2D>3D>4D; just the title of the briefing this morning was enough to get me excited, and that is no mean feat. Quite honestly I am ecstatic to be leaving the boring world of flat paintings behind me and venture towards the good stuff; working between dimensions. The briefing introduced us to the idea of making 3D constructions to inform paintings, as well as using constructions in addition to painting to create relief and sculptural pieces. Although this is already a part of my working practice, I have always moved towards photography to capture ‘final’ images, and although I am not drawn to painting I like the idea of flattening 3D constructions back into a painting, as it provides a ready-made composition to work from. The work of Peter Lanyon, Frank Stella and Matthew Ritchie particularly stood out to me as having used interesting methods for moving between dimensions with the results being a mixture of constructions and consequential paintings and relief pieces. Another working practice which stood out to me was the use of transparent layers to build up a three dimensional form, like the work of Karin Schaefer and Marilene Oliver, who both use sheets of acrylic as a surface to make drawings on, from there building up layers of the drawings creating another dimension of depth. Another artist using acrylic but in an entirely different way is Nalini Malani, who created reverse paintings on large sheets of the plastic. I was particularly drawn to her piece ‘Stories retold The Sacred and the Profane’ (1998) which presents her paintings on large acrylic cylinders before being exposed to multiple sources of light, creating the most beautiful shadows, which to me become as important as the paintings themselves. Further research has led me to discover that similar pieces of Malani’s work incorporate movement into the cylinders in addition to the projection of videos for the shadows to play over, as if they create their own narrative based on the screen they move across and how the shadows interact with one another. I love this idea of kinetic energy being viewed in the form of shadows and how these become a separate entity from the original paintings. I am also fascinated by the use of videos in addition to the shadows and I hope to conduct more research into this to find out the thoughts behind them. For this week is now up to us to take this idea of shifting dimensions forward, either through making maquettes, combining drawings or perhaps creating a composition in a box, to inspire further developments. As excited as I am by this new direction for progress, I am struggling to think of a starting point in terms of where to start, as I am not particularly overwhelmed by the paintings that I have already done, and I don’t want to be repeating what I have already experimented with in this area during the last project. I need to go back over my work and see if there is anything which I haven’t had the chance to develop yet and see if they are worth pursuing.
0 Comments
Leave a Reply. |
AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
|