Final Piece

 My final piece is a depiction of a hyper non-real landscape, which focuses on using references to architectural structures in order to create a sense depth in the panting. The use of perspective is what alludes to this sense of depth and subsequently frames the landscape in an unconventional way, by drawing in and manipulating the viewers gaze. I wanted to establish a balance between architecture and nature in order for them to work together in collaboration, henceforth I was conscious that I didn't want the architectural aspects to obstruct the natural landscape and therefore I gave them an element of transparency.

This was a quick painting I produced when attempting to design the composition for my final piece. I knew I wanted it to contain references to architectural structures that would facilitate in creating a sense of perspective and provide depth to the piece. I became obsessed with this colourful block wall effect as I feel it injected colour in to the work, however I was conscious that I didn't want it to obstruct the landscape behind but instead, it should act as a frame to capture and draw attention to the scene in the background. This subsequently helps to create a feeling of depth in the painting. I will attempt to make the wall appear almost translucent in areas. 

This was a one day experiment I performed outside of the studio, I set up the composition for the photograph by segregating the materials in to three defined columns; leaves which represented the natural world, juxtaposed against the dullness of the concrete (the built environment) and then the shattered brick row which ran down the middle to portray the conflict and destruction as the man made world and natural world conflict against each other for ultimate survival.  

I attempted to recreate this photograph, whilst adopting a abstract approach. I took prints from dead leaves using paint to represent the natural forms aspect of the composition.

Close up from impressions of printed leaves.

Stitch

After working with stitch during my collaborative project, I wanted to explore further so I began to take detailed ornamentation from the built environment and stitch them in to hand-made paper.

Collaborative Work

Lucy's work often focuses on natural forms as her core subject matter, I wanted to experiment with working from nature therefore we decided to join together to see what results emerged. I feel this piece of work was instrumental in having the most profound effect on my work ethic. I became heavily inspired by the use of stitch and mixed media and found myself completely emerged in the process, I felt that for the first time all year I was able to take a free and playful approach to producing work. We both share the same interest in stitch and therefore wanted to push to boundaries to see how possible it was to draw with a sewing machine. I particularly like the untidy effect as I feel it captures the unorganised qualities of nature. I thoroughly enjoyed this collaborative project.  

I walked around our studio and took photos of everybodies used water pots on their desks. The results were inspiring, no two cups were the same, they were injected with lots of colour and patterns and posed as a starting point for further development when working with circles and abstract forms. 

Taking my work outside of the studio

I had been working with abstract forms and was intrigued by the idea of creating a sense of fluidity and movement in the painting. Hence I wanted to photograph my work within the context of the natural world as that embodies linear shapes and forms. 

I was inspired by the work of James Pimperton, due to his effective collaboration of abstract forms and hyper non-real landscapes, two qualities that I'm particularly interested in.

James Pimperton

I was researching the ways in which artists have created a sense of depth and perspective, I happened to come across this project that was erected in a derelict building which was due to be demolished. 

Tunnel House

This painting by Nick Hirst reminded me of a photograph I had taken whilst in spain. I had been wondering how to capture the character of the small narrow streets when using paint to reproduce it.

Photograph from Spain

Nick Hirst

I was attracted to Simone Ridyard's use of subtle watercolours to capture the atmosphere of the city at that present time. Furthermore, it ties in with my interest in architecture and provided inspiration for an alternative approach to sketching from the city scape.

Simone Ridyard

David Schnell

The work of David Schnell is crucial in the development and inspiration for my own work. Upon discovering his paintings whilst browsing the exhibition catalogues in the library, I was immediately struck by his use of bold colours to present such delicate landscapes. Moreover his use of abstract forms which integrate effortlessly in to his landscapes create a sense of perspective and give depth to the painting. It was this which I began to become interested in; I figured this fitted in with the project description of 'Art and Audience' as the purpose of his work was to manipulate the viewers gaze, subsequently drawing them in to the landscape, giving a strange sense of familiarity, almost as if you have been there before.  

Sketching from architecture

I began by producing sketches of architectural features in fine liner and pencil, then added watercolour to draw attention to the elements of the natural world. At this point I didn't have much of a direction so I hoped that by recording details present in the built environment it would serve as a starting point for further development. It was from doing this that I established an interest in mixed media. I enjoy building up layers in preparation for sketching over the top of.