Jan Dibbets is a Dutch artist his work is mainly as a
photographer. I had not heard of Jan reading about him is helping me to
understand his work. I began by just selecting a couple of his of works that I
found interesting. Then working backwards to find out what the work was about. At
first, I felt like it the drawing I was looking at were architect plans. But
then reading about how his work focuses on interesting geometrical design.
He uses is camera and tripod as a tool to draw with, using
it to create different perspectives and angles of the local landscape. Dibbets
work is based upon place on things such as open water and grass, a chapel floor,
or windows. Creating illusions of perspective combining photos within the piece.
His work reminds me of the photos I take on visits and save for future inspiration
such as stained-glass windows in cathedrals, or interesting surface on a visit
to London.
Jan had a desire to separate himself from a conceptual label,
he originally began as a painter and created shapes on a canvas or collage. Like
the collage below made with photographs, colour, on cards and graphite on paper.
This piece is not overly large at 752 × 1016 mm and was made in 1973.
At the beginning in the 1980s, Dibbets began to focus on architectural
details such as floors, ceilings, vaults, or windows. Such as his Barcelona
Window work which is created with watercolour and photograph on wood. Which is 72inches
x 72inches, larger than his previous work.
I have used photography as a method of research or to capture a completed piece but not explored using it within my work. This is a new technique I would like to explore in the future.
Sandback draws with acrylic yarn to show exact positions or three-dimensional
shapes, work with the space and architecture. Using acrylic yarn in various
shades to complement the space he was working within. He found that the acrylic
yarn had elasticity and had a fibrous, fluffy texture to it. Although Sandback
did not want to use contrasting colours within his work I do feel like the yarn
feels soft and warm against the stark white background. Although when watching
the video of his work on display at Dia Beacon it felt calming, quiet, and
mindful.
He anchors down the yarn in precise points, you can see how
planned out it is in the installation drawing below.
Sandback also worked with steel rods as seen below, creating
accurate and angles and shapes. That work in harmony with the architecture of
the building. His installations vary in size depending on the size of the area
of the building. When observing work and thinking of labels, I would categorise
Sandback as a sculptor a very minimalist one. He work is also inspired by place,
and are designed to fit the space rather than making it fit the space.
Thinking about how I could use his style of work to
influence my work. I think I would take away the simplicity of his work, which that
encourages the observer to visual the space with there own vision. And using
the simplest material such as acrylic yarn to draw a perfect line across a
space. Almost like a perfectly drawn line across a page. I can be a bit untidy
and busy with my work, I wonder if I could be like Sandback and keep it clean
and simple. What will my work look like then?
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Installation Drawing from Dwan Gallery
Felt-tip pen and pencil on printed paper
https://www.artnet.com/artists/fred-sandback/
Moving away from the straight lines of the previous artists to
quick, wobbly line drawing of Claude Heath. A British artist who a contemporary
painter, who’s work focused on landscape and objects. Using innovative
techniques to create abstract pieces in a selection of mediums.
I found it really interesting that he had made a series of drawings
by merely touching objects while wearing a blindfold, artist Claude Heath
noted, ‘The issue was how I was to draw without being compromised by anything
that I might have already known about these objects’. Drawing what was actually
there rather than what you expect to be there. This reminds me of a technique I
have used previously when I don’t look at the paper but draw the object I am
looking at. Trying to capture every curve and line of the object on the page. Heath
has been the first artist I have felt so common ground with, and I feel I can
relate to his work and practise.
His experimental drawings are often starting points for his
larger scale work, such as his paintings and wall drawings. Using various
materials ink, biros and paint, to creating his pieces which give a feeling of
movement. With the multiple lines going over and over again, like the object
being moved around in his hand.
While Heath was at the Cambridge University, Heath worked
with astronomy and aerial photography staff to produce images derived from
stereoscopic photographs of Ben Nevis. Sketching continuously whilst looking
through a stereoscope. Using individual abstract marks of dashes and dots.
You can see the outline of Willendorf Venus with the shapes
and scribbled lines. Heath moved his finger along the outline of the Willendorf
Venus sculpture, trying to replicate the movements with a pencil in his other
hand.
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His best-known works include An oak tree of 1973, in which
he claimed to have changed a glass of water into an oak tree. Which essentially
is a glass of water on a shelve with writing next to it. Craig-Martin argues
that the glass of water is an oak tree, but that he turned it into an oak tree
himself. I struggle to understand work he is presenting, and I find it
difficult to relate to or find any common ground. He uses an everyday object with
a question and answer sheet presented with it. Is the object the art or the
words? It has been described as "questioning the
nature of reality." He definitely falls into the contemporary conceptual
artist.
On the flipside he also creates large-scale black and white
wall drawings; and colourful paintings, installations, and commissions. I felt
more comfortable with this style of work, the first painting that jumped out at
me was a familiar object in our home an Xbox controller. Painted in vivid
colours, simplified black lined drawings filled with colour. He captures
objects of the modern world. I found it interesting that he only uses colours
with a name: red, yellow, pink, magenta. This style reminds me of one of my paintings I did to pop music
in the last unit. It makes me feel happy, and the selection of objects he’s
used in his work such as a cassette, sunglasses and other everyday items that
remind me of home and of family.
Craig-Martin has left me confused as they are two completely
different styles one based around words and mean. And then his vibrant very day
objects, the later is a style I am drawn to. Throughout my degree I have always
commented about how I would like to explore colour more, perhaps this is my
inspiration?
One of Elise’s pieces appealed to me it is a series of drawn
tiny depictions of everything, including drawings of her money, clothes, books,
passport from a trip she was making. It reminded of a diary or a list, I am
currently trying to do an embroidery journal capturing tiny simple icons to
represent the day. A lot like Elise’s work but she uses coloured pencils on
paper, instead of embroidery thread and fabric.
Elise works on her travels using her locations for
inspiration, documenting her experiences, in a mixture of media gouache, coloured
pencil. Also using words written on the work to describe the journey or to note
information. Her work really does feel like a diary made into art.
Elise’s pieces are not particularly large, well more like a
poster of a map on a wall or a large copy of a shopping list for a person who
can’t read.
Elise's work is described as laying somewhere between art,
taxonomy and natural history. There definitely feels like a story and purpose
to her work. Although the works themselves have an unfinished feel, like a step
towards a finished piece not quite a sketch but not the final polished piece.
I also found her work regarding the contents of a woman's handbag interesting, like a research project looking into a range of women in age, class, race and profession.
I like the concept of Elise’s work, its like taking photos
on a holiday to remember the memories. But instead taking the time to draw
those little details like what you took, what you did, what you saw. She also
uses materials I would feel confident to use. And in fact it reminds me of my
journey work in the previous unit.
Ninety-Degree Draft -2009-2011
Gouache, colour pencil on paper
30 x 42"
Human perception of the body is so acute and knowledgeable
that the smallest hint of a body can trigger recognition.
—Jenny Saville
Jenny Saville creates large canvases of the human body in it
raw and real form. She gets her inspiration for her work from pathology
textbooks, plastic surgery manuals, and other medical manuals.
They are full of emotion, the faces painted in a way to that
you could relate to them like a friend or someone you passed in the street. She
uses to paint to create effects of bruises, scars, cuts and birth marks. One of
Saville’s paintings reminded me of my friend’s son who is disabled with a port
wine stain on his. The eyes really drew me in, the wide eyes of innocence just
like his.
They certainly aren’t flattering portraits; I can imagine
them being very imposing if not a bit intimidating being on such a large scale.
Saville paints real women not like the photoshopped pictures you see on social
media. Going against stereotypical idealised images of women, such as her piece
Mothers. I can relate to that mother in the painting, the exhausting look on
her face, the light sweeping brush movements of the squirming baby trying to
get of her lap.
Its interesting how when Saville uses a different medium such
as charcoal, her work becomes darker and not just in colour but there feels like
a sadness. There is a feeling of mental health crisis in her work, the frantic
marks across the page. I feel like they are depicting rapid unorganised
thoughts.
I like the realness and honesty in Saville’s work, embracing
the imperfections. Life isn’t perfect, art isn’t perfect, and my work doesn’t
have to be perfect. Its accepting that and allowing it to be part of my work
practice.
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Cy Twombly is an artist I have researched previously; I
believe in my foundation unit. He is not an artist I understand or get his
work. Although when I saw it hanging in the Tate modern it was certainly
visually stunning. Its size filling the room it is display in, giving the feeling
of the paint being swept across the canvas where they are hanging. Twombly had
to tie his brush to the end of a pole to reach the upper parts of the canvases.
With the red paint running down the canvas like there has be some sort of manic
massacre in the room. Twombly uses his feelings and emotions in his art, uses
that for his inspiration. I imagine him listening to something aggressive or
angry whilst working on this piece.
Reading through the article below I was reminded of the de Waal interview but in reverse. Instead of being inspired by music or words a poet has made a poem about Twombly's piece below. I find it intriguing as it gives me an insight into what others see in the work. As at first glance I felt like it could have been a picture scribbled by my daughter. But the poem gives it a different dimension, like Craig-Martins The Oak, it wasn't the glass of water that was the art but the questions printed to support the artwork. But it’s got me thinking is the writing the art or is it the visual image or do they complement each other?
Twombly often quotes poets, as well as classical myths and tales, in his works. For example, his work Apollo and The Artist. He also produced a series of eight drawings containing solely the word "VIRGIL".
‘The most beautiful thing is honesty, even if it’s really
painful to look at’ Tracy Emin
When I think of Tracey Emin I think of her installations, like
her bedroom one with the messy bed. I struggled to see that as art as let’s
face in most houses they have that. I think it only becomes art when you start
to understand what it signifies. In fact, all of Emin’s work has a deep meaning
that I feel I can relate to, whether it is one of her installations or a
painting on a canvas.
Towards the end of MMT I started to explore my emotions and
experiences in life into my work. Like Emin does with her work, using her work
to create something of an autobiography. Using art as a type of therapy, which I
can also relate to. Using my creative crafts as an outlet and a way to relax.
I picked Emin’s piece ‘Yes I miss you’ as the way the red
paint runs down the canvas like Twombly’s piece. Creating a dramatic feel of sadness
and loss, with black lines quickly painted to create the outline of a body. Its
interesting how the feeling of broken love and a couple embraced is created
from simple lines.
The final piece I wanted to look at was one Emin’s smaller monoprint pieces. Her use of the simple words
of ‘Something Wrong’ along with a very graphic yet simple image of a woman. Which
after reading the description is going through an abortion. A very brave and
controversial move to make an artwork of but something many women go through
and deal with, in silence. Emin does not shy away from the taboo subject. That’s
what I’m going to take away and use in my art practice.
Wassily Kandinsky- believed shades resonated with each other to produce visual 'chords'
Sean Landers- Using words to tell a story in his art.
Betty Tompkins- used text works based on around 3,500 submissions from people around the world of phrases used to describe women.
Yayoi Kusama- began painting as a child, at about the time she began experiencing hallucinations that often involved fields of dots. Those hallucinations and the theme of dots continued to in her art throughout her career.
Henri Matisse- As his health declined he had to adapt and change his style of work. Using scissors and creating his abstract collage work.
Frida Kahlo- Frida was influenced by Mexican culture, using bold, vibrant colours, she created self-portraits as a distraction from the pain after a car crash broke nearly every bone in her body.
Edvard Munch- Using personal life trauma to inspire his work the scream.
Pinterest is a tool I have used many times over the years,
for different research projects. I like the way one image then opens up other
images you might be interested in. This often leads onto ideas or artists I might
not have come across. The only downside I have found to Pinterest is that it
can difficult to find who the artist is or where an image as come from. But that’s
only a minor downside there are definitely more plus points.
I also find it easy to use on the go, opening the app and
looking for inspiration. Although it is easy to get lost in it and before you know it you've been on it all evening. It can give you a starting point for your next
project. Pinterest is a tool I will continue to explore and use in my studies and
craft projects.
Edward de Bono lateral thinking techniques:
https://www.youtube.com/watch?v=Nb9Oe83ruUw
https://www.youtube.com/watch?v=UjSjZOjNIJg
Research is not one of my favourite things to do. That’s a
lie I like looking at or for research it is the write up that I struggle with.
Being a visual person going around galleries, scroll through the internet and
using Pinterest. But actually, reading the stories behind the artists and what
their work reflects. Sometimes it is the least appealing can become the most
appealing after reading the back story to it. Like reading a good novel, you
can get lost in the work.
In one way or another I feel all the artists pull on their
personal experiences for inspiration for their work. It could be a place, like
Claude Heath or Tracy Emin using her abortion. Some of the work can be quite
literal like Jan Dibbets or the more obscure work of Cy Twombly. They all start
at the same point but then interpret their feeling/emotions in their own style.
Is their use of materials and/or process instrumental in
communicating their ideas?
You can certainly get a feel for how the artists feels the
calm open spaces with fibrous yarns outlining the open space. Allowing the
viewer to fill in the empty space. Then you have an artists like Jenny Saville
who uses paint and the brush strokes to show the distorted, pained faces in her
work. I think you must use a material that you feel comfortable to express
yourself through.
What impact has their work had on you?
Reflecting over the artist’s work, I think I will take away
from it that it is ok to explore and be open about taboo subjects. It can work
as a kind of therapy. It doesn’t have to always be negatives it could be celebrating
a positive.
Do you find any of the work stimulating, challenging or relevant to your own way of thinking and creating? If so, how?
Again looking at through the artists I have researched I realise that the ones I first thought were visually appealing and what I would call ‘pretty’ are actually the most boring! The ones I’d think were art or not even art like Tracy Emins bed, I find the most interesting. Its not the actual bed but the story behind the bed and what it represents.
Has your research into these practitioners altered your perception of drawing in any way? If so, how?
Yes, I realise I need to move beyond the perfect in art. I need
to be free and express myself in my art, explore places, life experiences, be
inspired by music. Let this be my initial research and develop my work from there.
I think this could led onto interesting work ideas.
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