After receiving my bisque fired pieces from the kiln I had to decide whether or not I would be able to take on the ceramics alongside the paintings.
Hence over the course of the last few weeks I have been juggling the two projects, and the more my time was split between them, the more unnatural the two ideas felt side by side. I made the decision not to continue with the ceramics as I had previously explored this already, and I felt satisfied with the depth of exploration. Whereas I had spent my foundation deliberately avoiding painting in order to try new techniques and materials, but it has instead meant that this time spent away from painting has made my need to use paint even more immediate.
The process and approach I had been using with the pastel sketches in my sketchbook had also felt so natural to me. This was my indication to concentrate on my paintings.
There’s something in painting that to me will always speak to me, as if another language, I can read into it and understand and feel the emotions and meanings within. Therefore, as I had chosen to paint refugees in this Romantic manner, it seemed only appropriate to be abstract with paint than to be abstract in meaning with ceramics.
Artists like Ai Wei Wei also made me feel like I couldn’t use ceramics, when I had no traditional background in them, and regardless of my physical style, I felt either outcome would not fit with my Romantic idea.
I have embarked on taking news imagery of refugees to become my subject matter, and then to translate them into the Romantic style I have been pursuing with my family sketches.
For example after researching this source: http://time.com/refugee-rescue/ I collected both the information and imagery I needed…
– Her daughter came right up to me. “My name is Comfort,” she said. “I want to go to school.”
This quote could be used for the Titles of my works, or even incorporated into the piece description.
I have also sketched from news stories such as: http://www.independent.co.uk/news/world/europe/refugee-crisis-migrants-asylum-seekers-latest-un-zeid-hussein-human-rights-chilling-indifference-a7619301.html#gallery
I translate them by using soft pastels in my sketchbook. I have found the blocks of colour and broken up spaces work well. This will then be painted in oil onto the wooden rafts I have built.
I really enjoyed the Hockney exhibition, I found the evolution of his ouevre extremely interesting and motivating for my FMP.
I took note of his ever adapting style, and his innovative use of frames. In particular his piece – Tyger Painting No. 2 1960
It was mounted in a wooden frame, and it was set in an icnh or so.
Other works that I liked were ‘Colonial Governor’ 1962, ‘Going up Garrowby Hill’ 2000, May Blossom on the Open Road’ 2009, and ‘Garden’ 2015.
Garden 2015 – The colours are immensely powerful and full of vibrance.
This artcile really helps to reaffirm my belief in using ceramics to help build upon my practice.
Often it is dismissed as a crafts medium, and a means to a practical end, however I disagree and like that this popular opinion brings a challenge to overcome.
If by addressing serious subject matter, like that of my FMP project, (the refugee crisis) – am I then allowed permission to use this meduim?..
But in retrospect the reasons I have for using ceramics are appropiate to my project. The material itself, stoneware, terracotta, and porcelain are all connected to the places in which countries have been affected by the refugee crisis. Such as Syria, Afghanistan, and South Sudan.
I will continue to use scrap wood to paint onto – I will use things such as wooden palettes, fruit crates, cardboard? … and I will assemble them together like a wooden raft.
Simon Starling – Shedboatshed 2005
“Realised specifically for the exhibition Cuttings, Shedboatshed (Mobile Architecture No.2) is a reinterpretation of the idea of mobile architecture. The project involves the movement of a found structure, an old wooden shed, from one riverside location to another. This journey of 8 km downstream from Schweizerhalle to the centre of Basel was undertaken through the temporary mutation of the shed into a boat. This boat, a copy of a tradition Weidling, was made only with wood from the shed and was subsequently used as a transport system for the remaining parts of the structure. The shed already included an oar of the type used on Weidlings nailed to its facade as decoration. In its new location, the Museum für Gegenwartskunst, the boat was then dismantled and once again re-
configured into its original form, but for a few scars left over from its life as a boat, it stands just as it once did several kilometres up-stream.” (https://www.themoderninstitute.com/artists/simon-starling/works/shedboatshed-mobile-architecture-no-2-2005/88/)
For this week I will continue with all of my ideas:
- Ceramic vessels – patterns and fusion of statistics, objects (cultural)
- Painting – Figurative, depicting refugees
I will further investigate the architecture of my final display, and how I might be able to further suggest the feelings surrounding the refugee crisis.
Myfanwy also recommended Steph Goodger’s “Les Non-Réclamés (The Unclaimed) Diptych” 2014-15
She suggested that, in a similar light to how Goodger has achieved this image, I can continue to paint in a Romantic way but I can try to depict the horrific refugee images from news articles.
So I will continue to work into my sketchbook for this week.
– Draped Seated Women – 1957-58
I went to the Tate Britain to see Henry Moore’s work in person. I had seen it before, but until now I had not fully realised my appreciation for his forms and workmanship.
His skill goes beyond many artists, he was constantly pushing what could be done to the figure and had produced many lovely results over the years.
I particularly liked his Draped Seated Women, and his Family Group (1944-5) series. Seeing all his various maquette for Family Group was extremely interesting. I could begin to understand how self critical Moore must have been, and therefore carried out with a very thoughtful and methodic process. Rigorous testing of maquette and initial drawings, supports this, and further clarifies my own way of working – to develop and research through the materials and the processes themselves.