I AM INTERESTED IN TRYING TO FIND WAYS TO CONTINUE REPRESENTING THE UNIVERSE IN SPIRITUAL TERMS AND ALSO IN ACTUALLY REPRESENTATIONAL WAYS.
It might be a useful exercise to look at every painting that i made last semester and analyse it and think about and find a way to say what it means
so that i am clear
this is not to do with speaking and writing words as an alternative form of explanation
it is to do with knowing what i have painted and being aware of how those things can aid my moving forward whilst making paintings now and in the future
has THE WAY i have painted the works helped emphasis the narrative or content of the paintings?
At times, such as when painting skies I am very aware of how i place paint and the shapes it makes when moving over the background surface. Brush stokes tend to echo the atmosphere and charge which occurs between me and the painting i am making and that is more what i consider, perhaps it is more complicated than painting savagely to communicate anger or serenely to represent calm…
I think actually that brush work in relation to content is not something that is at the forefront of my mind when i begin painting but can be considered at moments when the paint is working on its own (i.e. not much narrative in this place, more abstract colour or a large area of space,) to communicate. And perhaps that could be thought about more and considered consciously when making future brush strokes to ensure that they relate to the expressive content within the works…
In terms of making large paintings it might be good to re look at Nicole Eisenman, Ida Applebroog and also Lucy McKenzie. Also plan to be in Contact with Sandy Guy who has created ‘in public’ in Glasgow. (Lucy Stein will also organise for our tutor group to spend one day with Sandy, painting something large and collaborative in Glasgow.)
I am investigating designing a theatre set… will get more information next week. Nicholas Party would be a good artist to look at, Glasgow based.
Iv always loved Hockney’s paintings for the 1978 performance of The Magic Flute. Perspective/ space/ childlike colours. Queen of the night.
MASTER OF THE UNIVERSE.
Further artists to look at, suggested in my feedback from Lucy Stein:
Feminists: Carolee schneeman, Hannah Wilke, Nancy Spero, Mary Kelly, Mira Schor and more contemporary poeple; Meg Kai, Kai Althoff, Jutta Koether, Martin Kippenberger.
And I am also looking at Hockney, Mariko Mori, Paul Noble (large scale drawings/ detail.) Marcus Coates and Mathew Collings and Chris Townsend’s writing about contemporary British Art.
I am working out how to make LARGE paintings, on composite boards, onwards- up, down, out of each side, no bounds, keep going on and out, open now
an on-going composition may be hard to make coherent, maybe it won’t be, maybe it won’t need to be anyway, maybe space can be separated with lines and changes of place. trees/ light/ doorways/ aches… (Representational elements- Lucy McKenzie clouds on walls/ doorways).
Now to review the content of last semesters paintings and continue reading/ researching/ working out how to use satellite depictions of the universe to represent UNIVERS I.