resembles a raw oily egg, sliding with lubricated ease, down a polished marble column.

In terms of the application of oil paints, one applies them in a impasto like fashion and with texture and relief based gestures. As evidenced in the image below, this is how I applied my oils in a mannerism that spoke of a expressive gestures. When the paint is applied to the non primed paper-which is something we didn't have time to do-it soaks through the sheet leaving a semi transparent film-which closely resembles the result of greasy food left to sit above thin cardboard containers.

The piece below is an A2 oil painting replica of a secondary research image from my Pinterest board. Before applying the paint  I drew a basic and light outline of the image-as a guide for when it came, the application of my oils. Once my outline was complete- I applied a thin layer of red paint-in the suited fashion for acrylic paint-one I had been corrected that I was applying oil in the fashion more for acrylics-which is perfectly acceptable considering I had never used oils before.

With an adjustment of my process, I went and applied scarlet red and bright red in a gestural impasto like manner, with spots oil white, black and extra oil placed in various areas to add tint and shade as well as a an impression that the paint was gritty and unpleasant-dripping and running down the paper-the way blood trickles down, the inside of a woman's thighs during menstruation.

The reflection in this painting speak to me, that both the process of painting this image and a woman's life process is not smooth nor attractive- it a bloody and compulsive process.

I am most pleased with the overall outcome of this piece because it provides a grim and truthful reflection of the sufferings of being biologically female. From producing this piece-I feel that I am superbly confident when using oils-despite my application, needing evolutionary development.

Unit 12 Live Brief; Inspirational Mood Board

As part of the submission checklist for this project, I was required to complete an A2 mood board of secondary research that was both inspirational and interpretive to me as an individual. Seeking a higher aspirational goal-combined with a Pinterest board of nearly triple figures-I decide to double that required size-to A1. The images for this project were collected from the Pinterest site, and pinned to a board on my own wall.

With that in mind, I stuck 2 A2 sheets together and got to quickly sketching a huge silhouette outline of a heavily expectant mother, my feminist twist on this, is that I would fill the inside of this outline with images that represented my choice to be a childless woman.
The intention I had in mind for this mood board, is that I would provide me with many, many  inspirational ideas that related to my interpretation of the project.  

Now it did take MUCH longer than anticipated to construct this outline.-around 4 hours almost, and on reflection I should've factored in this time constraint.

Once I had successfully drawn this outline, it was time then to fill in the centre-with more than the single anticipated trip to the printer required. (After the first trip, I had ran out of content and had to return back to a PC, for a further two collections for extra content)

From an overall perspective of the sheet, I am hugely proud of the way it has turned out. When I first constructed the rough outline it looked messy and unsightly, but those negative thoughts swiftly evaporated as the sheet became more and more layered, and the empty space, generously filled.

Reflecting on this completing sheet, I feel that I am more confident about my interpretive route, and with much stronger ideas about the whole individual approach to the project.

Unit 12 Live Brief Contextual; Kurt Schwitters Research Sheets

Rather than complete two individual sheets, on two different artists, I have decided to two sheets of two different pieces by the same artist. Schwitters work fascinates and intrigues me so much so.

Sheet number one, is a mixed media contextual study, of the sculpture entitled Chicken & Egg, which was completed in 1946. Sheet number two is also a mixed media
contextual study, of the sculpture entitled Mother & Egg, which was completed over the years 1945-7.

 The sheets were completed as a method of exploring the work of another artist who overserved the topic, which I am currently in the process of interpreting. The sheets were also completed an a visual analysis of Schwitters style of work.

When completing these sheets, I first sketched out the a guidance outline. From these guidance outlines I then applied Paper Mache, paper and acrylic for the first sheet and green wool, black sugar and paper tissue collaged and cardboard-both corrugated and un-corrugated cardboard for the second sheet.

Noting that on this second sheet -I gave it a personal twist-by contrasting the original sculptures colours. Where the sculpture was white-I collaged black, where the sculpture was red-I applied green wool as textured relief. The studies were produced from images printed form the Tate website. This colour twist was a visual element that I felt was the most effective, as well a highly successful one. The cardboard boarder on two of the four sides of the second study, were because I felt that the sheet wasn't finished without those.

I feel that the first study was one I was most pleased with in terms of presentation standards. And the second sheet, is the one that I could improve-from a presentation perspective.

From completing these two sheets I feel that I have developed my abilities in the production of relief and collage based abstract works. And to build upon these works, I have produced a critical analysis of a piece of Schwitters work-in the format of a blog entry, and furtherly explored a second artist in this blogged format. As well as this, both artist have researched and Harvard referenced artist information, that gives an insight into each artist.

Unit 12 Live Brief. Completed Questionnaire Link

A link to complete the completed questionnaire;

Take part in my online survey!

https://kwiksurveys.com/s/gCCOEFCi

Unit 12 Live Brief. Artist Profile #2 Kurt Schwitters

Kurt Schwitters-1887–1948

Involved serval genres and medias. Including the post-impressionist, expressionist, cubism, modernism, constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. In terms of his work, I hold Schwitters work in high admiration  because of its minimalist and abstract nature. Despite being an abstract piece the message of the piece isn't lost in its sculptural translation.

The subject matter of the piece below is motherhood, and I presume that the subject matter has been selected as a concept of interest, rather than a statement of Schwitters social, ethical or moral concerns. Schwitters has interpreted the topic in an abstract-minimalist fashion. I believe that in this sculpture, uses symbolism and has hidden meanings within the sculptures content.  

Schwitters was suggesting implications that motherhood itself, is an abstract concept. The primary symbolism associated with the phrase "motherhood" would be an egg cradled in the palm of the mother-implying that this is a new life is in her hands and consequently she is in control and responsible for such.

The sculpture has been arranged on a pedestal and favours a position, that is towards the left hand side. Schwitters has selected a mixture of a primary and contrasting colour scheme. The contrast between the black pedestal and the yellow of the sculpture is an effective clash of hues. I feel that the black and red in this piece are the most dominantly significant. This piece has a combination of curved and straight angular lines.

As this is a piece without a summary on the Tate website and the caption merely states that it is  a "Mixed Media" there is very little background, in terms of the materials, process and tools applied, that one can gather. Anything I can suggest in terms of the process involved, is all hypothetical with no evidence to back such up. One presumes that artist would have began with a design, developed those designs into maquettes, and from this, produced a skeleton like frame for the piece, and proceeded to construct around it. 

When observing this work, one contemplates a sense of gratitude, for the process motherhood. The sculpture feels quiet and balanced. There is a quiet maternal feels about this sculpture, the aura of a maternal and responsible nature, echoes off the sculpture, but doesn't present itself directly, in a graphic form of a uncomfortable nature. I would like to presume that this sculpture-would also be suitable for the sort of person that was attempting to conceive children.

Mother & Egg, 1945-7, Mixed Media

Unit 12; Live Brief Bibliography List

Artist Information References:

Rogallerycom. 2017. Rogallerycom. [Online]. [6 January 2017]. Available from: http://rogallery.com/sariano_jean/sariano-biography.html

In-text citation: (Rogallerycom, 2017)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274

In-text citation: (Tateorguk, 2016)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artists/kurt-schwitters-1912

In-text citation: (Tateorguk, 2016)

Theguardiancom. 2003. The Guardian. [Online]. [6 January 2017]. Available from: https://www.theguardian.com/news/2003/feb/24/guardianobituaries.arts

In-text citation: (Theguardiancom, 2003)

Image References:

Mutualartcom. 2017. Mutualartcom. [Online]. [6 January 2017]. Available from: https://www.mutualart.com/Artwork/By-Blue-Law/255F638E6E71F756

In-text citation: (Mutualartcom, 2017)

Rubylanecom. 2017. Ruby Lane. [Online]. [6 January 2017]. Available from: https://www.rubylane.com/item/375383-000783/Early-1970-Original-Jean-Sariano-Intaglio

In-text citation: (Rubylanecom, 2017)

Tate. 2017. Tate. [Online]. [6 January 2017]. Available from: http://www.tate.org.uk/art/artworks/jackson-painting-t00732

In-text citation: (Tate, 2017)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artworks/hepworth-mother-and-child-t06676

In-text citation: (Tateorguk, 2016)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artworks/schwitters-mother-and-egg-l01737

In-text citation: (Tateorguk, 2016)

Tate. 2016. Tate. [Online]. [4 December 2016]. Available from: http://www.tate.org.uk/art/artworks/hepworth-torso-t03128

In-text citation: (Tate, 2016)

Tate. 2016. Tate. [Online]. [4 December 2016]. Available from: http://www.tate.org.uk/art/artworks/schwitters-chicken-and-egg-l01738

In-text citation: (Tate, 2016)

Tate. 2017. Tate. [Online]. [6 January 2017]. Available from: http://www.tate.org.uk/art/artworks/bell-abstract-painting-t01935

In-text citation: (Tate, 2017)

Unit 12 Live Brief, Mother & Child Exhibition Review.

Evaluation of Shendi's Mother & Child Exhibit.

After well over a weeks overwhelming anticipation, yesterday evening at 4:00PM, I walked through the doors of the Civic, stepped into the lift and travelled up to the gallery, where I entered the environment where Shendi's exciting exhibit was being held. Ah, the benefits of being invited privately, the night before an exhibit opens its doors to the rest of society. Delightful, no? "Well, what are some of these benefits??" I hear you say, allow me to enlighten you...There's the peace and quiet, an air of privilege and sophistication is contained within the space, being surrounded by a few close individuals-family and friends-and guests-such as I.

Complimentary hot and cold drinks, were being served throughout the event-of which I indulged in myself(!) The evening served as a superb opportunity to collect some primary research content, without having to squeeze my way through flocks of half interested sheep. Not to mention that I could focus on photographing each piece from a variety of angles, ranging from macro and full sculpture shots. Without a stray limb or head in the way. There was the added bonus that the artist himself was there-in person!

From the perspective of layout, I feel that the exhibit was balanced and spacious-with the installation designer, giving great consideration into the matter, that viewers would actually want to take photos of Shendi's work, without the persistent concern of: "Oh, am I going to knock whatever is behind me over?"

The balance between wall mounted photographs being monochromatic and the sculptures being chromatic, is a refined and well combining contrast. Perhaps the developmental photographs were shot in black and white, because they reflect that they were taken during the construction process-and in comparison to the presently completed sculpture, these images are now a part of Shendi's artistic history-captured for an silent eternity being frozen in time.  

In terms of the sculptures themselves, I am practically head over heels for them. My reasons for this passionate infatuation is because, Shendi, has represented one of the most ancient concepts know to humanity in a colourful and abstract from. Yet he has not lost the messages each sculpture conveys-be it positive, neutral or negative, instead each sculpture is a powerful testament individual and multiple aspects of motherhood and the raising of offspring.

Also Shendi's work appeals to my feminist side-often in art mother hood is portrayed in sexual, graphic or fetishized forms and Shendi has interpreted motherhood in a way that doesn't objectify, graphically represent, or overly sexualise women as mothers. My hat goes off to you, good sir, for remembering that women in art, are not just limited to being objects, defined by their unjustified representation.

Unit 12 Live Brief Questionnaire Queries!

Questionnaire Queries! 

As part of my primary research, I have contended on completing a questionnaire which explores issues surrounding being a mother and a career woman. An analysis of each section, as well as the proposed questions can be found below...

A questionnaire to explore the connotations between motherhood/raising children and or being an artist/career woman.

The first section is designed to collect demographic data from the audience and explores whether the opinions of later sections, differ across various cultures/races/religions.

Section A:

1) Which ethnicity origin or racial category-do you feel-best describes yourself?
• White
• Black
• Mixed Race/Multiple ethnic groups
• Asian
• Other-please specify:

2) Which continent of the world do you live in?

• Asia
• Africa
• North America
• South America
• Antarctica
• Europe
• Australia

3) Are you part of a religion? 

• Yes
• No

4) If yes, then please select from the list below:

• Christianity
• Islam
• Hinduism
• Buddhism
• Sikhism
• Judaism
• Other: Please Specify

The second section is aimed at those who are for children, these questions are designed to gather information that would present data, for the section of individuals who desire children any format.

.

Section B:

For those who have children, are expecting or want children.

If any of these questions are not applicable, then please move on to the next section.

Do you/your partner;

1. Have children presently? Yes

• If so, then how many?

2. Expect to be having children? Yes

• If so, then how many?

3. Want children? Yes

• If so, then how many?

The third section is aimed at those who are not wanting to have children, these questions are designed to gather information that would present data, for the section of individuals who don't desire children any format.

Section C:

For those who do not have children, aren't expecting or don't want children. By choice or medical circumstance.

Do you/your partner;

1. Not want any children presently?

• Any reasons why?

2. Never want to have children?

• Any reasons why?

This fourth section is aimed at individuals opinions on various issues surrounding being a career woman, these questions are designed to gather information that would present data, for the opinions of individuals, and their own approaches to the issues above.

Section D
Issues regarding being career women.

What is/are your opinion(s) on the following?

1. Can a woman be both a mother and a career-woman?

2. Do you feel that women cannot be both a mother and a career women?

3. Do you feel that women have to choose between motherhood and a career?

4. Why do you think that the term “Career Woman” exists, but not “Career Man”?

5. Do you think an employer is more likely to hire a man than a women, because of the logic, that women are a “reproductive liability”? (Biologically male employees won't require maternity leave)

6. Is this employability approach right, in the working industry? (Any field)

7. Do you feel that there are any other issues regarding being career women?

-If yes then please describe them

This fifth section is aimed at individuals opinions on various issues surrounding being a woman. These questions are designed to gather information that would present data, for the opinions of individuals, and their own approaches to the issues above.

Section E:
Issues regarding being a mother.

What is/are your opinion(s) on the following statements?

1. Do you think that a woman's primary purpose is to have children?

2. Is a women's value in society, still measured by how many children she has?

3. How would you describe a woman, that chooses not have children by choice/preference?

4.Would that opinion change, if the same woman had a very personal or medical reason behind the choice?

How would you describe a woman, that chooses to have children by choice/preference?

Would your opinion change with the number of children, this woman had?

Do you feel that there are any other issues regarding being a motherhood?

-If yes then please describe them.

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