Assignment 5

Part five: Widening your options

Project 1: Working on different coloured grounds

Exercise: Tonal studies made on a coloured ground (page152)

I am starting the assignment towards abstraction with a subject I used widely in assignment 3, which is of landscape elements and specifically the olive tree trunk. I chose this subject because of its tone qualities that are require for this exercise and because it is a subject that I want to explore more further from descriptive studies and towards abstraction. I chose to work with earthy colours that are suitable for the qualities of the trunk and I tried to find the most suitable tones and hue for the olive tree trunk that I am mostly interested in. I find it very interesting to work in a somehow opposite way for creating light tones and the white as the paper is coloured in mid tones. Sometimes I had to add more and more white and still did not get the bright white I aimed for. This led to creating a picture with different qualities becoming more soft and ‘dull”, but in a way not detrimental but additive to the feeling of the picture. Some of my paintings are more successful than others, but generally I worked well and had the opportunity to experiment with different ways of painting with watercolour.

Working with this subject and having as an extra purpose to work the subject in a more abstractive way I came with the idea of portraying with the medium of watercolour the flow of the trunk lines as they meet and enter the earth. I compare this downward movement with many natural elements that are moving down because of the gravity. I was able to show this by letting the paint drip down the paper. Also this shows the liveliness and constant movement of cells of all things even that movement is not noticeable and obvious.

 

”Bluish trunk” 40,6 x 30,5 cm, (w/k & pen), 300g/m² grain fin paper cold pressed not 17/4/2015, (exercise page 152)

”Greenish trunk” 40,6 x 30,5 cm, (w/c on acrylic coloured paper ), 190g/qm bright white paper, wood & chlorine free 17/4/2015, (exercise page 152)

”Brownish trunk” 29,7 x 42 cm, (w/c & pen), 160g/m² gouache acid-free paper, 17/4/2015, (exercise page 152)

Exercise: Drawing on a coloured ground(page154)

I continued in this exercise with the same subject. This will give me the opportunity to explore it in other ways. Also I think this is again a suitable subject for the exercise as it has linear and tonal qualities.

I decided to move from the earthy colours and work it with blue (for cold colour exercise) and red (for the warm colour exercise). These are not the real colour for a tree trunk and this is a way to work it more abstractly. I continued with the aim to portray the flow and at the same time work the tonal arrangement and the shapes created by the linear qualities of the trunk.

Additionally, I used red glass paint for the darker tones of the red trunk and blue artists ink for the blue trunk. Those darker tones assisted in showing the white more bright.

”Warm trunk” 40,6 x 30,5 cm, (w/k ,acrylic, red artist ink & glass paint), 300g/m² grain fin paper cold pressed not 24/4/2015, (exercise page 154)

”Cold trunk” 40,6 x 30,5 cm, (w/k ,acrylic & artist ink ), 300g/m² grain fin paper cold pressed not 24/4/2015, (exercise page 154)

Comparing the two paintings is very obvious how the different colour affects the mood of the painting. The red picture has indeed a more warm feeling and it conveys softness and some mystery I would say. The blue painting is more hard and cold.

Exercise: Painting a landscape on coloured paper(page 156)

”Blurry landscape” 14,9 x 21 cm 160g/m acid free sketchbook paper, 27/4/2015, (exercise page 156)

top: “landscape on coloured paper A” , w/c & oil pastels. lower: ”landscape on coloured paper B”, w/c, oil pastels & acrylic, 14,9 x 21 cm 160g/m acid free sketchbook paper, 27/4/2015, (exercise page 156)

” landscape on coloured paper C” , w/c, acrylic & oil pastels, 14,9 x 21 cm 160g/m acid free sketchbook paper, 27/4/2015, (exercise page 156)

The most successful of my landscape studies is the fourth, titled: ”landscape on coloured paper C” because it is more lively and it has a flow .The underlying colour reveals positively.

The atmosphere in ”landscape on coloured paper B” , is more heavy because I used oil pastels probably more that it was necessary..

The tinted papers did not cause problems for me , but it was a challenge to work in another way. However you should have in mind that you have to work the composition as it is created by the underlying washes.

The tinted paper helped me to find my landscape colours more easily as I had a base to compare and establish the different greens.

The white I used (Chinese white and partly acrylic white), were important in getting the right tones and the highlights.

The oil pastel is not suitable for my approach of landscape especially when I work in such a small scale.

Finally, I think that a coloured paper for a landscape could be useful in many ways. For example it helps to make the picture more unified and provides a warmth and calmness. Also it deepens the colours.

Project 2 Working with mixed media

Exercise: Exploring one subject in a variety of ways(page 158)

Another subject that I enjoyed working with in previously on course is the rocks. This is a subject I already worked abstractly in assignment 4 as concentrating on their shapes, texture and their connectivity as a group without aiming to depict what they actually are.

Additionally I notice how my wish to show a downward movement and flow applies also on this subject.

Generally, I am satisfied with my work. Each one gives a different interpretation of the subject. The first one gives a feeling of smoothness because of the use of graphite and pale tones of paint, which is actually contradicts the sharp quality of the rocks/stones. However it gives the downward movement of the stones as they fell over one another and take ”permanent” position that stills reveals the movement that preceded.

”Rocks A” 40,6 x 30,5 cm, (w/k ,& graphite ), 300g/m² grain fin paper cold pressed not 28/4/2015, (exercise page 158)

The second painting gives a more intense feeling. the use of ink, made the shapes more sharp and it conveys some of the qualities of stone texture and shape.

”Rocks B” 40,6 x 30,5 cm, (w/k ,pen & artist ink ), 300g/m² grain fin paper cold pressed not 28/4/2015, (exercise page 158)

The third painting combines sharpness through pen line and smoothness through the light use of colour. On the same time I  crinkled the paper in order to get the plasticity and volume/bulk of the stones.

”Rocks C” 40,6 x 30,5 cm, (w/k , pen and ink & charcoal ), 190g/qm bright white paper, wood & chlorine free, 28/4/2015, (exercise page 158)

The fourth painting is more textural because of the use of oil pastels which give opacity and volume and also it is more dramatic because of the larger shapes. Also it gives a stronger sense of movement and downward flow, but not a watery flow.

”Rocks D” 40,6 x 30,5 cm, (w/k ,pen &ink & oil pastels), 300g/m² grain fin paper cold pressed not 28/4/2015, (exercise page 158)

Exercise: Mixed media on coloured and white paper(page 160)

For this exercise I wanted to explore another of my previous subjects, which is the water. With this subject I will have the opportunity to further explore the idea of flow and is even more suitable for that because is water and water literally flows!

I made a few experiments in my sketchbook with different colour grounds and I used media such as pen,ink, acrylic paint and fine point pen. In this exercise the initial effect of working on a coloured ground as opposed to white was that you start with a low tone on the coloured paper and therefore the result might remain a low tone painting. You can’t create a bright tone as white as the whiter of the paper.

I was excited by the way the ink flows down to the page and creates shapes and also as it mixes with the watercolour and creates unexpected tones and shapes.

I decided to work in this way for the larger paintings one with grey tinted paper and one with white paper.

For the tinted paper painting I started with pen and ink to make the main composition. As the ink flow down I guided it as I needed in order to configure the composition. I added white ink to create the white areas as this gave more opaque result and at the same time it mixed with the black ink in interesting ways.

”Water-flow A” 40,6 x 30,5 cm, (w/k ,pen & black and white ink on w/c tinted paper), 300g/m² grain fin paper cold pressed not 30/4/2015, (exercise page 160)

For the white paper I only used black ink applied with dipped pen and payenes grey as I love the way this colours reveals its blue consistency when diluted. I guided the ink to flow through directions I gave it with the touching of the pen. I put watery paint near the ink so that it mixed with the ink and gave new tones. I retain the white paper untouched where I wanted the lighter areas.

”Water-flow B” 35 x 50 cm, (w/k ,pen and black ink on white paper), 240gr finest chlorine free paper, 30/4/2015, (exercise page 160)

I am so excited of the result! It came out so naturally with minimal working and controlling. I think the composition works very nicely as a balanced composition and arrangement of tones. It has energy and life of its own for what it is. Further it succeeds in conveying the flow I aimed for.

I intent to use this composition as a starting point for my next paintings and extending it in different ways taking the element of flow and the shape that is created and reminds me of an uterus. That way I would be able to show the downward movement of the female body as I see it from its triangle shape of the lower body.

 

 

Exercise: Using resists experimentally (page 162)

Following the thinking from the previous exercise I work this subject aiming at show the flow of the female human body (as it births and loose blood) downwards. I decide to use red as I associate it with female qualities and functions. I clearly have in mind what I want to depict. I start with masking fluid to create the main composition and shape. I use rubbing candle wax to create texture and at some places I scratch the paper with a sharp object.

”Flow” 35 x 50 cm, (w/k ,pen and black & red artist ink ), 240gr finest chlorine free paper, 30/4/2015, (exercise page 162)

Again, I am excited with the result as I was while working on it. I think this is one of my best paintings in terms of composition , expression and energy !

Project 3: Towards abstraction

Exercise: Collage made from random elements (page 169)

I found a study of watercolour chart of greens, blues and yellows I made earlier in course. I randomly ripped it with my hands. Also I used other paper of same colours which I cut with scissors. Then I throw the cut outs on the paper from above. I removed some of the pieces as they had been too many and I glued them on the paper making only a few adjustments to control the composition.

I found the composition nice, but quite uninteresting and monotonous. However I liked the way the ripped and cut pieces created patterns. Moving further to add colour on the collage I tried to make the composition more interesting with a focal point. Continuing the idea of flow from my previous exercises I dropped artists ink and let it move downwards through the pieces of the glued paper which affects and designates the flow of the ink. Also I put some watercolour washes to create some depth.

”Random collage”41 x 60 cm, (collage, w/c, blue artist ink and white ink ), 190g/qm bright white paper, wood & chlorine free, 4/5/2015, (exercise page 169)

Generally this was a nice experiment to introduce me to collage and give me a first idea of how this method of work could open new possibilities of work and widen my options of approaching a subject.

Exercise: Themed collage and painting (page 171)

Aiming at working more on the idea of flow and extend the idea of flow to femininity, birth and maternity I decided to use some prints I did some years ago with this subject. I took a couple of unsuccessful prints and proceed to cut them and make a collage from those. I wanted to put them on paper in v shape reminding womb and in a descending way to represent the flow I want to show as I perceive the essence of femininity flowing down to earth. My print depicts a woman breastfeeding and the connection of mother and baby as they are attached.

This connection could be interrupted as I see it by some factors as the surgical birth which in my perception and feeling it is like a sharp line that gets between the flow.

In order to show that I cut the different parts of the figure and put them on the paper in a v shape going downwards as a strain to recreate the flow even with those cut pieces that might be cut pieces of a self. The red colour represents femininity. The ink as it runs gives the feeling of flow along with other things…

”Flow – dissatached A” 40,6 x 30,5 cm, (collage, w/c artist ink), 300g/m² grain fin paper cold pressed not 4/5/2015, (exercise page 171)

”Flow -dissatached B” 50,8 x 40,6, (w/c, collage & red artist ink ), 300gsm cold pressed/not, grain fin paper, 4/5/2015, (exercise page171)

Comparing the two collages, I believe that the study is more successful as an image than the second more worked collage. This is because the image remains clear and more focused on its purpose.

Exercise: Magnification (page 173)

I used a photograph of rocks and water I took for the previous assignment. I zoomed in and separated a composition that I thought was good and interesting.

I started the first study with a pen drawing of the shapes and using masking fluid I reserved the light areas. I worked with a representative of the local colour, but not aiming to get exactly the actual colour.

”Magnification A” 40,6 x 30,5 cm, (graphite & w/c), 300g/m² grain fin paper cold pressed not 6/5/2015, (exercise page 173)

For a second study I worked purely in watercolour with the same colours and composition as the previous study, but with more intense colour tones.

”Magnification B” 40,6 x 30,5 cm, ( w/c), 300g/m² grain fin paper cold pressed not 6/5/2015, (exercise page 173)

For the third study I worked monochromatic in payenes grey and also I worked in a bigger scale and with an intention to work even more abstractly. I used masking fluid and pen and ink and I was able to create an interesting composition with a nice depth of tones and feeling that I believe is transmitted to the viewer.

”Magnification C” 50,8 x 40,6, (w/c ,Pen & ink ), 300gsm cold pressed/not, grain fin paper, 6/5/2015, (exercise page173)

For another study I worked even more abstractly. I isolated the main shapes and painted them in different tones of the same payenes grey which I love for its capacity to reveal the blue it contains as it is watered down and dries. This is a good composition but quite static for my taste at the moment.

”Magnification D” 50,8 x 40,6, (w/c & artist ink ), 300gsm cold pressed/not, grain fin paper, 6/5/2015, (exercise page173)

 

Exercise: Free expression (page 176)

Well! This is the project I have been waiting for. As I proceeded the exercises I kept thinking about this project, because I would be able to extent my concept of the flow and femininity that I already started το interpose in the previous exercises. I start to work freely and depicting my own states of mind and feelings. However I am not sure who I want to see this work as it so much self revealing…

The first work comes out very easily. form the experience of the previous exercises I already know that I want to use pen and ink and let it mix with watercolour. Also I want the pictures to be mostly monochromatic with the choice of a symbolic colour each time. The red colour and the actual hue is symbolic of personal perceptions of femininity and maternity. The sharp lines of the ink applied with pen represent  a feeling of intervention, interruption and literally talking the cut of a cesarean section.

”Broken femininity still retain it’s redness” 50,8 x 40,6, (w/c & artist’s ink ), 300gsm cold pressed/not, grain fin paper, 8/5/2015, (exercise page176)

The second painting is more revealing depiction of the same experience. It contains the same features as the previous studies, but it is like a narration of an experience. The feeling is transmitted through the composition and colour. The straight lines represent the enclosure in state that I had to give in for several reasons including social reasons that surpass me. This might also be true for others with the same experience or for different experiences.

”Femininity trapped and cancelled or Femininity stolen” 50,8 x 40,6, (w/c & artist’s ink ), 300gsm cold pressed/not, grain fin paper, 8/5/2015, (exercise page176)

The third painting  has a healing quality and takes the previous paintings a step further to an ideal. It depicts femininity reclaimed and regained. The colour is more soft and positive ”female” and ”sweet” I could say. No sharp lines are included, but only pure watercolour. It also has decorative lines and curves that I associate with femininity in a positive way.

”Femininity reclaimed – regained ” 50,8 x 40,6, (w/c ), 300gsm cold pressed/not, grain fin paper, 8/5/2015, (exercise page176)

 

Exercise: Working with music (page 177)

Yanni:Until the last moment. I describe this music as calm and pleasant , but at the same time melancholic. However I feel a hope and optimism. This is what I painted while enjoying this piece.

”Until the last moment” 50,8 x 40,6, (w/c & artist’s ink ), 300gsm cold pressed/not, grain fin paper, 11/5/2015, (exercise page177)

Yanni:Swept away. I get from this music a happy feeling and a feeling of stability. Also a narrativity and an adventurous sense. This is what came out.

”Swept away” 40,6 x 30,5 cm, ( w/c & pen), 300g/m² grain fin paper cold pressed not 11/5/2015, (exercise page 177)

Zenessence (essential music, 2000 Galaxy music) composed by Steinar Lund. ”Healing”

”Healing” 29,7 x 42 cm, (w/c), 160g/m² gouache acid-free paper, 11/5/2015, (exercise page 177)

I had indeed a healing feeling a softness and purity while listening to this music. I came up with this painting which I perceive as very successful and  direct image. The way I used the paint reminds me of the work of Andy Goldsworthy and snowball paintings. However, instead of letting a snowball melt and create an effect on its own, I put water on my paper where I wanted the paint to go and guided it to several directions downwards.

The sound of Nature:Natural sounds with music, Mountain Moods (1998 Galaxy Music)

”Natural sounds” 29,7 x 42 cm, (w/c), 160g/m² gouache acid-free paper, 11/5/2015, (exercise page 177)

Natural colours and several ways of applying the paint to depict the natural sounds of birds water and other elements along with music. A cute picture I would say.

Project 4: Themes and series

Assignment 5

Series of five paintings (page 179)

This is a very stressful point. Facing the final project. I have in mind what to do, but I still feel a numbness and I find it difficult to start. So, writing these words now might help me make the first step. My intent is to further explore the flow idea that I already worked with in some of the previous exercises of the assignment. I aim to associate the flow of the female human body in terms of maternity. This is going to be autobiographical as it was in the free expression project. Maybe it is very ambitious thing to do at this stage , but I will give it a try. It could act as a starting point for further exploration later on. I waited long time to express those feelings, perceptions and experiences and maybe this could be a good opportunity to start.

I started with only a few pencil drawings in sketchbook to get an idea of what each painting would depict . The five paintings are a narrative with a beginning and end. Therefore each painting leads to the other. I don’t make any more preparation apart from a few line sketches, as the previous projects acted as a preparation of this project intentionally and consciously. I know that I want to use pen or brush and ink and watercolour in a pure mostly monochromatic way of an appropriate ”symbolic” hue.

The first painting deals with woman’s body ability to include another body, and this could be perceived as a complete circle resting in another. It gives a feeling of fullness.

”Feminine circles ” 50,8 x 40,6, (w/c & ink), 300gsm cold pressed/not, grain fin paper, 14/5/2015, (project 4 page 178)

The second painting depicts the state of pregnancy. It is painted in burnt sienna as an earthy colour to represent the connection with nature and the woman as part of it as a co-creator of life.

”Feminine process ” 50,8 x 40,6, (w/c & ink), 300gsm cold pressed/not, grain fin paper, 14/5/2015, (project 4 page 178)

The third picture depicts the way of giving life away from the natural way. It is cold and sharp and the flow is interrupted forcibly.

”Tear ” 50,8 x 40,6, (w/c &artist ink), 300gsm cold pressed/not, grain fin paper, 14/5/2015, (project 4 page 178)

The fourth painting  is the correcting of the previous. It represents the flow as it should be, uninterrupted and continuous.

”Feminine perfection ” 50,8 x 40,6, (w/c &artist’s ink), 300gsm cold pressed/not, grain fin paper, 14/5/2015, (project 4 page 178)

The final painting depicts femininity and maternity at its completeness. Earthy colour and intense composition. Flow.

”Femininity whole ” 50,8 x 40,6, (w/c & ink), 300gsm cold pressed/not, grain fin paper, 14/5/2015, (project 4 page 178)

Comments on my work and comparisons with other artists:

Sam Francis used paint in a dripping way. However, I find his work more abstract as I believe he doesn’t lead the paint at certain ways as I do, but let it to drip more incidentally. Additionally, Francis used more colours especially, the basic.

Generally, I find my work more comparable with the work of Kitty Sabatier who also uses ink.  Additionally, Franz Kline’s (e.g.Franz Kline, ‘Ochre and Grey Composition,’ 1955)  and Joan Mitchel’s (e.g. Sunflower etchings 1972)  work give me a sense that expression is of a similar way  and that my work would progress towards that style in terms of handing and colours. Also the work is mostly monochromatic as is mine. Robert Motherwells works like ”Automatism Series” remind me of my handing, and also his colours remind me of my colour palette or the palette I am determined to use. Further, some of the more abstract paintings of Richard Diekenkorn, appeal to me  like Untitled 1949 and Albuquerque No. 3.

At this point I would make a statement on Louise Bourgeois work as I was surprised when I looked at her work on maternity as I found analogous elements in my work. Some of the poses are similar like in ”Pregnant woman” and other paintings where the pregnant woman is standing on side as in my work ”Feminine process”. Also, I use reds as I associate it with woman. Apparently this association is common, not only in artists, but I think is a widespread social association or even symbolism. However, this pure red and the way it is painted is clearly an element of expression. Further, I find that Bourgeois work on maternity is more provocative, while mine is mostly autobiographical.

 

Retrospective of final assignment series of five paintings.

It was indeed an ambitious subject to work. However I am content with my work and the resulting outcome. It is a starting point that could act as preparatory work for more advanced work. I believe that these works could be further explored and lead to even more complicated work in terms of expression and deeper painting qualities.

I wish to further improve in painting expressive paintings that would be intense and evoking feelings and reactions through simplicity.

Retrospective for the course Watercolour Practice

Making an appraisal of the course is recognizing the path of practicing and learning.  One of the most important things I gained from this course is to get to know the colour better. I think watercolour is the most suitable medium to practice colour and what it can do. I was able to use colour in many ways from applying fine washes to creating rich textures. In addition I exercised tone and hues through the endless mixtures that are not only created by mixing intentionally, but also by chance, which is one of the properties of watercolour. In addition I had the opportunity to move from descriptive paintings towards abstraction which is my way of expressing and exposing my art self. Also, I had the opportunity to look at the work of watercolour artists from the early years of watercolour use to the contemporary perception of watercolour. Working with mixed media also, literally widened my options and provided me with new creative ways to paint and a more advanced optic to my artistic endeavor. Finally, I feel that watercolour is my medium. It’s properties meet aspects of my character and artistic intentions.