Self- Directed Summative Assessment:

Untitled, A3, tissue paper and PVA on canvas, March 2014.

Untitled, A4 and A6, tissue paper and PVA on canvas, March 2014.

Untitled, A3, tissue paper and PVA on canvas, March 2014.

Untitled, A0, tissue paper and PVA with coloured card on canvas, March 2014.

Statement for Self-directed work:

I went on a train journey from Leicester to London and quickly drew whatever shapes caught my eye, some within the train most from outside the window. When I got back to the studio I started experimenting with what I could do with the shapes how I could compose them on paper. I immediately thought of last terms work and thought I could build on that using these new shapes to explore that style of composition which I found from Kandinsky's abstract work, use watercolours at first focusing on basic black lines with fill in colours. When I showed this to a fellow student she said it reminded her of Joan Miro work, I have looked at Miro's work in the past and saw the link straight away.

I then chose to stick with certain shapes and leave the rest behind me, put all my focus onto just some of the shapes. I liked working with the triangles and circles most, so I cut out these shapes from coloured card. I chose the brightest colours I could, having recently looked at Peter Halley’s work, I was interested in making the brightest work possible. Halley uses almost neon bright paints to create painting of geometric shapes on canvases.    

After my experiments using collage, I found the work of Marcelo Jacome’s work at the Saatchi Gallery in London, the colours he uses and the shapes they make reminded me of my work. Taking my work 3D felt like the right move forward, the shapes had already come off the paper, taking them off the wall seemed to make sense. I experimented a lot with the 3D element of the shapes, although I felt the triangles and circles belonged on the wall, but I like using tissue paper to create the shapes. I thought this would be an interesting textual contrast to the sharpness of the card. I could create the squares using florescent coloured card on a canvas and have the tissue paper in the background – so some parts would show through were the card wasn’t.

When applying the tissue paper triangles to the canvas, the PVA took some of the dye from the paper and it dripped down the canvas, over the some shapes – I like the effect this gives, it adds to what I saw in the tissue paper shapes to begin with. The card shapes would never have done that, I believe that the harsh card and breakable tissue paper shapes would add to the contrast of the colours and the differences in shapes.     

Summative Drawing Assessment

Self-directed Drawing Statement:

I went on a train journey from Leicester to London and quickly drew whatever shapes caught my eye, some within the train, most from outside the window. When I got back to the studio I started experimenting with what I could do with these shapes, how I could compose them. I immediately thought of last terms work and began to build on that using these new shapes, to explore that style of composition, which I found from Kandinsky’s work. I used watercolours at first, focusing on basic black lines with fill in colours. When I showed this to a fellow student she said it reminded her of Joan Miro’s work, I have looked at Miro’s work in the past and saw the link straight away.

I experimented a lot with mediums such as, acrylic paint, string and soft pastels, even wire. The way I was working seemed to revolve a lot around colour and line, I wanted to try working on either line or colour separately, and see if it was possible, for me, to keep it separate.

I played around with many ideas, after my last drawing critique about where I could take my project next. How I could finish it, what I could do to finalise this project and make the shapes more interesting to a viewer. I thought about doing an installation, and I thought about the use of reflection and mirroring the shapes, the positive and negative of the shapes on the paper and focused on the lines of each shape, instead of the colour, which was for me a distraction.

That massive 4m long piece I did for my critique at the start of March was my way of rebelling against the shapes, I did it to try and refresh my view of them. But after I still felt lost with where I was taking my work, so I went in the opposite direction, I went back to A4 black and white tape on paper. I was enjoying the lack of colour and just focusing on line, I like drawing with the tape. However I was still experimenting with different compositions and decided that I needed to roughly sketch some ideas for compositions down - working from pieces I had already done, what didn't work and what did.

I did some experiments with tape on canvas but it wasn't sticking, even with the help of glue. I chose to abandon the tape because I still wanted to use the canvas and so I then decided that I would paint the canvas in white gloss paint, to get the shine and smoothness I was getting from the tape. I decided this would be my final piece. I felt that however this canvas turned out, I couldn't take it any further. I still liked the idea of the uncontrolled paint in the background of the shapes, but I'm very much focusing on line now so I decided to drip paint down the canvas instead of splatting it randomly.


I've then chose to add bits of fabric (lace, ribbon, string) - anything with an interesting texture, that was able to make a line. It didn't matter what colour or thickness each best fabric was, actually the higher the range in thickness and colour the better. I placed it slightly off the centre of the canvas I thought it would be more intriguing to the viewer. I'm focusing very much on line and texture in this piece, and perspective – I wanted the viewer to feel like the all the lines where coming from under the white circle in the middle.

Peter Halley:

I looked at Peter Halley's work in reference of my self-directed work because he uses really bright, almost neon colours in his paintings. Some parts also look as though they have rougher texture to them, I think the contrast of me working with card and tissue paper is something that would interesting when placed together. 

I want to use much brighter colours in the work, and focus mainly on triangles and squares. 

Henriette van 't Hoog

Installation view Flat Color: Ditty Ketting, Marije Vermeulen (3x), Guido Nieuwendijk (2x), Henriette van 't Hoog (2x) – FOR HVH 3

Colours – I really like the almost neon colours she uses. Their so bright that it’s impossible to miss. The ‘cubes’ works that I’m talking about are what inspired me to take my work off the wall and just focus on the shapes. Her work is painted straight onto the wall so she very much works with the space she’s given. Although my work is mounted on the wall, not glued straight onto it, I am working with the space a lot more than I have previously.

I also enjoy the amount of white space she leaves, she doesn't over crowd the audience and understands that, because of how bright the colours are, you don’t need as much of it – it would be too much for your eyes to take in.

I plan to use more vibrant colours, attaching them to straight to the wall, using them to join some canvases that I will space out randomly across the wall. I think this fits well with how this theme came about, I saw the original shapes though a window, so I think this is a good move forward. I enjoy the shapes being free, but I chose to experiment on a canvas – the parameters remind me of a window. Dotting the canvases around a space links with how I got the shapes, I took them from the landscape and they evolved into what I’m doing now, and to me the presentation of the shapes links the start with the finish very well.

canvas experiments with composition

Untitled, A6, tissue paper and PVA on canvas, March 2014.

Jim Lambie

Recently I have been thinking about using the floor as well as the wall. Most of my work is created on the floor and I work on it from all angles, so I never know what way up its going to be until it’s finished. I think it will be interesting to view it on the ground, I’m also thinking about it becoming interactive with the audience – I was inspired by a journey, and all though my work has slowly evolved away from what it started out being, I would still like it to reflect in the final piece. The viewers will be able to step into my world and travel past and though the space as I did so many months ago, seeing them how I saw them.

Jim Lambie’s floor installations have motivated me to work with the floor, I have already forgotten about the background and am working with just the shapes and placing them straight on the wall. I found cutting the shapes and the sticking them onto the paper to constricted, I only wanted to focus on the shapes and thought the paper was a waste.

Lambie uses multi-coloured vinyl tape to create these illusional works of art and each piece will change to the site that it’s in, the tape has to move around the shape of the room and the object within it (posts, stairs and pillars etc..)

This process, again, relates to my work at the moment as I am focusing on the positive and negative shapes I create. I’m aware when arranging the shapes of the shape of the scape I leave behind.  

Small Drawing Experiments

Untitled, A1, acrylic paint on paper, March 2014

Untitled, A1, bleach and drawing ink on paper, March 2014

Untitled, A1, acrylic paint on paper, March 2014

Untitled, A4, pencil on paper, March 2014

Untitled, A4, watercolours and drawing ink on paper, March 2014

Untitled, A3, Drawing ink on paper, March 2014

Still experimenting with controlled and uncontrolled forms of drawing - looking for a composition of the shapes for a final piece.

CPS Statements

My Statement of Erica's Self-Directed work:

Erica’s current self-directed work explores complementary colours in a similar way that Josef Albers’ coloured squares did, while also considering how you can manipulate paint and the movement of paint on the surface of a canvas. She started out looking at the structure of buildings and using a thicker application of paint than she is today. Her work evolved into paintings with a seemingly flat texture, yet still retain depth in them. She has experimented with applying acrylic paints using pallet knifes and varying sizes of paintbrushes. The brush strokes are similar to Gerhard Richter and Howard Hodgkin’s abstract works, who she has researched in relation to her work.

To me, they focus a lot on line, the size of the brush strokes, the length and fluidness of them. On some pieces, you can tell how wet the paint was and how much of it was on the brush because the stroke thins out when the paint runs out. Whereas on others it stops quickly and suddenly, leaving behind a solid shape.

She has recently started working with oil paints and intends to create a series of paintings, maybe 4 or 5 canvases all similar and  sticking to a similar size but aiming to link all the pieces together by either a brush stroke or colour.

Erica's statement of my Self-Directed work:

Marcelo Jacome

Marcelo Jacome's Planos-pipas, 2013, tissue paper, bamboo, fiberglass and cotton thread, Saatchi Gallery, London.

I was at a loose end as to where to take the project next, but after seeing this piece, I wanted to experiment with creating a wooden sculpture and covering it with tissue paper, attaching both elements using glue - glue gun for the wood and PVA for the tissue paper. I also wanted the piece to have a glossy finish and I knew that PVA would do that. 

This felt like the right direction to take my work because it was restricted by the wall and by working 3D I was able to use all space.

Untitled, wooden sticks and glue, March 2014

Photographed above is the result of my experiment with the wooden structure idea, before I test out the tissue paper on a smaller version of it (below).

The tissue paper worked as I expected it too, it stretched across the sticks but it didn't fit as easily as I thought it would and ripped easily. I preferred the structure without the colour, you could see the lines of the shapes more clearly and I like the way the light blocks your view to the structure, and the wind makes it move slightly. 

Experiments with colour:

View from the stairs - Pixels, 3.5m x 1.5m (approx), coloured card mounted on the wall, March 2014.

Untitled, 1m x 1.3m (approx), coloured card mounted on the wall, March 2014. 

Experiments without paper

Triangles, coloured card mounted on wall, March 2014.

Bubbles, coloured card mounted on wall, March 2014.

Black and White Tape Drawings

Reversals, A4, black tape on white paper pair with white tape on black paper, March 2014

Drawing Critique - 6th March

Mess, 4 x 1.5m (big piece), acrylic paint, black PVC tape and coloured paper and card on paper, March 2014. 

Statement:

I went on a train journey from Leicester to London and quickly draw whatever shapes caught my eye, some within the train, most from outside the window. When I got back to the studio I started experimenting with what I could do with these shapes, how I could compose them. I immediately thought of last terms work and began to build on that using these new shapes, to explore that style of composition, which I found from Kandinsky’s work. I used watercolours at first, focusing on basic black lines with fill in colours. When I showed this to a fellow student she said it reminded her of Joan Miro’s work, I have looked at Miro’s work in the past and saw the link straight away.

I decided I wanted to experiment with more mediums after a while and started trying out different mediums like, acrylic paint, string and soft pastels. I briefly experimented with wire but didn’t enjoy the process or the result, I think if I use wire again, especially in this project I would prefer to attach it to the paper and within a mixed media piece. The way I was working seemed to revolve a lot around colour and line, I wanted to try working on either line or colour separately, and see if it was possible, for me, to keep it separate.

However, I was getting a bit tired of using the same shapes again and again; the work I was doing felt too controlled and I wanted to break away from that. I decided to go the complete opposite of this and throw paint on to paper. It was a way of rebelling against the shapes, the shapes that I got from the train were easy to repeat or copy. The spatter patterns that the paint was making – was unique and unexpected – the only thing I had control over was the volume of paint and how I threw it.

I chose to do a massive piece, (4x1.5m) focusing on the contrast between the controlled and uncontrolled, merging the old shapes with the new splattering technique.  

Seminar Presentation

Born in Ireland, raised and educated in the US, he studied painting at Yale University in the early 1960s

A course that had previously been taught by Josef Albers - who had studied and taught at the Bauhaus.

Although, MCM was never taught by Albers himself - the courses at Yale still reflected the years that Albers taught it - It centred around colour, space and form.

 FILM 1963:

This is a film MCM done as his final piece for his BA in painting – titled film.

Warhol’s move to independent film making inspired Craig-Martin to make this film, which was recorded in Ireland and mainly depicted empty, still landscapes with hardly any figures.      

The film was thought to be lost until 2000, when it was discovered among some stored family possessions.

QUOTE:

“Warhol is possibly the most important figure in the fundamental change that occurred in art in the early 60’s, and that this marked the beginning of truly post-war, truly American art.

The Abstract Expressionists look increasingly European, a kind of culmination of the great European tradition. An artist like Andy Warhol seems to me to have very little to do with that.

Warhol changes the whole notion about what a work of art is and how one deals with it”

By 1964, during MCM’s MA in painting - Jack Tworkov, an abstract expressionist painter, was the head of Yale’s Art Department.

And brought in more current, cutting-edge visiting tutors, such as Jim Dine and Frank Stella:

Dine’s use of dull objects didn’t evade his eyes.  

Stella showed hundreds of slides of work by his artist- friends in NY - but didn’t say a word, believing the work could “speak for itself”

In 1966 he moved to England on an invitation to teach at Bath Academy of Art and brought with him the Modernism of his own teachers and aimed to 'open eyes'.

ON THE SHELF:

He obviously believes in Andy Warhol’s work but I don’t think he agreed with his methods:

When Andy Warhol paints a brillo box, he just paints a brillo box.

BUT there are real objects in the world and why would you bother making an object when the world is already full of them

A thing is what it is; it’s not pretending to be something else

So, he tries to think of real objects as though they are art

MCM likes the characteristic of the object - all objects are the shape/size/style they are because of their functionality, they’re designed like that for a reason, for their purpose

So if MCM had done what Duchamp did with the urinal, he would want to actually pee in it.

DAMIEN HIRST: “That piece is, I think, the greatest piece of conceptual sculpture; I still can't get it out of my head.”

PLAY VIDEO - http://www.youtube.com/watch?v=t4PQA0QH9xs

TAPE WORK

Can’t paint/draw cassette tapes anymore because young people don’t know what it was and the images have to be relatable and he can't do a CD that would be dull.

PLAY VIDEO -http://www.youtube.com/watch?v=eaAf61yF8gE

I'm exploring colour and composition, why paint colours like they really are, that’s boring and it's been done already – you can see what colours they already are, create something new, exciting and vibrant.

YBA’S

From 1973 to 1988 Craig-Martin taught at Goldsmiths' College.

As a teacher he nurtured the talents of the generation of artists now at the forefront of British art, including Damien Hirst, Ian Davenport, Fiona Rae, Julian Opie, and Sarah Lucas.

He left teaching to continue his career as an artist – which was always the plan.

Having much more time on his hands, he has been able to do a lot more work and bigger works.

In the early 90s when he started to paint walls it became obvious to him that it was like turning the room itself into a painting - creating a pictorial space out of the 3D space.

Even though, one of the aims of his paintings are to make them seems mass-produced and lack the hand-made quality, MCM’s painting are extremely hand-crafted.

QUOTE

“For many painters, like Picasso for example, there's a live connection between the gesture, the mark and the image, and these things are all part of a very active hand-eye process. Then there are artists like me, who use assemblage or collage - I'm essentially a constructor, a putter-togetherer of things. I see my paintings as being informed by my years of making sculpture. I think of my paintings as flat sculptures.”

The greatest impact on Craig-Martin’s work has been the computer, he got his first Mac in the early 90s for word processing and he discovered that the way he assembled text was the same way he assembled his work.

The cut and paste tool was a dream for him. He found that he could scan all the separate images that he wanted to assemble on to the computer, the planning for all his work is digital now.

He plans out his compositions and decides what colour each shape or line will be. 

When it comes to making the actual piece he might have to change it slightly to adapt to the circumstances.

He has done some digital works but the quality that he gets from painting, the layering has a physical characteristic he prefers.

All of the painting is done with four-inch rollers – he’s nearly eliminated the brush altogether.

Rolling gives a very even colour, and it can cope with many layers, and it needs too.

Often the entire canvas has to be painted a certain colour to produce one section.

You need five or six coats for each colour, so sometimes there are 40 coats on the entire surface.

He start out by gessoing the surface white.

He uses colours in their purest form, with each colour brought to its highest level of intensity; layering brings a richness to the final colours. In one painting he’s done there are 20 or 30 colours.

He’s interested in exploiting the simplest of things to create things that are not so simple.

To me Craig-Martin has done what every other artist does, but in a much more obvious way – he’s taken what’s around him and used it in his work.

All the objects he paints are his – it’s his watch or his shoe and his wine glass.

The style MCM is known for was actually formed though him trying to escape having one.

In the 2000s he did a lot of commissions and public art – like Warhol he believes art is for everybody.

Church piece: "I've always thought of my work as either trying to reveal something that is already there or bring back to life something that has died. to re-invisionate, to use the colours and images to bring life to something"

 QUOTE

'I always say yes to any strange thing I'm asked to do, personally as well as professionally. Whenever I think of the next thing, I always imagine the opposite of what I've just done. If it had a lot of colour, I think of black and white. If big, then small. I'm in the studio seven days a week. I don't take holidays. When I'm in a wheelchair, that'll be my holiday. But you know, I'm never bored.'

During this year he started adding letters and words into works, but in his mind A isn't for apple, it's for umbrella. Craig-Martin explained in an interview that this was to do with a visual co-ordinance.

He references other artists work in his own: Warhol’s soup can, Duchamp's urinal, Magritte's pipe, Man Ray's iron.

His most recent work, this is part of a series. All the pieces in this series have a plain background, but range from sofa's to laptops and iPhone's.

Feedback sheets:

Evaluation of presentation:

I felt that my presentation went well and I am pleased with the feedback from both Jamie and my fellow students. Jamie said that I put Michael Craig-Martin into context well, with the art movements and the artists he inspired and was inspired by. In some of the other feedback forms it was mentioned that Craig-Martin’s work related well to my own drawing project and that I should look at Patrick Caulfield’s work. They also mentioned in one of them that I needed a more personal opinion on Craig-Martin’s work, which now I think on it, I did. I got too caught up in other people opinions (critics/other artist’s etc…) I forgot to add my own in. I did quickly say about how he works and the process he uses, but I should have said a lot more.

If I did my presentation again I would have focused more on one particular piece or series of similar works. I could have also tried to email him to ask questions and maybe get more in-depth answers, but felt that I had more than enough research to go through, there was nothing I needed to know.

I briefly mentioned about how he use to draw cassette tape but he feels he’s unable to do that now because no one knows what they are anymore. I should have expanded more on how his work has developed, the subjects are different but the techniques and results have barely moved on from where they when 40 years ago. He now draws memory sticks, laptops, iPhones and credit cards. He draws these in the same style he drew the cassettes and light bulbs, but he is aware of his audience and understands that he has to change the subject to freshen up, not only the viewers but his work as well.

I have recently found out that there’s an exhibition in the UK for Michael Craig-Martin’s work (pictured below). Big coloured sculptures in the grounds of a house, open to the public. I would have liked to include this in my presentation, show what the most recent work was; the most current work I found was from 2013.