Lines Squiggles and Webs PART ONE OF A TWO-PART WORKSHOP ( Saturday 30 April, next Saturday 28 May) The main ideas of the cross-disciplinary workshop are to investigate visual responses to music/sound, look at improvisation and explore the fine line between chaos and coherence. Soon into the workshop, we joined...
COLOUR “Painting is a physical thinking process to continue an interior dialogue,” she has said, “a way to engage in a kind of internal discourse, or sub-linguistic mumbling.” Her process-based work, suffused with humor and conceptual exploration, employs vibrant color and intense layering and drawing, and seeks intensity rather than...
PAINTING WITHOUT PAINT EXERCISE 1.3. Exploring unconventional painting materials Video to be watched about Rashid Johnson and his choice of materials to paint with. I was at first interested in his use of floor material and taking it to the wall - using a burning tool he created marks and...
REFLECTIVE EXERCISE EXERCISE 1.2. Relationships with materiality In the study guide: Consider the following quote of Lange-Berndt (2015:13) in relation to your own practice: "What does it mean to give agency to the material, to follow the material and to act with the material?" CONTEXTUAL FOCUS When Lange-Berndt (2015:14) writes...
PAINT AS MATERIAL The study material share an image of a painting by Frank Auerbach, E.O.W. Sleeping, 1966 which seems to be escaping its support and ask the learner to imagine if he had abandoned the canvas or board altogether. It is clear that Auerbach had a very distinctive manner...
REIMAGINING THE CANVAS De la Cruz refers to the grandiosity of painting. On the Lisson Gallery website I read: “The moment I cut through the canvas I get rid of the grandiosity of painting”, she says. ( https://www.lissongallery.com/artists/angela-de-la-cruz) Fig. 1. Stretching a canvas - seeing behind, stretcher, pins On the Tate...