Categories
CPS 3302 Studio Practice 3301 Year 3

Contextual Post – Franz Marc (Colour)

https://www.guggenheim.org/artwork/artist/franz-marc

Franz Marc was a German painter and printer who was influenced to create vibrant coloured artworks through inspiration from the cubists and Henry Matisse. Animals feature quite a lot in his work and are easily noticeable even when the forms of animals merge together.

I felt that researching into Franz Marc was essential especially due to his abstract colour schemes in a lot of his work as I have started to use vibrant colours in my own work and this will inform these decisions in a contextual sense. Franz Marc uses a lot of complementary colours in his works which I find fascinating as these combinations are one of the first ways I like to incorporate colour into my work.

Information about Franz Marc’s ‘Yellow Cow’ – 1911

Information from video:

  • Happy picture of a cow
  • Franz Marc rejected the notion of the city, all the sounds of the city and the pollution, the corruption, the materialism. He retreated into the countryside in the Alps to commune with nature. He became very drawn to animal life and spent a lot of his time painting horses and cows as he believed that animals had a god like presence and power.
  • Marc believed that yellow was a feminine colour embodying sensuality and warmth. While the blues tended to embody the male, the masculine and the intellect, the spirit. Curious combination of these two colours in this painting. All of the experts believe that this is a rather odd marriage portrait as he had recently gotten married for the second time, experiencing the joy of new love. Embodied in the cow
Categories
CPS 3302 Studio Practice 3301 Year 3

Contextual Post – Andy Warhol (Serial Cow Imagery)

https://www.myartbroker.com/artist/andy-warhol/cow/

Andy Warhol was a Pop artist who is known for his portraits of famous people and the portrayal of American consumerism. He was encouraged to focus on imagery of cows by a pop art dealer, Ivan Karp, saying ‘Why don’t you paint some cows, they’re so wonderfully pastoral and such a durable image in the history of the arts.’

The image of the cow was chosen by Gerard Malanga who was Warhol’s printer. Warhol was a highly experimental print maker who focused on the range of graphical possibilities in a single image. Manipulating colour to create different levels of contrast was key in his work. This allows him to make typically mundane into something a lot more fun and exciting, such as people suggesting the cow subject was on an acid trip.

The cow image was printed many times for the show at Leo Castelli Gallery in 1966, with a yellow colour way and pasted throughout the gallery – every inch of gallery wall was covered with the printed wallpaper. (rather a shocking experience for viewers upon entrance of the gallery).

“I don’t know how ‘pastoral’ he expected me to make them, but when he saw the huge cow heads ‘bright pink on a bright yellow background’ that I was going to have made into rolls of wallpaper, he was shocked. But after a moment he exploded with: ‘They’re super-pastoral! They’re ridiculous! They’re blazingly bright and vulgar!’ I mean, he loved those cows and for my next show we papered all the walls in the gallery with them.” – Andy Warhol

Although all of Andy Warhol’s artwork is very eye catching, I am focusing on researching into his serial cow imagery as I feel this work goes well with my theme and could inspire me in different ways which could benefit my project.

The vibrant colours in Andy Warhol’s cow prints are fairly relevant to my work as I am starting to incorporate some abstract colours and colour schemes into my farm animal paintings. However as I am unsure of making my work too abstracted as it takes away from the serious topics of my project, the use of the repeated imagery could be a crucial area of research for my project. My aim is to create a herd of paintings of goats and sheep of various sizes, no larger than A3 of different colour schemes to demonstrate how many farms there are and to highlight how many animals go through the same experience.

Although Andy Warhol’s cow imagery is the same size when presented on the wall, I feel it still has the same relevance. The use of screen printing to create multiple versions of the same imagery is something I would like to explore if given the chance as it would make my task of creating a herd of paintings easier and it would give me the opportunity to explore colour schemes easily without having to dedicate all the time that a painting would take. I would like to explore other techniques like this if I can’t do screen printing such as linocuts as I already have a lot of familiarity with this process and so I could get started on it a lot quicker.

Information from video above:

  • Signed screen prints of a cow by Andy Warhol, 1976.
  • Created for an exhibition at the Modern Art Pavilion Seattle Centre Washington, information is printed on the edge of the artwork – exact dates of show printed on the other side of the piece (November 18th 1976 to January 9th 1977)
  • Image was printed again twice in 1971 in a brown colour way and a blue colour way
  • Pink and purple colour way of the piece shown in the video considered to be the most sought after of all versions produced, seen as most attractive and Worholian in the atmosphere and contrast.
  • Screen printed on wallpaper making it a fragile piece, use of printing rather than painting it was a comment made about the forms of art at the time. Printing onto wallpaper made it a decorative art rather than a fine art
  • Screen printing can create easily multiplied imagery
  • Lots of versions – in 1979, he signed approximately 100 of them with felt tip
  • Iconic Warhol style cow’s head image, image of a sub staid pastoral art which Warhol filled with vibrant contrasting colours
  • Represents Warhol’s attitude at the time towards the symbols of the art world
  • Most of the artworks are now framed in perspex box frames as that was Warhol’s preference, very evocative of the framing of the late 60’s to the 80’s of Warhol’s work

Andy Warhol’s cow artwork is featured in the text ‘The Presence of Animals in Contemporary Art as a sign of Cultural Change’ which I have been reading for my Art History component of my CPS module which I felt was quite relevant.

“I consider all that representations focused exclusively on the animal identity, body or eyes, beyond the metaphoric representation; e.g. portraits elevating animal to the status of icona, questioning it as a thinking creature: Cow Wallpaper by Andy Warhol (1966)”- Karin Andersen and Luca Bochicchio

Categories
CPS 3302 Studio Practice 3301 Year 3

Contextual Post – Henry Moore (sheep drawings)

https://www.henry-moore.org/about-henry-moore

Henry Moore was an English artist who mainly focused on sculpture but relied on drawings to develop his ideas. He also did some printmaking throughout his career.

Although I find all of Henry Moore’s work captivating, I am going to be focusing on researching his sheep drawings as I feel that they correlate with my project subject very well and could help my methods of capturing primary evidence at farms as I’m usually quite particular about things but Henry Moore’s sketchy approach would be very beneficial to help boost the amount of imagery I have to work with and take further in my paintings.

https://www.henry-moore.org/shop/books-and-publications/henry-moore-publications/product/henry-moores-sheep-sketchbook#

Information about Henry Moore Sheep Sketchbook – In February 1972, Henry Moore was based in his sculpture studios a lot to prepare for an upcoming exhibition. His studios were based in the countryside and he desired a place for peace and quiet so went into a room where he could view fields where sheep were grazed by a local farmer.

The sheep came up close to the window and so Henry Moore started sketching them. Initially he only viewed them as balls of wool but as he started to pay more attention to their way of life, the way they moved, the shape of their bodies beneath the fleece, he got more understanding of them. They had strong human/biblical associations – sight of an ewe with a lamb evoked strong mother and child themes (large form sheltering small form) which has been important to Henry Moore throughout his artwork.

He drew the sheep again that summer after they were shorn so he was able to see the shapes of the bodies properly without their wool getting in the way. With a solid form and vigorous movement the sheep are captured in a network of swirling and zigzagging lines using a ballpoint pen.

The effect is both familiar and monumental; as Lord Clark comments, ‘We expect Henry Moore to give a certain nobility to everything he draws; but more surprising is the way in which these drawings express a feeling of real affection for their subject.’

https://catalogue.henry-moore.org/search/sheep%20

Categories
Studio Practice 3301 Year 3

Studio Practice 3301 – Week 11 – Formative Assessment Exhibition

My formative show of work
Another image of my final show

Overall, I am pleased with my final outcome and I feel that the pieces I selected all stand out as individuals and yet work so well as a body of work. I like that there are a range of different sizes of board used as it really emphasises on the confined spaces that farm animals are subjected to. I am very pleased that I emphasised on the animal tags with bright splashes of colour as it adds an extra element. To improve, I need to make a lot more paintings to truly highlight the herd/flock idea as I feel that it will be really effective and make my work stand out a lot more.

FDR document information:

I had to put together an FDR for my assessment involving a student reflective evaluation. These are screenshots of my first section at 250 words explaining how my ideas have developed throughout the term. Overall I am happy with it as I feel that it sums up my intentions and gives a great insight to my work.

I also attached a copy of my altered statement from last week which was required. I found this putting together of the FDR very easy and am happy with my outcomes.

Overview of this term:

  • strengths
  • weaknesses
  • what I’m happy with
  • how to improve
  • intentions going further
Categories
Studio Practice 3301 Year 3

Studio Practice 3301 – Week 10 – Formative assessment plan

This week, I focused on planning my formative assessment and adjusting my artist statement from the feedback I got from my tutors.

Selected works for my formative show:



Experimenting with different layouts, positioning pieces in different compositions:


Statement feedback:

Adjusted Statement:

Gemma Sly Statement

I am focusing on capturing farm animals within their enclosures, working from life as much as I can because spending time with the animals gives me a better sense of their personalities and capturing different perspectives can be interesting. Using photographs can be helpful in doing highly detailed drawings as animals move around a lot which means you have to work at a fast pace but often, drawings from photographs have less movement and are rather flat which I don’t want. There is an element of humour in my work, especially regarding my goat paintings as goats are considered funny animals. I believe that this evokes a positive connection between the subject and the viewer.    

I use acrylic paints onto small scale board as I love the process of layering paints to create different textures. I have been using small scale to emphasise that animal enclosures are often too small, and the animals are trapped within a space. I have started to incorporate abstract colours in my work, even adding unnatural greens to my realistic paintings to show how unnatural it is to keep animals trapped for a show for humans, especially since they are the animals which are killed for food consumption. I am focusing on creating a large amount of paintings as often farm animals like sheep are grouped together in flocks so this, though unintentional at first, works well with my theme.

Within this work, I hope to make the viewer feel empathy towards the animals and make them consider how it would feel to be trapped within a space. Since the lockdowns last year, people will already have some experience of feeling trapped which could affect the ways people interpret my work. By focusing on farm animals, I want to demonstrate the fact that they are deemed unimportant, either being used for show or slaughtered for food for a large amount of humans. The animals featured in my work have different expressions and look directly at the viewer which is ironic as it makes the viewer feel like they are the ones in the cage. This also demonstrates how farm animals have become domesticated, relying on the presence of humans to be fed.

When presenting my work, I intend to have an irregular arrangement yet place them close together to emphasise the confined space that most farm animals have. Going to different locations of farms or animal sanctuaries to collect primary evidence in the form of photos and drawings is important as places use different materials for the enclosures, which is why my work features both standard wooden farm enclosures and wire enclosures. Although both create a sense of being trapped, the painting of the goat behind the wire enclosure is a lot harder hitting and menacing, creating a sense of isolation. My work effectively portrays the confinement that farm animals experience in their lifetime that the viewer can hopefully sympathise with.

I have done research into a range of painters including Henry Moore, particularly his sheep drawings as that subject is relevant. The works of Franz Marc and Andy Warhol were vital during my colour exploration stages.

Categories
Studio Practice 3301 Year 3

Studio Practice 3301 – Week 9

This week, I focused on doing some more small scale board paintings and got some contextual posts done to inform my work ready for assessment. I feel that I have been quite preoccupied with my CPS module, mainly my art history essay so I feel that I haven’t gotten much done for my studio practice module and so I would like to dedicate more time to it next week!

More board paintings:

Zoomed in painting of white goat, acrylic on mdf
Sheep painting, acrylic on mdf

Grey goat, acrylic on mdf

I feel that these paintings are a great addition to my project and I like the idea of capturing a range of different goats with different patterns.

With these paintings, I decided to incorporate colour through the tags that sheep and goats have to be identified as I felt that my colour explorations in previous weeks were too over the top and distracted from my overall theme.

Categories
Studio Practice 3301 Year 3

Studio Practice 3301 – Week 8 – artist statement

This week, I focused on getting my artist statement written so that I could send it to my tutors and get feedback to help me make it better which is crucial for me as I have always struggled to do statements in an effective way.

My statement:

I am focusing on capturing farm animals within their enclosures to explore farming ethics and how this affects the welfare of animals.

I use acrylic paints onto small scale board as I love the process of layering paints to create different textures. I have been using small scale board partly because I am used to working small scale from lockdowns last year, but also to emphasise that animal enclosures are often too small, and the animals are trapped within a space. I have started to incorporate abstract colours in my work, even adding unnatural greens to my realistic paintings to show how unnatural it is to keep animals trapped for a show for humans, especially since they are the animals which are killed for food consumption. I am focusing on creating a large amount of paintings as often farm animals like sheep are grouped together in flocks so this, though unintentional at first, works well with my theme.

Within this work, I hope to make the viewer feel empathy towards the animals and make them consider how it would feel to be trapped within a space. Since the lockdowns last year, people will already have some experience of feeling trapped which could affect the ways people interpret my work. By focusing on farm animals, I want to demonstrate the fact that they are deemed unimportant, either being used for show or slaughtered for food for a large amount of humans. The animals featured in my work have different expressions and look directly at the viewer which is ironic as it makes the viewer feel like they are the ones in the cage. This also demonstrates how farm animals have become domesticated, relying on the presence of humans to be fed.

When presenting my work, I intend to have an irregular arrangement yet place them close together to emphasise the confined space that most farm animals have. Going to different locations of farms or animal sanctuaries to collect primary evidence in the form of photos and drawings is important as places use different materials for the enclosures, which is why my work features both standard wooden farm enclosures and wire enclosures. Although both create a sense of being trapped, the painting of the goat behind the wire enclosure is a lot harder hitting and menacing, creating a sense of isolation. My work effectively portrays the confinement that farm animals experience in their lifetime that the viewer can hopefully sympathise with. To develop this idea further, I need to paint a lot more paintings of animals in their enclosures to create a herd of animals so that I can make my ideas more obvious to the viewer. I want to consider my uses of colour more as making my work too abstract can distract from the seriousness of the subject.

I have done research into a range of painters including Henry Moore, particularly his sheep paintings as that subject relates to my work a lot. The works of Franz Marc and Andy Warhol were vital during my colour exploration stages and could help develop my work further provided I am more selective. I like the idea of presenting my work within a gallery on a white wall so that the viewer can fully focus on the work without too many distractions.

Categories
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.

Categories
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.

Categories
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.