Verbal Formative assesment

My practice is currently revolved around working with the figure and ground. My intention is to create an ambiguity through disrupting and balancing form and expression through the interaction of colour, shapes and gestural marks. I am using the human figure because it is a subject common to us all and I feel it is therefore a way of communicating an experience of self onto the viewer. In order to create my amalgamated forms I will be working from collaged photographs and I will bring the background into the figure to create further abstraction. For my final pieces I would also like to experiment with  working with glazes to create subtle tonal gradations of hues and create a surface contrast with thicker gestural applications of oils. I intend to present a series of about 6 large scale canvases, around 6ft x 5ft in size. I feel that large scale figures would create a dominant presence forcing the viewer to become self-aware, even more so if I succeed in using the frame of the painting to compress the figures within, bringing an awareness to the picture plane.

https://mablijen.wordpress.com/2016/02/27/my-gap-crit/

https://mablijen.wordpress.com/2016/02/28/jenny-Saville/

https://mablijen.wordpress.com/2016/02/28/cecily-brown-2/

https://mablijen.wordpress.com/2016/02/27/bringing-objects-into-the-scene/

https://mablijen.wordpress.com/2016/02/28/gary-hume/

https://mablijen.wordpress.com/2016/02/27/914/

https://mablijen.wordpress.com/2016/02/28/picasso-demoiselle-davignon/

https://mablijen.wordpress.com/2016/02/27/development-on-shapes/

https://mablijen.wordpress.com/2016/02/28/marlene-dumas/

 

 

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Marlene Dumas

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I’m drawn to Dumas work because i feel her paintings have an ominous presence. Her work has been described as somewhat political tackling current issues and often feature sex, torture, childbirth and disease. She creates abstract figurative works often inspired by personal memories  Her handling of form is so loose and confident, Dumas paints with no fear, she uses bold expressive gestures through her application of oil paints and she lets the inks bleed out with very little control, however there is a sophistication to her work, everything comes together. I also enjoy her thin washes of abstract colour.


Gary Hume

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Although Hume is known for his highly glossy rendering of form on panels it Is the artist’s portrayal of the figurative and his use of colour that draws me to his work. The artist works are usually brightly coloured, his forms are minimalist and although figurative are very much reduced to the bare minimum and highly abstracted. I believe the artist shows a sophistication in his innovative use of colour and composition. There is a subtle intelligence in what he chooses to leave out. He uses figurative imagery as a stimulant to explore the primordial most basic sense of structure, surface and colour. I would like to bring elements of this into my own work, the way in which simple shapes of colour work against each other to susses fully convey an expression of something.

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Picasso- Demoiselle D’Avignon

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Although I’m working with abstraction of the body by distorting the form with objects of the surrounding scene it is important to me that the viewer still gains a sense of the human figure in my painting. I don’t believe that a depiction of a body can be as neutral or objective as that of a chair or object, it is a very revealing subject for the artist and viewer.

This is one of my favourite pieces by Picasso, although not exactly considered a Cubist painting itself, it is thought to be the painting that ushered in the movement. Again we can see there is distortion in the figures, created by the use of multiple view points over a single surface and the way in which the background hacks into the figures, creating ambiguity as to where the figures start and end. This creates a flatness to the canvas which leaves form to be molded by the tonal gradation rather than recession of pictorial space. I enjoy the contrast between the way everything is striped back to its most simple geometrical form, again creating a flatness, against the areas of expressionistic brush marks. We get a sense of harmony between the interaction of the figures and the relationship of the figures with their surroundings.

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I feel as though Picasso’s analytical Cubist paintings have massively inspired my painting practice. Especially in the above piece, there is a strong sense of androgyny in the figures of paintings and a strong interaction with each other and the background of the composition. There is confusion in the space, it is impossible to work out the depth of the scene.


Cecily Brown

For my final pieces I would like to consider the works of Cecily Brown again because I am fascinated by her portrayal of sexual drama. Her work is extremely sensuous and conveys a strong sense of human experience. However amongst all the ambiguity and the sensuous surface she achieves through the expressive handling of paint, we get a strong sense of place. There is always  a scene in even the most abstracted pieces and I feel this is used as a means of breaking up the figures but also creating a harmony within the composition. There is a continuation between the action and emotion of the figures and the objects of the background. Again this is something I would like to bring into my own practice when working on my final pieces. That harmony between the figures and the setting but still getting a clear sense of people being caught up In act or experience.


Jenny Saville

 

I have been considering Jenny Saville and the way in which the artist uses composition, the figures fill most of the canvas and she is successful in using the edges of the canvas to compress the figure which I feel creates tension and drama. I find her work extremely confrontational in way in which the figures are posed and in the scale of the figures. I’m drawn to her means of creating distortion in her forms through creating ambiguity as to where the figure begins and ends, we can see in one of the pieces she uses reflections to break up the figure and cut into her composition. She also achieves this through contrasting thin washes of paint against thick expressive marks. These are all aspects I would like to consider when working on my final pieces.


Exhibition proposal

My practice is currently revolved around working with the figure and ground. My intention is to create an ambiguity through disrupting and balancing form and expression through the interaction of colour, shapes and gestural marks. I am using the human figure because it is a subject common to us all and I feel it is therefore a way of communicating an experience of self onto the viewer. In order to create my amalgamated forms I will be working from collaged photographs and I will bring the background into the figure to create further abstraction. For my final pieces I would also like to experiment with  working with glazes to create subtle tonal gradations of hues and create a surface contrast with thicker gestural applications of oils. I intend to present a series of about 6 large scale canvases, around 6ft x 5ft in size. I feel that large scale figures would create a dominant presence forcing the viewer to become self-aware, even more so if I succeed in using the frame of the painting to compress the figures within, bringing an awareness to the picture plane.