Unit 2: Fine Art – Dérive (pt 4)

On my first walk, I encountered fencing that separated two college car parks in the centre of town, which when layered with the gate of one of these car parks, produced an interesting grid form.

I wanted to explore this structure and so produced several studies, exploring the negative space and outlining of this form. I think the cut paper is particularly effective here with field-ground effect.

I decided it would be most interesting to focus the eye by enlarging one section of this image/simplifying the structure. I chose the mid-right section of the upper grid as this held an interesting combination of the two layers, and a symmetry in the gaps of one to give a uniform kind of pattern.

Section traced in outline using pen and tracing paper

Having done this I was also interested to outline my leaf sketch also – I was concerned that my work was taking me further away from the nature that had interested me so much in the second walk and wanted to see how I could continue with this theme also.

Overlaying the two traced outlines revealed a surprising similarity

I was truly surprised to find that the two forms showed a great similarity when I overlay the tracing paper. Striking especially in the primary diagonal and the bisecting verticals in the top right of the image. This, like the composition repeat that I observed in my photography, suggest that my mind is unconsciously replicating patterns and drawing me to these without my knowledge. I’m still not quite sure what to make of it!!

The Tree A c.1913 Piet Mondrian

Mondrian, in his first forays into abstraction, was seeking to simplify the form of a tree into geometric line. This is a fascinating project that he undertook, where he gradually became more and more abstracted, and one that is now used in machine-learning. He later went into pure abstraction, without recourse to objects in the world.

I’m interested to understand whether the fence-work itself has in any way been inspired by the proportioning/structures witnessed in natural forms – or is it purely coincidental that this should be observed now? Unfortunately St Peters college does not have information on the gate for it’s fellows car park online (!). But from my desk research, it seems that this is not a style of gate that is currently widely available (it would be a bespoke piece) so it is likely these gates are somewhat historic, though the modern design makes me think it is likely 20th century. The rust evident indicates iron or an iron alloy, though whether this is cast, wrought or rod I am unable to really say. Similar styles of design describe the pattern as either chevron or diagonal box section, and claim it to be an especially sturdy design owing to the diagonal supports, with no mention of the aesthetic itself. As such I think it may be more coincidental that it resembles the natural leaf form, though it is hard to conclude!

Below I experimented with masking tape, to gain a clean line for my grid system. I originally intended to cut away the edge so that the ends would not be visible, but in removing the tape, I found it tore away some of the edging of the lines, and that the ends of the tape produced an interesting tear, which juxtaposed with the uniformity of the lines and the strong black squares. I like the stark contrast of the monochrome here making the grid jump out. I am interested in exploring other masking approaches.

Acrylic on paper.

I decided to experiment with the form in the way I had done previously with crayon/wax resist (i.e. sectioning a piece of paper and completing several instances at once). I explored different marks and organic forms here, though I found the bottom right the most satisfying (where I quickly made expressive marks to form the grid). I continued this expressive form in various colour palettes using soft pastels, experimenting with the layering of the grid systems in different colours.

Unit 2: Fine Art – Dérive (pt 2)

Following on from my previous post, where I noticed I had repeated a certain composition across some of my photos of the walk, I sought to research a little more about this.

I recalled seeing something similar in Van Gogh’s landscapes that I had seen in the summer, at the Van Gogh in Britain exhibition, and looking into more of these confirmed my theory that this could have been something I picked up on there. Here he has also made effective use of yellow and blue to make even greater emphasis of this composition – dividing the canvas by its horizon near the middle, but off-centre focal point (though his tending to the right where mine was to the left). I find it interesting that he would be returning to a similar strategy for two very different scenes – the rural and the urban, with comparably similar palettes also. The small red tree on the path in the left painting is positioned almost in the same place as the figure in red on the streets in the right one.

I wonder if there was intention for Van Gogh behind this or if, like in the case of my photos, it was accidental or perhaps even just a result of him having honed his style and preferred colour palette? Were it to be intentional though, it could be seeking to draw comparisons between these different locations – or perhaps serve as a reminder that though they might seem opposing locations, that they share the same viewer (or that we are seeing it through the eyes of the same artist) they have a unity of experience? That no matter where we might find ourselves at a given moment we still experience the same ‘what it’s like to be me’ in that moment? It might be interesting to create a shared colour palette for my three compositions to explore this further.

I used google image search to find out if the algorithm could find further instances of this composition. However, I found that the image recognition software was more apt to see the subject than compositional comparison – this suggests to me a more sophisticated programme than where it might first have looked at blocks of light/shade/colour (and so composition) but now is identifying objects within those blocks. It was interesting to me to see that the software was distinguishing 3 different subjects in these images: Tree, Apartment and Street, reflecting the change of environment along my walk. The images it saw as being visually similar all fell within these 3 categories, and some do replicate my composition.

I sought to further abstract this composition, and this deconstruction of three complex images was interesting. I think the cut paper works are more successful – the precision of the shapes achieved and the flattening of the colour fields I think work well to focus the eye on the shapes and their relationships together. A more simplified colour palette also helps here I think, and I like the use of a contrast for the ‘horizon’ line. I wonder if a casual observer would still get a sense of the perspective in the original composition, or if these flattened fields would disrupt that sense of your eyes being drawn in.

These recall for me geometric abstractions like those of Malevich and Moholy-Nagy. It might be interesting to explore further whether some of my fields are overlapping of other shapes and to explore more tonal colour palettes.

Play – Gained in Translation: Critique/my work

Our 2nd theme is related to Dada and Surrealism, and we will be exploring various elements of play and chance around this in the next few weeks.

In the first of our briefs, we were to seek to remove ourselves from the subject matter. This would be achieved by the subject not being direct interaction with an object itself but the description of that object by someone only feeling it with their hands from inside a bag (reminiscent of some parlour games I had played as a child). So the visual object was twice removed from the subject of the drawing we were to make initially, and three times removed from the eventual cardboard sculpture we would construct from the drawing. It was only once we had completed our sculpture that we would discover what that object really was. We were paired up and took it in turns to describe or draw a different object.

In this way we were exploring the idea of authorship and subject as done by Francis Alys – who briefs into two sign painters to create a triptych based on his own original painting.

Francis Alÿs, Untitled (in three parts), 1995-1996. Triptych, encaustic on linen. Collection of Institute of Contemporary Art, Miami. Gift of Stanley and Nancy Singer.

I found this task very interesting, and enjoyed the challenge of conceptualising the object in a new and different way. The fact that we were working from organic forms which would not usually be summarised by geometric shapes made this an interesting challenge. When describing the object for my partner, it was easiest to talk in comparison and simile, e.g. ‘it is curved inwards like a spoon or a shovel’, and to use gesture to help indicate the contorted forms and shapes in the air.

The object I described to my partner, her drawing of this description, and the cardboard sculpture she created of this, 09/2019

It was interesting to see the elements of my description that were picked up in her drawing, and what details were lost. The form was greatly simplified and generalised, but the crucial elements remain (of the broad curved planes and the twisted dimension). The finer detail and symmetry of the piece was lost, though these had been described they were perhaps less easily conceptualised by the non-viewer.

My drawing and sculpture, based on the object described to me by my partner, 09/2019

Here too the forms were simplified towards geometry. I drew tentatively, so that I could reshape and revisit the lines as the description progressed. She began describing the foot itself as a rectangle, before clarifying that it was in fact more sloping and curved. Other elements were depicted that were less visible, but tangible nonetheless, e.g. the seam of the plastic moulding of the foot.

When converting the drawing to a cardboard sculpture, I further generalised the forms, in light of the thick cardboard material we were given. The curved shapes and ‘lumps’ that ended up being the toes were details that were lost. After finding the gummed tape difficult to use as a fast adhesive for the structures I was seeking to achieve, I redesigned the foot to be formed from one piece to minimise the need of the tape. I used scoring to gain the bends that would be needed.

A failed foot attempt using two pieces, using gummed tape which made the cardboard itself soggy and unable to retain its shape

I enjoyed the conceptual challenges in this task, but am not overall happy with the artefacts produced. That said, the task was indeed to remove our own aesthetic preferences from the process, so in this sense I have been successful!!

What has interested me is this notion of reducing objects to their essential elements, or simplifying them. I am reminded of the notion of Plato’s Forms, which were the ideal essence of the objects we see in the world (i.e. that there is a Chair Form which all chairs in the world harken to and symbolize in some way, that we recognise). Perhaps this act of simplification gets us closer to the Form?

I am interested to learn more about the idea of form in sculpture, and plan to visit the Henry Moore studios to discover more.