REFLECTION on Part 2 and Assignment 2

After having reflected on the feedback of my second Assignment and of part 2 and having re-looked at all my work through this lens, I have become aware how important it is for me to draw and to do the thing right and good. My work shows little bravery or experimentation and seems now, for the most part, to be stiff, formal and safe. Clearly I need to try different techniques and I felt that working really big may be the answer to that, loosening me up and giving me less control.

For now I am excited to try and push my work to the "failing point" and see where it takes me while building on my core skills.

The following are a few comments on the study of the excerpt from the book, Vitamain D2, as prepared by my tutor.

Iris Van Dongen's Work:
What strikes me mostly here is the visual tactile effect - a richness of the quality of the mark and a desire almost to touch the work.. as if the artist has somehow transferred the enjoyment of creating with the materials onto the paper. Furthermore the materials are very much part of the process, of choosing the correct materials to convey mood, feelings and energy.

Antonis Donef.
The use of ink here creates a very delicate, sensitive and thoughtful image. A feeling of a visual language, more than pictures, as if many lives, stories and thoughts are all brought together in one timeframe. This to me is amplified by the antique pages that the drawings are on. Again it offers a unique approach to drawing.

Cameron Robbins
Loved this. The hand is removed and the wind draws the work. It is fascinating and it is mark making. Is it drawing?

Comments

Section 3: COMPOSITION. Research Point.

Contemporary Artists working with landscape and a range of viewpoints. Georges Seurat, Landscape with houses. 1881. Conte Crayon Tacita Dean, Fatigues. 2012. Chalk on Blackboard Mark Tansy, Reveler, 2012. Oil on canvas. The subjects of Mark Tansey's work is set in, for the most part, landscapes and he uses and manipulates these to serve the purpose of the allegory that he wishes to convey through the use of images which are paradoxical and at times absurdly but never, randomly placed on the canvas. I love his work and have included it here to compare the three works as they all monochromatic and unusual to their approach in viewpoint. In all three works there is a strong sense of division in the picture plane. The first two the space is divided horizontally and in the last vertically - Tansey's work has a strong sense of symmetry, both vertically and horizontally and this further emphasised by the repetition of this element in the mirror. Tonally the works are also...

Section 3: PERSPECTIVE. Exercise 2

As the weather continued to be rainy and wet, and as I did not want to work from a photo, I did a drawing of the buildings below my flat as seen from the 29th floor. This obviously changed the angle on the perspective and the horizon line. Using my pencil as a guide I checked the angles and proportions against those that I drew. As you can perhaps see, the horizon line was probably higher than what I thought it was .. some of the orthogonal lines were off...

Section 2: STILL LIFE: Exercise 2: Still life using Tone and Color

I did 2 completed studies for this exercise. The first is in chalk pastels on a dark ground. I thought that the dark ground was useful in contrasting the light areas but that the medium is more difficult to control. I also felt that the composition was successful and I enjoy the contrasting rectangular spaces which off-set the round shapes of the bottles and fruit. The second work was rendered in watercolour pencils and I felt that the medium was far more conducive to accurately capturing the variations in tone and colour. Overall I was more pleased with the first composition as it seemed a bit more interesting and dramatic in a sense.

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