Studio Practice 3301 Year 3

Studio Practice 3301 – Week 7 – Crit

My Exhibition Space for my Crit

my opinion on the crit

Feedback from my peers from the feedback sheets:

Descriptions of my work – paint on board, goats in pens, vibrant colour choice, textured scratched layers, varied size, small scale animal portraits, abstracted colour, cages in relation to ethics?, acrylic, animal portraits on wood, five boards bunched together, various sizes, some small farm animals in cages, one is an unrealistic colour to the others, not much space around the animals, varying sizes of mdf of farm animals but some in unusual colours – particularly the largest piece, all animals behind fences, theme is animals/farm animals, trapped, enclosed

Relating work to other things – research into Francs Marc for brightly coloured theme, research into Henry Moore and his focus on sheep in fields

Questions/thoughts about the work – why the choices of colour? Does this work relate to farming ethics? The emphasis of the bars of the cage/enclosure brings ethics to mind (especially the central painting), would make sense with the theme and lots of small paintings grouped together. Are the fences important in the portraits? Makes you think about animal welfare – meat and dairy industry. Why are some colours bright/saturated and some are more realistic? I like the irregular arrangement of pieces with the size. Interesting idea of lines throughout the paintings. Cages, colour palettes.

Verbal feedback from peers and tutors during discussion:

  • Small scale animal portraits – acrylic on board
  • Focusing on colour and subject matter as you see it – high relation to ethics – particularly in central painting with the bars
  • High sense of “confined” – animals are confined in their enclosures, confined by scale of board too
  • Raising ethical questions of farming and animal agriculture
  • Interesting choices of colours, three are very realistic and the others a lot more unrealistic
  • Goats are funny animals with demonic eyes, adds humour to the work, silly animals
  • Abstracted colours have different outcomes but the theme remains the same, uses of colour could make the subject less serious – could represent how a lot of people don’t take it seriously, see it as a joke as if it doesn’t exist
  • Sheep and goats are often tagged with randomised colours by farmers, could make that a link in my work
  • Humour incorporated with serious topics to portray the irony
  • Experiment with scale
  • The uses of bright colours make the purple goat more animated
  • Try to do a lot more variations of the paintings – stick with small scale but generate a lot of paintings at once (consider printmaking techniques to create a lot of prints at once), flock of paintings, incorporate different goats with the same confined/trapped ideas
  • Goats have more markings than sheep, a flock of sheep in a field would look the same so see the animals as individuals grouped together in a flock of paintings
  • Henry Moore sheep paintings research
  • Farm animals are cute, not celebrated though and deemed as unimportant animals which a large amount of the population eats
  • Goats feature in films during demonic sacrifices, spiritual meanings
  • Do more singular paintings to create a herd of goats
  • Uses of the same greens in different paintings make them seem linked – same field/grass/farm/location
  • The barbed wire in the central painting crates more of a menacing look, isolated and kept alone. Isolation key part of paintings
  • The use of an unnatural green makes the environments they are in look bad, adds to trapped in enclosure idea. The use of vibrant colour is a distraction, more fences = more senses of captivity
  • Goats are looking at the audience with varying expressions. Asking for help? Looking at audience as if we are the ones in cages. On their hind legs to see if we have food. Friendly and domesticated animals. Goats look like and act like puppies, not dogs but another odd thing
  • Andy Warhol research – serial cows imagery.

Studio Practice 3301 Year 3

Studio Practice 3301 – Week 6 – Crit Preparation

To ensure I was prepared for my crit, I decided to get these paintings finished so that I knew what to present. I wanted to include a mixture of realistic colour schemes and colour experiments to get feedback and see what other people’s opinions of them were. I also included a sheep painting amongst several goat paintings as I felt my sheep painting was very successful through composition and colour schemes.

I tried to make the paintings relate to each other in various ways through colours used or the size of the bars which have different effects and outcomes. I also went to Wilko to purchase some Velcro as a quick and easy measure to present my work though in future for my formative assessment, I would like to have some more permanent measures to the hanging of my work using picture hooks and nails.

Overall, I feel very confident and prepared for my crit next week and I feel that having feedback will help to inform how I move forward in this project.

Sheep painting on board with pyrography
Goat painting on board
Realistic detailed goat painting on board
Purple A3 goat painting on board
Pink small scale goat painting on board

Other people’s crits:

I got to see some other peopled’s crits in the two weeks before my crit which was helpful in allowing me to understand how to present my work and have inspiration. I really liked the different subjects and methods people had used in their own work.

Studio Practice 3301 Year 3

Studio Practice 3301 – Week 5 – Colour Experimentation

I decided to add a cage to the owl painting I created a few weeks ago so that it would relate to my enclosure theme even though I know I want to focus on farm animals for the rest of my project due to being able to get a range of images and drawings from a primary source rather than using taxidermy from the museum which have specific stances and arrangements.

Owl Painting

Although the cage blends in quite a lot with the painting, I feel that it relates a lot more to my theme and it is very effective.

Colour explorations:

I started a painting with a vibrant colour scheme on an A3 piece of mdf board which is going well but I feel that working at a larger scale takes away the confined space theme that I have captured in the other paintings. I also feel that working at a larger scale makes it more difficult to hide any mistakes made.

Purple goat A3 sized board painting

This is a painting of a goat in which I decided to experiment with colour using purple with elements of yellow as these colours are complementary and work well together. I wanted to use the viridian green for the background to link it to my other paintings to demonstrate that lots of animals are treated badly in farms, it’s not just a small issue.

Small scale pink goat board painting

This board was a small square size and so I decided to just capture the goat’s head as the head shows the most emotion. However, moving forward I may decide to just capture a part of the goat to emphasise more on the enclosures and to experiment with the affect this has on the viewer.

I don’t feel like I have enough time before my crit to do any new paintings, I need to focus more on finishing my other paintings but when I do make more paintings, I would like to explore more with subtle colour experiments, although I like the purple goat, I do feel that the smaller pink exploration had a better effect as it still looked realistic without being over the top.

CPS 3302 Year 3

CPS 3302 – Reflection on blogs and reviews from peers

information about my blog, feedback I got, how I plan to improve

CPS 3302 Year 3

CPS 3302 – Exhibition post – DMU hallways and DMU gallery

Information about DMU gallery, how they sometimes portray students work throughout the halls of the university

Artwork displayed in hallways of uni:

DMU gallery exhibition:

CPS 3302 Year 3

CPS 3302 – CV Post

write about cvs, how they differ from other cv’s, start working on my own master CV (just a list basically)

use PowerPoint and information from YouTube videos to help me

CPS 3302 Year 3

CPS 3302 – Exhibition post – New Walk Museum

information about exhibition, my opinions, how I can use the work to influence me

Art History section:

‘St Paul’s’ – Henry Dawson (1860), oil on canvas
’Castle in a Landscape’ – Thomas Sydney Cooper (1832), oil on canvas
‘The Good Samaritan’ – William Small (1899), oil on canvas
‘Italian Landscape’ – Alfred de Bylandt (1856), oil on canvas
‘The Railway Station’ – William Powell Frith (1863), oil on canvas
‘Perseus on Pegasus, Hastening to the Rescue of Andromeda’ – Frederick, Lord Leighton (1896), oil on canvas
‘The Bare of Bosworth Field’ – William Bass (1839), oil on canvas

CPS 3302 Year 3

CPS 3302 – Contextual Post – Rebecca Haines

Rebecca Haines Artist Website

Rebecca Haines is a Fine Artist who has had a strong passion for art throughout her life. She began her artistic career by focusing on a portraiture subject – predominantly faces, in which she built up a skill in creating photo realistic pieces. In her thirties she began to engage in artwork with an animal based subject which was a lot more abstract through her uses of mark makings and colour. This interest in animals came from her friend lending her a book about the spiritual side of animals and how they connect to humans. This was an eye opener for Haines and she continued to do lots of research into animals and people’s opinions about their purpose.

During her degree, she worked at a gallery and after graduating became the director of that gallery which gave her the chance to exhibit and sell her own work.

She works onto board rather than paper or canvas as she prefers the feel and firmness. I feel that I can relate to that as I am using board for my paintings. She uses oil paints and grease pencils to create her works which I find interesting and I may consider the combinations of media as my own project develops.