business cards

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Today my business arrived and I’m really pleased with the how professional they look. I went with a square format as I felt my painting fitted it better and it’s slightly unusual. I feel as though the simplicity of the back makes the card clear and easy to read.

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Thoughts on display

 

I have noticed that both Jenny Saville and Cecily Brown choose to hang their paintings quite highly from the ground to the point that the central area of their figures is at eye-level with the viewer. I believe this is affective as the viewer is faced with a confrontational composition of what is usually the subjects crotch, in a highly sexual pose.

This is how I want to hang my pieces, rather high off the ground so that the central areas of the figure are eye level with the viewer, this in effect forces the viewer to further engage with the painting whilst also having an dominating position on the viewer. I would also like there to be plenty of space between each painting as it then gives the viewer a chance to breath between observing the abstraction and complexity of each piece.


Continuing with my Inks

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Today I have been continuing with my Ink drawings, I really enjoy the movement and fluidity that can be captured so easily when making these, I also find that the less time I spend on them and the less precious I am about the use of colour, the more successful they turn out to be. I particularly feel that these are successful because there is a strong ambiguity between figures and a sense of dismemberment of each individual figure but there is an interweaving connection and a merging of all the figures together through the use of colour and wet medium. There is a strong sense of submission to the uncontrolled. I also feel that the use of colour in the first drawing is strong as there is mainly a subtle transition of pale tones across the surface with flickers of strong hues defining aspects of the composition. When it comes to my ink drawings working wet on wet definitely is the best way of conveying the ambiguity of the forms.


Breakthrough painting

 

Making The pink and green painting was really important for the development of my creative practice and the overall aesthetics of my final pieces. I was really struggling with my last composition and was going to just display 3 as i couldn’t work or develop the composition and i had gone to dark with the colours to see how it could progress. It was a last minute decision to block it all out and start again trying something drastically different in my approach to painting. Considering De Kooning’s pastel colour pallet i decided to work mostly on the ground  allowing me to be more gestural with my mark making and work with very subtle complementariness of pink and lime tones, with some greys and lilacs. The subtle tonal gradation is really successful in suggesting an ambiguity between figure and ground relationship. The diagonal two toned branch complicates our understanding pictorial space whilst highlighting the diagonal line of the composition.

I feel as though the lighter tones add a freshness to my over-all colour pallet and therefore i have decided to work into my other three paintings. In the orange and blue painting i added some lighter peach tones to breakup the figures further with objects of this hue as well. In my warm red piece i lightened up the purple colours with a paler, lilac tone.I also added it to areas of the background to give the viewer more breathing space in the painting and allow for more expressive marks to contrast the intense area of interacting shapes and colours. Overall creating a better balance across the surface of the canvas.

I wasn’t completely happy with my purple drawing to be displayed in the exhibition. I felt the composition of the figures were strong but it was much to illustrative. It almost seem to give to much away to the viewers. Therefore I decided to work on a new one however with this one I focused less on being descriptive with the pen and let the colour describe the figure. The pink oil painting influenced me to keep the hues and tones subtle, working with pinks and purples mainly and keeping the change in tone to a minimum.


Making a website

In order to present myself as a professional artist I feel it is necessary to make a website, I went with Wix as it is easy to use and I have seen some sights done through that which look great. I decided to only upload images of my degree show work on there as I only want to present my strongest work both on an aesthetic and conceptual level. It is the pieces that I have spent three years working towards as an artist and the pieces that show the link between me as a student and me as a professional artist. I went with a minimal format as I wanted the website to be clear and clean so that the main focus was my work. Here’s a link to my current website

http://www.mablijen.com/

 


Grid format

I want to show my ink drawings in my exhibition as they show the journey as to how I came to the final pieces and I think the drawings strengthen my ideas and capture an element of fluidity and ambiguity that aren’t as obvious in my oil paintings. I will place them on a wall as you enter the gallery space therefore it will be the first thing the viewers see and it will naturally lead them to the oil paintings, showing a chronological journey. I feel as though displaying them in a grid like format would be appropriate as it will allow the viewer to experience them all at once or they can move in closer to appreciate them as individuals. This will also be a strong contrast to the way in which the paintings will be displayed (with plenty of space between them). I also feel that a grid like format would be effective as it will have more of a feel of a study, like pages ripped out of a sketchbook, something slightly less precious that inform my oil paintings (not that I think the drawings are less effective than the impact of the oil paintings). I would like the grid format to begin from quite high up so that the viewer is confronted at eye level with the confrontational composition of the figures in the drawings.


Choosing the right scale

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Although originally my intention was to create final pieces over 6ft like the canvases i have been working with throughout the year, i still feel i have made the right decision in scaling down. Not only was there the obvious problem of having to create four high standard paintings within the time that i had left, but also working on a scaled down canvas allowed me better access to the central area of the canvas whilst working on the floor. Working on the floor was something that became imperative to my practice and larger canvases wouldn’t of allowed my to reach the middle of the painting. This would have meant that my movements and brush marks would have been radically different and not for the better. I have also decided that i would like to have the paintings placed quite high on the wall, just enough so that the central area of the figures reaches the viewer at eye level. This will add the confrontational posture of the figures with the viewer, therefore although the canvases are smaller there will still be an dominant presence.