Section 2: AT HOME: Research Point

Unusual and Multiple Viewpoints in Interiors

An old favourite of mine immediately comes to mind: Edward Hopper. I have always loved the starkness and the feeling of loneliness that Hopper managed to express in his room scenes. The outside juxtaposing with the inside.

Rooms by the Sea has no figure in it and still manages to capture the same sense of isolation - as if the light has no place in being there.

Hopper, Edward. Rooms by the Sea, 1951

Then I found this British artist's work that I instantly fell in love with.

Ivon Hitchens, â€˜Balcony at Cambridgeâ€™ 1929

Ivon Hitchens, Balcony at Cambridge, 1929

More than painting the light the feeling of sunshine and freshness of the day, the artist has captured a moment so that the viewer feels as if he is seated on the chair that would be to the left of the table. But it is the warping of the perspective that really justifies the visual elements and brings about a sense of being there - we don't really see the world in straight lines, the ones we learn about in linear perspective. The view of things is always skewed by how we feel, how busy or at peace we are and through the tentative glances we give as we move through it.

Ivon Hitchens, Winter Stage, 1936

The fragmented works of interiors by Allison Pullen left me wondering if I should have my eyesight checked:

Image result for Unusual and Multiple Viewpoints in Interiors in art contemporary

Allison Pullen, Merchant Taylors Hall, Parlor 1993

But again they offer a more "realistic" view of the way we observe the world - many images bombarding our brains at once: glances, impressions, colour, reflections. It felt to me the way you feel when you enter a new place - taking in everything at once to get a feeling of where you are...loved it!

I do enjoy Anthony Green's works: I loved the bird's eye view of the interiors - it felt to me as if we are getting a sneak look into peoples lives, seeing things about them that were hitherto hidden and secret.
But at the same time - we are taking in all the details of the room from every possible angle, giving us the whole picture in one setting.

Anthony Green

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Section 2: DETAILED OBSERVATIONS OF NATURAL OBJECTS: Exercise 1: DETAIL AND TONE

Fallen Leaves Study. For this the subject is 3 dried leaves which I found during my walk, all three in varying stages of decay. I used colored pencils and oil pastels. I left the majority of the page white as I wished to capture the intense light and the lovely colorful shadows that the leaves cast on the crisp white paper that they were perched on. I enjoyed the success that I achieved with the papery delicate feel of the leaves and it was only till I had layered the oil pastel on top that the drawing "popped". What i learnt here was not to be "precious" with your work. Detail 1. Detail 2. And then I cropped it. I think that the composition is better here. There is less negative space and the longer format works better with the length of the leaves and the horizontal lines that they present. Some practice - Lemons in conte crayon

Project 2: Exercise 3: Creating Shadows with lines and marks.

Did a lot of practice here before I attempted the exercise. What I learnt here is that implied lines are enough and by not outlining the objects a looser, softer and yet "more real" effect is obtained. This is interesting to me - is it because the brain completes the picture and is therefor more involved in the process and is then more invested in being interested in the painting?! This was 4B pencil. This is some of the practice. Got bored so the bottom 2 ain't great...

Section 3: COMPOSITION. Exercise 1.

Composite drawing from sketches and photographs. This exercise excited me as I looked at the elements that interested me in the landscape around me and drew from previous work. I realised that a work didn't need to be constructed from only the visual information in front of me but could be drawn from elements in previous sketches and pieced together. I looked through the work I had done: Sketchbook for Exercise 1. and did some sketches: And decided to put together 2 works... the park sketch in charcoal that I did on the Sketchbook Walk exercise: And a 360 sketch of the view over a small stadium and the eastern part of the city. so as to combine the feeling of the concrete jungle and to reflect more fully the sanity of the park spaces in this mega city. This then the final work: I used a number of techniques and materials: Dipping pen with ink and wash, powder charcoal and green Japanese brush pen. On reflection I am pleased with this

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