Chelsea
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Acrylic on Canvas. I really like the way this piece turned out. The colours seem to join well together for me (being colourblind I can’t say that this is the same for everyone) and I think the way the drawing was laid out really gives a lot of space and attention to every facet.
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Having all but removed the lines from a painting, this time, I decided to remove the colour and leave the lines to play amongst themselves. This piece uses 4 of the source image which has resulted in the 4 clusters that are visible within the work. The piece itself is sort of reminiscent of
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Acrylic on Paper. Having thought about the use of shape and line within constructivist works, this time I decided to put the drawing underneath a priming layer, also using this as a way of stretching the paper before painting to hopefully reduce the surface distortion that occurs as paper is wetted. This method has really
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The Uk Black Arts movement grew out of the Post-Colonial state which was concerned with the impact and implications of colonialism on the current state (A Post ‘-ism’ being the transformed presence of the ‘-ism’). The mid 20th century saw global independence movements from British rule to self-governance including the Indian and Kenyan Independence movements along
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The tutorial began by talking about my tape and the great weight that it seems to betray and that it was reminiscent of Antoni Gaudi’s cathedral in Barcelona and the way in which to find the stress points on the arches, Gaudi hung string and attached weights to them, creating the shape for the supporting
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Maurice Merleau-Ponty expressed that outside things are ‘encrusted in the joints of my body’. Robert Morris expressed a similar sentiment in his essay ‘Notes on sculpture pt.2’ where he talked of how we experience sculptures though our movements around them, e.g. the way we compare ourselves to the monumental, step back, get up close and
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After creating my clocks piece, I began to see the lines on the faces of the clocks point to each other, forming patterns and shapes. Wanting to explore this, I took some tracing paper and followed the lines to a satisfactory shape that I was happy with aesthetically. Rather than just repeating the same
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Rosalind Krauss in her article ‘Allusion and Illusion in Donald Judd’ criticises Judd, who believes in creating works with no allusion or illusion, saying that his work does allude to other things. Allusion can be a property of the thing itself (e.g. I recognise a bottle because I know bottles because of my culture. Do
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Robert Morris’s essay ‘Notes on Sculpture pt.2’ looks at the relationships between the viewers and the objects on display in minimalist art. With the monumental, we are impressed and overwhelmed, sucked into the scale of the sculpture. On a small scale, we form a much more intimate relationship with it, we are able to close
Robin Leverton 