Notes from Google Hangout tutorial plus additional comments from tutor.
- Discussion around experimental pieces with stains.
- Suggestion to supplant painting for staining as stains providing a palette to work with.
- Look at work of Alice Neel in relation to this especially portraits of elderly, her painting very visceral.
- Also look at work of Louise Bourgeois and Eva Hesse especially range of materials and techniques used.
- For work on Anxieties and Fears – experiments seem to be pulling towards a larger piece of work.
- Support – try using something other than canvas boardand prepare surface properly. If you need a rigid support use MDF or plywood and again make sure this is properly primed as this means you can push paint around better.
- Experiment with mediums and support – stretched or unstretched canvas.
- Exercise in oil pastel has vitality and good mark-making – this becomes lost when using acrylic plus canvas shows through and texture of board is fighting with paint and creating an interruption for viewer.
- Mark-making on doll – acrylic version – small areas working but needs vitality of oil pastel.
- Don’t treat female figure differently – use same scraping/robust techniques – better surface will help.
- Try working larger – smaller size constricting hand movement.
- Try smaller sketches/studies before creating bigger piece – it will inform ideas in advance of larger work.
- Questions to consider – Is gender identity important to me in relation to my work? Would I consider my work to be feminist or feminine?
Research and Analysis
- Need to develop analysis of artworks more.
- Focus on one or two pieces and develop analysis further.
- If considering several artists look at crossover and correlation between their work. Currently reads as if artists are on separate islands.
- Look at how they relate – materials, concepts, techniques – and express this – then reflect on how this relates to your practice.
Summary of additional notes from tutor
- Purposeful experimentation is key, and also practicing the technical aspects of painting- such as creating a good surface to paint on.
- Push further, be bolder and use the media rather than letting the media use you. You have a good ‘gut instinct’ but need confidence to follow it through, keep practicing, use your sketchbook to its full advantage, keep experimenting.
- Think through the scaling up from your sketchbook pages to your larger pieces, and this includes ‘how’ to use/apply the media in respect of the changes in scale.
- There still needs to be more experiments in terms of the material of paint itself to develop your understanding of the medium, you could achieve this through really studying the palettes of a couple of chosen artists, perhaps Luc Tuymans and Euan Uglow or other artists of your choice, as a suggestion. You could do this in your sketchbook, by making swatches of both colour and texture. Really push yourself now in this regard as you will make breakthroughs that you can bring into your paintings. Less neatness and more exploration.
- The start of some good research evident, now try to write a bit more about what you are experiencing in the studio and the artists that you are looking at, seek correlations through materials/mediums/techniques and write about them simply from your perspective.
- Stallabrass, J (2004) Contemporary Art, a very short introduction, Oxford University Press
- Taylor, B (2005) Art Today. London: Lawrence King.
From the tutorial I have some specific aims:
- Check out work of Alice Neel, Louise Bourgeois, Eva Hesse and Dorothea
- Consider practical exercises and how they can be developed – experiment with stains, consider sculptural qualities of the support.
- Try out different supports and mediums.
- Work on a larger scale.
- Consider how experimental pieces can be developed into a body of work.
- Try out new approaches for analysing artworks with focus on how this informs my own practice.
Assignment 2 – Practical Exercises – https://katespainting2.wordpress.com/assignments/assignment-2-practical-exercises/