robin
-
In configuration 9 the rule I used was that instead of using colour as the positive element dictate the fill, I’d let the traditionally negative elements i.e. white and the background prime colour dictate how the fill is carried out. This comes from how I have begun to read into John Cage and Robert Rauschenberg…
-
No two coloured tiles are made adjacent in this piece. The colours were applied in a very different method: The main colour of a tile was determined by the number of adjacent tiles it had. This was then blended into from the sides that had an adjacent tile with a colour that corresponded to the…
-
A group, comprising of myself and two other classmates (Patricia Orem and Camilla Gaulter-Carter) was asked to collaborate with each other as the themes of our work shared a set of characteristics: Modulation, Time, Free-form and Transformation. In our discussions we formed an idea around using a mirror to project an image onto another surface. I added…
-
This piece used the Victoria station photograph as its source but with the harsh clusters of colours found in ‘Configuration: 6’, where I didn’t have the compositional choice I used in ‘Configuration: 5’ and the paintings before, I decided to reintroduce the ‘no adjacent coloured tiles’ rule. The colours were decided by colours randomly…
-
This ‘Configuration’ has a different set of rules to the others. Whilst the previous 5 were based off of the positions of pins on my notice board, 6 is from the positions of people’s heads at Victoria Station as taken from a vantage point. The lines again are drawn at whim but the colours…
-
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…
-
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…
Robin Leverton 