Category: Studio Practice 3301

Artist website – https://jacksonthilenius.wordpress.com/

Jackson Thilenius is an artist and architect who has explored a range of topics in his work including still lifes and portraits. I am mostly interested in his works involving the meat industry which show the suffering that animals go through. Although I am not exploring the meat industry specifically in my work and my work isn’t as brutal or serious, I feel that looking at the way he has depicted farm animals could influence me to try to make my work more serious to see the outcome and then if it doesn’t go to plan, at least I can say I tried.

This is a zoomed-in painting of a cow’s eye which shows cows being slaughtered in its reflection. This is quite a distressing and sad image which shows that not only are animals subjected to immense violence and brutality, they also have to witness members of their family or herd being killed before them. The title ‘next’ implies that the cow who is the main subject of the painting is going to be slaughtered next and it creates a sense of impending doom with no way for the cow to escape. This is definitely a message about the meat industry and makes the viewer feel a lot of sympathy for the cows. The details of the cow’s fur work really well and the colours are used to contrast with the silhouette of the slaughtered cows in the eye reflections.

This painting shows pigs in their individual compartments in a slaughterhouse. The main pig is making direct eye contact with the viewer which evokes a lot of sympathies as it seems as though the pig is asking for help. This is made worse with the other pig-sticking their nose through the bars as if they are trying to escape but there is no way of escaping. This could also be an idea of how small their individual compartments are. The blood on the bars adds a sense of brutality which again creates sympathy. I feel that my work resonates with this piece as I do paintings of animals looking/staring at the viewer although my work isn’t as violent or brutal as I am trying to be more subtle with my outcomes. However, I feel that it is important to see how the brutal side of the subject could look, most likely making the viewer a lot more uncomfortable than my own work. Also, this painting seems to be an idea about the meat industry and although my work may be interpreted as that, it is not a direct message about the meat industry.

This painting shows a lot of brutality and violence which is a norm in the meat industry. This painting reminds me a lot of the first painting of the cow’s eye and the reflection of other cows being slaughtered. However, this painting is a lot more graphic and shows the harsh reality of the production of meat. Although this is known by a lot of people, the actual depiction of it would make a lot of people very uncomfortable. It creates a lot of sympathy for the pig that has been killed as well as sympathy for the pig that is still alive who was a ‘witness’ to the brutal murder and is going to have the same awful fate as nothing it does will save it. The hooks and wires in the background make this painting a lot more sinister, even though that is what slaughterhouses look like (not that many people are aware of this other than from films).

Reason that I decided to research into Jackson Thilenius’s work:

I feel that the subject of Thilenius’s work links to mine effectively, although a much more violent and brutal story is told while I am trying to be more subtle in my approach. I find it interesting to see how many different parts there are go animal rights – predominantly being the meat industry and animals living conditions before slaughter. My own work is trying to create sympathy for the farm animals using emotion and the animals having a direct eye contact with the viewer – I hope that the animal itself can get the message across with their cuteness rather than doing art which is too violent or shocking. However, I feel that seeing other people’s approaches to the subject is vital in allowing me to develop my own work.

Thilenius’s work is very realistic and mine is more abstract but I like the smooth appearance of his paintings and the way that the pigs make eye contact with the viewer. A key theme in his work is a sense of impending doom with animals being aware of the violence that their herd or family have been subjected to and the sad sense that there is no escape for them. Their main purpose is meat despite that they are living animals who deserve more than that.

Artist website – https://www.danaellyn.com/

COK Interview with Vegan Artist Dana Ellyn

Dana Ellyn is a vegan artist who explores a lot of controversial topics and challenges social norms from religion to not wanting kids and our relationship with animals, particularly in the contexts of which animals we decide to eat. Although I find all of her work interesting with powerful messages being presented within her art, it is the animal subject that draws me in as it is relevant to my subject and her unique ways of working could allow me to develop my work in ways that I haven’t thought of yet.

As well as subject matter, her bold choices of colour interest me as the uses of abstract colour seem to take away from the subject, maybe as a way of showing how the animals are often overlooked by society and not deemed as important, which is something I have been exploring in my own work – although not to the same extreme levels.

This is a fairly large painting of a cow and a dog staring at the viewer. Although the animals are painted in a way that makes them look distorted and disproportional, I feel that the painting is very effective and unique. Since they are painted in a similar way, Dana Ellyn is showing the viewer that there isn’t much difference between them at all. I find the fact that they are staring directly at the viewer very interesting and this is something which I have been exploring in my own work but seeing it achieved in a different way is very inspiring. The green background works well as it reminds me of a field or a park, areas in which cows live and dogs go for walks. This painting raises the question of how can we choose which animals to eat and which animals to have as pets.

Dana Ellyn has had trouble eating meat since she was a child, often feeling sick at the thought of it and having to have her meat well cooked or she would refuse to eat it. Chicken, in particular, seemed to be a big problem for her – reminding me of a phobia that some people have of eating undercooked food, chicken, in particular, being a tough food. She was unaware that being a vegetarian was an option and so only took that step during adulthood, eventually deciding to go fully vegan.

In some of her work, she places animals next to the foods that they become after slaughter, for example, a piglet near a piece of bacon, to make people think more about where their food came from. This is an interesting concept as although many people do know where meat comes from, they may have never been confronted with the animal and byproduct side by side. To Ellyn’s surprise, meat-eaters were more interested in her work than vegans/vegetarians and so she hopes that her art can encourage people to eat less meat or become completely vegetarian/vegan.

In this painting, I love the fact that some of the bare cardboard has been left in the background and the floor as this looks incomplete and careless which could be a reflection of how humans can be careless towards animals. The colours used work well together and the different textures created with brushstrokes are effective. The gaze of the piglet evokes a sad feeling, which is made worse with the bacon next to it as the piglet could be looking towards the viewer for help so that it doesn’t have the same brutal outcome. When I first looked at this painting, I didn’t realise that the words bacon and pig were added beneath but when I looked closer I realised. I believe that this was added in such small writing because it doesn’t matter, people know what they are and still engage in eating meat.

Some of Dana Ellyn’s more controversial works involving the meat subject including ‘Baby Back Ribs’ are images that people do not want to see or think about. This shows that sometimes people who consume animals are content with doing so when it is out of sight, out of mind. But they don’t like to be confronted with the brutality or a dynamic shift that evokes disgust. Due to the outrage that some of her works got in the past, Ellyn tries to get her ideas involving animals across in a more subtle way with animals gazing directly at the viewer in a cute manner to try to get viewers to sympathise with the animals.

This is the painting that was mentioned above which shows a role reversal between humans and pigs. It shows a human baby which has a lot of its back flesh missing with pigs’ portraits hung up like humans have. Though I understand why this painting can be hard to look at as it creates a lot more uproar since it is humans being tortured, it also shows how brutal humans can be. This shock factor could be enough to put a lot of people off of meat, especially since the baby has such a pained facial expression. There is a large contrast between the light wall and the red table/bloody baby and flesh tones. I believe the colours used are to emphasise violence and brutality. I find the dark border – sort of reminding me of a vignette effect works really well as it makes the viewer zone in on the image depicted.

The two paintings above demonstrate some of Dana Ellyn’s paintings in which she paints one animal on one side and one animal on the other. Though they are both painted in different styles, with ‘pitbeef’ being realistically painted and ‘pug/pig’ being painted in a more abstract style with lots of mark-making and pattern, they both show how animals are quite similar and it is unfair to worship and care for some (the pets) yet not care and slaughter the others (farm animals). These paintings remind me of the ‘staring contest’ which I wrote about at the start of this blog post, however, I feel that these paintings explore the ideas in a more interesting way which captures my attention more. The choices of animals used work very well, as Pitbulls and cows both have long faces so their faces fit together well and pugs/pigs both have quite rounded faces. I love the fact that the animals are making direct eye contact with the viewer as this evokes a sense of sympathy yet also makes the viewer uncomfortable which is essential in exploring such topics.

• Full time painter based in Washington DC. 
• In the video she is talking in her studio 
• Best known for her paintings concerning vegetarianism/veganism and animal Most current series called ‘look me in the eyes and tell me I’m delicious’ where she paints cute animals looking at the viewer with the intention to make the viewer not want to eat the animals as they are too cute

• Shows some of her vegetarian themed art works – pig painting inspired by the mcgreet painting that says this is not a pipe. In her work she put the text ‘this is not bacon’ in French underneath a pig painting on a bold pink background. Ellyn sees animals and just sees animals but some people see animals and see food which she is hoping to change with her art 

• ‘To bee or not to bee’- concerning the death of bee colonies and how when bees go away we’re in big trouble as we won’t have any food

• Inspired by tale of Goldilocks and the three bears, ‘Goldilocks and the three meals’ – pig head is too fleshy, fish head is too fishy and the plate of fruit is just right 

• ‘you’re gonna eat that?’ Little girl licking her fingers thinking the chick is a chicken nugget and the child on the right represents Dana Ellyn’s complete horror of ‘no it’s a cute little chick, why on earth are you going to eat that’ and then the child on the left represents people who are too young to understand.

Reason that I researched into Dana Ellyn’s art:

I decided to research into Dana Ellyn’s work as she explores animal ethics subjects which is related to my own work. Some of her work is quite extreme whilst my work approaches animal ethics in a more subtle way focusing more on emotion rather than violent imagery. Despite this, I still feel that it is important to explore how this imagery can affect an audience and see how Dana Ellyn’s experiences with feedback could make a difference. Ellyn’s work is more focused towards the meat industry since she is a vegan but she also explores how we treat the animals we eat -farm animals- so differently to the pets we have -dogs and cats- even though they are so similar. These paintings really make you consider how similar all animals are and how we as a society are so disrespectful to certain animals as we have always seen them as animals we eat rather than seeing them as having a right to live.

I also like Dana Ellyn’s uses of pattern, detail and colour as these are important factors in my own work and so I could adapt Dana Ellyn’s bold colours to see how they affect my work. Colour is such a vital element of my work to draw on the humorous aspect of people who claim to care about animals yet don’t do anything to better their living standards or make any sort of change. Dana Ellyn’s paintings have animals which make direct eye contact with the viewers similarly to my paintings which I find captivating and make you feel sad for the animals – which is an interesting concept in my opinion.

The Blue Rider Group consisted of a range of artists located in and around Munich. It was founded in 1911 by Franz Marc and Wassily Kandinsky. The group represented part of the German Expressionist movement. The group was around from 1911 – 1914, cut short due to members of the group, Franz Marc and August Macke being called into the military for World War 1. The after-effects of the war completely shifted the art scene in Germany.

The Blue Rider Group made art to explore relationships between art, colour, music and spiritualism. The group was formed in rejection of another German group called Neue Künstlervereinigung München (Munich New Association of Artists). They were interested in presenting art that showed their emotions rather than just doing literal scenes or realistic art. Although members approached their work using different techniques or subject matters, they all expressed spirituality through their uses of colour.

Information about the different members of the group:

• Wassily Kandinsky – He was the focal point and intellectual head of the group with his work becoming semi-abstract in 1912. After the war, he moved back to his home country Russia and was considered the inventor of abstract art over there as he introduced the idea. Although the name ‘The Blue Rider’ was believed to have derived from a 1903 painting by Kandinsky, at that time he hadn’t developed his colour symbolism theory yet and so this is rather unbelievable. Kandinsky was very important in the group as a theorist, publishing essays and an experimental theatre piece for the group, as well as his other visual offerings.

This woodcut, the cover for ‘Der Blaue Reiter Almanach’ portrays the groups’ aesthetics and ideals in an effective way. The use of the prehistoric woodcut technique shows the groups’ interest in the direct representation of Primitivism. The use of the colour blue represents spirituality and the rider symbolises mobility making this woodcut a visual manifesto of the groups’ important concepts (since the blue rider group didn’t have an actual manifesto).

• Franz Marc – He had a preference for environmental themes in his work – with a particular fondness for animals in their natural environment. His paintings became nearly abstract at the end of his life, sadly lost due to World War 1. During his artistic endeavours, Franz Marc developed a colour theory that ran parallel to Kandinsky’s, yet the two overlapped at points with the pair doing some collaborations together. Spiritualism was something Franz Marc explored in his work throughout his life, with a key idea of his being that animals were much closer to a natural state of spirituality due to them being at one with nature, while humans were too civilised to reach the same state of spirituality – animals were purer in spirituality than humans will ever be.

“Blue is the male principle, astringent and spiritual. Yellow is the female principle, gentle, gay, and spiritual. Red is matter, brutal and heavy and always the color to be opposed and overcome by the other two.” – Franz Marc. In ‘Yellow Cow’ pictured above, Marc through his colour choices was demonstrating femininity resounding in spirituality not being able to be silenced by the opposition.

• Gabriele Münter – She became companions with Kandinsky and they spent a lot of their time at a house in Murnau outside of Munich. This house became a common meeting point for the members of the Blue Rider group. Locals called the house the Russenhaus (House of the Russians) as a lot of the members came from Russia originally. Münter’s work often had black outlines with bright uses of colour and often have a compact perspective which creates a flat effect. The uses of simplistic shapes demonstrate her influence of folk art and children’s paintings. She never went completely abstract as she enjoyed doing figurative art that showed the reality of life.

The colours used in this painting by Münter are very delicate yet have a completely different effect when viewed against the black outlines. The black outlines and bold colours make this work similar to a colouring book page. The application of paint holds texture which with the colour selection works well. Different tones of colour in each section create dimension and make the work more realistic.

• August Macke – He was close friends with Franz Marc and went on various trips to different places with different members of the group. He also sadly died during World War 1. Macke was critical of the blue rider group in a humorous way.

Macke often painted forms cut into sections/fragments with common angular shapes and often focused on depictions of women doing different things. In the above painting, four women are gathered in a forest with high amounts of contrast between the subjects and the background which pushes them forward and makes the viewer focus on them. The use of the shapes in Macke’s work is often linked to cubism.

• Alexej Jawlensky – His style involves broad brush strokes and strong colours. At the end of his artistic life, he suffered from arthritis which made painting difficult for him.

The works of Alexej Von Jawlensky, including the painting above, have similarities to a colouring book due to the heavy black outlines and bold solid areas of colour to create contrast. He focused on head portraits a lot in his artistic endeavours to portray emotion, often using bright colours to show how colour can become the essence of one’s being. Expressive brushstrokes are shown throughout a lot of Jawlensky’s work. Although I know this is created using paints, the textures created do remind me of oil pastels which I find interesting.

• Paul Klee – Until 1914, Klee mostly did watercolour paintings and graphics in his very unique style. He loved to explore form and colour, both figurative and abstract but reduced to the essential. He did small scale work, sometimes miniature. Paul Klee’s exploration of colour began with the Blue Rider group. He became inspired by Kandinsky’s writing and so started an intense study into abstraction and colour, with the two going hand in hand at times. This made him a central member of the group.

The painting above is considered one of Klee’s first fully abstract works and exchanges familiar imagery into a balanced composition of different shapes coloured in a variety of mixed hues that make the piece very eye-catching. Although this piece is rather simplistic, the colours balance yet contrast in areas which makes the viewers’ eyes travel along the painting rather than just staying in one area.

• Alfred Kubin – His works were much different to the rest of the groups’ colourful explorations. His work is nightmarish and apocalyptic. His preferred medium was drawing ink mixed with watercolour. Out of all the members of the group, Kubin was the only one who wasn’t outlawed by the Nazis.
• Marianne von Werefkin – She joined the group at a later stage than other members. She focused on women and the impoverished in her work, showing how differently people were treated at the beginning of the 19th century. She often depicted the women in dark coloured clothes to demonstrate the harsh reality of women in her era with a splendid landscape.

This painting demonstrates the experimentation of the blue rider group that was semi-abstract explorations of colour and forms. Werefkin often had loose brushwork and uses of random colour which showed how artists such as Vincent Van Gogh and Edvard Munch influenced her. I feel that the bright yellow highlights on her face work really well to draw the viewer in as a lot of the other colours are quite muddy and dark, so the highlights stand out and bring the painting together.

• Albert Bloch – He was the only American member of the group who moved to Germany in 1909. Kandinsky and Marc visited his studio and convinced him to join. He developed his own unique style, often incorporating harlequins and clowns dancing and playing instruments in his work.

This painting shows Boch’s connection to the Blue Rider group which has no visible foreground or background and makes it seem like objects are floating. This is to show the combination of the physical and spiritual world. The fruits have their own auras which shows how Boch was giving life to inanimate objects. The fluid and wavy lines also link to spiritualism. Albert Boch continued this style in his work even after the Blue Rider group ceased to exist.

Information learned from the YouTube video above:

• Many artists during the early 1900s wanted to take their art in a different direction, they didn’t want to just paint and sculpt realistic images. They wanted to express their feelings in their art and make viewers feel the same emotions when looking at their work
• The blue rider group came together to rebel against the way art was created and created a new art standard of creating work from within rather than from external sources
• They were a part of the art movement called German Expressionism
• They expressed feelings and abstract ideas that paved the way for Abstract Art. They wanted to express spirituality in their work, beyond reality and life as they knew it
• Blue represented a spiritual colour, part of the reason for the name of the group. The action of riding a horse represented the fact that they were riding beyond realism in art

https://www.tate.org.uk/art/art-terms/d/der-blaue-reiter

In 1912, Kandinsky and Marc produced a collection of art essays with a woodcut cover created by Kandinsky. This was titled ‘Almanach Der Blaue Reiter’ and the name has only been explained with speculation, nothing was confirmed by the group. Franz Marc has always had a fascination with animals, in particular, horses which he painted a lot through his artistic career and Kandinsky had always been fascinated by riders on horseback, with one of his paintings in 1903 being titled ‘The blue rider’.

Influence of colour on the group:

Each of the members of the group had their own individual applications of colour but all used similar colours in a lot of their works, with blue being a popular colour for all of them. Colour allowed the group to be more expressive and allowed the artists to convey their spiritual feelings in their paintings. Their work was freer than other artists at the time and very eye-catching, no dull work was created.

The colour of music:

Synaesthesia – the ability to hear taste or smell colour introduced Kandinsky to the idea of using colour to represent physical senses. Each colour represented different parts of an orchestra to create a colour symphony in the painting. This was significant to Paul Klee in his progression to abstract art. Yellow – earthly colour, brighter yellow = chaotic feelings. Blue – calming and created balance with the yellows. Reds are powerful to represent drums or trumpets. Green – calmest colour to represent violins. Violet – melancholy and sad to represent horns or bagpipes. Black – represents the finale. Every placement of colour in Kandinsky’s musical pieces was intentional with some pieces taking him years to complete due to the deep considerations.

Artist and movement inspirations of the group:

• Robert Delaunay/Orphism – influenced Franz Marc and August Macke, particularly the way colour was fractured into different fragments of colour
• Fauvism – Gabriele Münter and Alexej Von Jawlensky
• Music – influenced both Wassily Kandinsky and Paul Klee
• Edvard Munch and Vincent Van Gogh – Marianne Von Werefkin, influenced by their use of colour to demonstrate the soul

My reasons for researching The Blue Rider Group:

I decided to research into the Blue Rider Group as colour is an important part of my project and so since each member of the group explores colour in different ways, I felt that this would be good to inform some of my colour decisions rather than just making the colour choices up as I go along. I got encouraged to research the Blue Rider Group as a whole by my tutor after they heard that I was being inspired by Franz Marc and I feel that this was a good idea as although the group all have used colours to express particular emotions, they all have very unique styles and relationships with colour which is something that has always fascinated me – two artists focusing on the same subject with the same colour palette and materials very rarely, if at all, produce the same outcomes, each person’s art is completely unique and new and this is a concept which I love about art.

Main sources:

• https://www.artelino.com/articles/the_blue_rider.asp
• https://www.tate.org.uk/art/art-terms/d/der-blaue-reiter
• https://www.theartstory.org/movement/der-blaue-reiter/
• https://www.thecollector.com/der-blaue-reiter/

Artist website – https://pat-saunderswhite.pixels.com/#sectionDivAbout

Pat Saunders-White is a fine artist who enjoys working with clients to create pet portraits. She enjoys making art that makes people happy. By focusing on composition and colour, she tries to capture more than just the physical aspects of the animals. She uses a lot of contrast, black lines and whimsical cropping to draw in the viewer.

I feel that the subject matter of this painting relates a lot to my project as I have painted a lot of sheep and so I felt researching this artist was relevant. Although I wouldn’t expect the colours of the sheep and the red/blue background to work, the black outline breaks the two things apart and makes it effective. I love how the texture of the wool contrasts with the solid background colours. Though abstract it is still easy to identify the subject matter.

The subject matter of chickens for this painting was selected by one of Pat Saunders-White’s students. I love how this painting looks like an abstract drawing as it is really simple but the arrangement, composition and colours used work well. The fact the painting is a diptych also works well as it allows the viewer to spend more time looking and wondering why this decision was made.

I feel that this painting resonates really well with my project but this painting is more of an abstract take on it which works really well. I would like to further explore experimenting with colours in my own work to hopefully achieve something similar as it really works and draws in the viewer as the colours work well together yet contrast with the black outlines.

I love the colours used in this piece as they are very bright and work well with the dark outline. Though simple, the irregular shapes in this painting adds to the whimsical vibe and adds more to the overall effect. The eyes make the cow look quite crazy which I find humorous. Though a different outcome, this painting initially reminded me of Andy Warhol’s serial cow imagery which is an interesting link.

How Pat Saunders-White’s work is influencing my project:

In particular, I am interested in Pat Saunders-White’s use of colour to explore animals and bring them to life. The colours used are often bright and abstract which makes them very eye-catching and evokes emotion from the viewers, with the colours being used to possibly portray how the animal is feeling or to show how amazing animals are.

The works above, particularly the last two of the donkeys and the cow in bright colours remind me of my work a lot in terms of animals being in enclosures/captivity and the animals making direct eye contact with the viewer. As this creates a lot of emotion, it is perfect to inform my decisions going forward and could help me to be more decisive about my colour choices rather than being random.