Assignment 3
Tutorial and Feedback

Now you’ve come to the end of project 3, schedule a feedback session with your personal tutor.

You will need to select a small number of works to discuss, as well as noting down a few questions to ask about your research and progress.

Submit your selected works and your questions via this assignment activity along with your feedback preference (video or written) and ensure you have communicated with your tutor to schedule a tutorial.

"Chromatic Orchids"

A Triptych Exploring Colour Theory Through Floral Beauty.

In metamorphosis, the orchids shed

Their pristine whites, a former bed

Each petal a canvas, a chromatic display

A symphony of colours, a vibrant array.

Martine Elliott.

Small/medium 6/8 inch decoupage oval plaques and 12 ins round cake board/plaque with overlayed and cut-out khadi paper and acrylic paint.

Front view.

Side view

Video

Link to full blog entry-

Exercise 3: Objective and/or Subjective Colour

The triptych of Chromatic Orchids was created to showcase colour and complementary hues within an organic framework.
Georgia O'Keefe and her passion and love of the orchid were an inspiration, along with Martin Johnson Heade's delicate depictions.

Creating tertiary colour, greys, and harmony within petal shapes and echoes of discord and 3-D presentation bring the orchids alive.
In a monochrome palette, I use the bold, expressive marks of the Abstract expressionists as a base to overlay the symphony of orchids.
Again as in the last part of the course, the concept of how I present and curate my work and what and how I make it are foremost in my mind.
I think leaning these pieces against the wall on shelves would create a better view of the bright and vivid coloured edges.

The alluring essence of Japanese culture, a fusion of both antiquity and modernity,

The captivating hues of the sea and sky, the radiant golden hues of Koi Carp.

The intricacy of the patterns in kimono fabrics, the elegance of Japanese culture.

A garden of blue flowers, savouring the flavours of sushi and matcha tea.

Mixed media on found wood board 40 cm x 53 cm with a gilded clay frame.

Link to a full blog entry-

https://martine75.wixsite.com/how-paintings-work/post/blue-and-gold

Close-up views.

The painting's complementary colours, blue/teal and gold/orange, create movement, light and harmony.
Influenced by the paintings of Renoir, Klimt and Hundertwasser, the blue and gold colours use simultaneous contrast, highlighting the blue parasol and the Koi Carp and creating balance and unity but with a quirky unevenness present.
The gold gilding paste/leaf adds luxury and texture and is a traditional technique in Japanese art.
The painting captures the essence of Japan and its culture and shows how colours, composition, and traditional techniques can create an emotionally evocative artwork.
I have captured Japan's beauty and essence from my travels.
This painting presents narrative and 'storytelling' elements, where one image or pattern is next to the other, informing it.
Colour choice has been supported by relevant research and is a central feature of the work. For example, Art Nouveau artists have influenced the gold and iridescent colour. The Pillow Book film has influenced the use of text (be it Western at the moment).
There are lightly deconstructed areas of formal quality against bold attention to detail, for example, the fish and the parasol.
Subtle detail, rendering, iridescent paint, gilding and metal leaf reflect the light and generate valuable tension in work.
I show a lively interest in the materiality of the paint and enthusiastically push its potential as a direct medium over a clay base on the frame of the piece.

What works well?

The fact that this isn't a painting. It's an object.
Is it considered a sculpture?
Hybridity with colour possesses unique strengths and values within this piece.
It is my personal taste and interpretation of Japan and a hybrid object containing different coloured materials, techniques, and mediums to create a multidimensional artwork that is both visually and conceptually complex.
It feels more like an immersive experience for the viewer because it is a two-dimensional painting with a unique ethereal quality.
Clay could be utilised to make different shapes and concepts in the future.
Using tradition and artists' work in Vienna has inspired my inner curiosity and sparked a burst of creativity that I have enjoyed more than any other project.

What hasn't worked well?

The support of foam board with overlaid clay is not strong and would not stand the test of time.
Elements of luck more than judgement within the concept (clay) and an element of rise with an already quite acceptable painting. Should I be taking risks within a time frame at this stage of the course?

Questions and statements.

Can I use Gustav Klimt and the Art Nouveau artists to inspire me further?
Using Pillow book lists, can I create a narrative of my global life experiences and travels?
Does using a diary of place, memory, or experience push towards the correct concept?
I feel closer to where I want to be as an artist, closer than ever before.
Using light (times of day or candles), text, colour, tradition, young and old, past, present and future, decay, clocks, paused images, seasons, music, and calendars can all play a part in representing time in my work. I need to expand on this further in the next part of the course redaction, which also touches on the element of time.
Hybridity excites me. The use of painted clay, gold ornament and texture disciplines can be pushed further within my practice.

Assignment 3 Tutorial and Feedback