Tutor Feedback - Painting and the Digital
- martine75
- Aug 14, 2023
- 4 min read
Updated: Sep 21, 2023
My Formative Feedback.
My response is in RED TEXT.
Overall comments.
Your interest in fixed and fluid states seems to manifest in different ways for this project submission. Areas of the work suggest an attempt to capture fluidity and transformation, particularly in the more recent video piece – Infinite Void (Drag, thrust, lift, roll pitch and yaw. Shake, bump, fall and shudder). Similarly, the works have a more pronounced visceral or physical quality, like bodies or organic forms. Areas of drawing and geometry add to surface interest and generate further potential to develop an array of mixed-media works.
My interest in mixed media has 'a strong pull'. Varied media means added interest and complexity in my work.
In Plain Sight (the virtual exhibition) is a good test and useful visualisation technique. The virtual concrete proposes a muted grey background that helps to isolate and accentuate the barrage of colour in your practice. The simulation also helps to think about potential configuration/placement and scale in relation to a given space. There is also something enjoyable about the idea of disrupting a minimalist/modernist environment with riotous colour.
Feedback based on Learning outcomes.
Continued engagement with learning material and ability to self-direct with material experiments. Development of materials and techniques to help further establish your own position in practice. All work and log entries are detailed and well-presented within an academic format.
Action points.
Further explore the potential for curation and display of your works, including alternative rooms, site-specific locations and unusual venues or spaces... Develop the sequencing of existing tondos as discussed (eg. Grid formations and other groupings).
Colours can be used in a variety of contexts to unify, compliment and interrupt - consider possibilities for making different grounds for the paintings in exhibition as well as possibilities to make frames of colour for the tondos themselves (see museum colour zones for example as well as other spatial conditions that inform work):
The above links provided, talk about how artists use colours in their artwork and how colours on exhibition/museum walls affect our viewing experience. It mentions how exhibition designers and curators carefully choose their hues for galleries and museums. It also highlights the importance of colour in exhibition design, and how it can guide visitors through a show and enhance the overall experience.
Well-known institutions and artists organise and present different themes within their exhibitions and choice of colour is seen as a fundamental part of creating a cohesive and impactful exhibition.
From the 'white cube' gallery to the current trend of using colourful walls. The evolution of exhibition design and how it reflects the changing perceptions of art and how colour is adapted to complement the theme or content of an exhibition.
Should I explore the psychology and theory of colour in more detail?
Should I pay attention to detail in colour selection for example, down to specific shades of white?
"In this cheery spirit, Perry was responsible for the brilliant yellow walls and much of the packed hang of the largest gallery, with your correspondent delighted to learn that his choice of wall colour had apparently been inspired by the citrus-hued décor of her own sitting room" (Buck 2018).
With the translation into digital print or image, the work could also be explored through projection/ back projecting and projection mapping.
This is a concept that is of interest. Here, the background colour choice and texture would be specifically chosen to project onto.
Look at Saaskia Older Wolbers’ Placebeo:
Artangel commissioned Saskia Olde Wolbers, a Dutch artist known for her fictional videos that are inspired by real-life events, to create a piece titled Yes, these Eyes are the Windows. The piece is installed in Vincent Van Gogh's former residence in London, where he lived from 1873-1874. The house, closed to the public since 2012, holds a historical plaque but hasn't always been fully accessible. The video combines a voiceover with a soundtrack, drawing from oral histories, literary sources, and press archives.
Wolbers focuses on the 1970s when the house was nearly demolished but was saved after it was discovered that Van Gogh had lived there. The project offers a self-guided audio experience throughout the house where it is envisioned as a film set, preserving its historical significance while adding a layer of fiction to convey the atmosphere of that time.
"The fluidity of fact is central to the project. The narrative created by me is more a reconstruction of possibilities. To get to a historical reality one has to use fiction in some way and that is what I am interested in". (Wolbers, 2014)
Is there potential to consider the psychology of viewing your work (particularly those pieces reminiscent of the Rorschach test):
The thoughts conjured up from the above links are;
Can I create mysterious pictures like those in the Thematic Apperception Tests (picture interpretation techniques) or Rorschach tests?
How do my independent art choices make people think and feel in various ways?
How do colour, shape, and subject matter affect how someone interprets the image?
Can I compare a Rorschach test results with a standard personality test and what can I deduce from the art I make?
Can art project expression be a powerful way to understand what someone is going through emotionally? I already know (by studying Louise Bourgeois) that the answer to this question is yes. Bourgeois artwork is cathartic.
Do I need to be aware of misunderstandings, by being aware of cultural differences when using projective tests in psychology within an academic environment? Yes, I do.
A recommended place to visit on your bucket list of travels! – Louisiana Museum in Denmark:
This museum is on my list.
References.
Buck, L. (2018) 'A Riot of Subversion: Welcome to the House of Fun', The Art Newspaper, 6 June. Available at: https://www.theartnewspaper.com/2018/06/06/a-riot-of-subversion-welcome-to-grayson-perrys-house-of-fun (Accessed: 21 September 2023).
Darblay, L. (no date) Saskia Olde Wolbers: Yes, these Eyes are the Windows. Available at: https://artreview.com/preview-saskia-olde-wolbers-artangel/ (Accessed: 21 September 2023).
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