ASSESSMENT LINKS

Documentation

  1. https://jonwallart.wordpress.com/2017/05/10/exhibition/
  2. https://jonwallart.wordpress.com/2017/05/16/everyone-that-has-ever-tattooed-me/
  3. https://jonwallart.wordpress.com/2017/05/16/isolating-body-parts-for-the-purpose-of-display/
  4. https://jonwallart.wordpress.com/2017/05/24/sculpting-and-working-with-found-materials/
  5. https://jonwallart.wordpress.com/2017/05/25/expressive-painting/
  6. https://jonwallart.wordpress.com/2017/06/09/final-piece-and-ideas-for-the-future/

 

Context

  1. https://jonwallart.wordpress.com/2017/05/04/wim-delvoye/
  2. https://jonwallart.wordpress.com/2017/06/08/scott-campbell/
  3. https://jonwallart.wordpress.com/2017/05/16/louise-bourgeois/
  4. https://jonwallart.wordpress.com/2017/05/24/rose-wylie/
  5. https://jonwallart.wordpress.com/2017/05/16/richard-prince/

 

Field

  1. https://jonwallart.wordpress.com/2016/10/24/100-drawings-landscape-project/
  2. https://jonwallart.wordpress.com/2017/02/15/morocco-project/
  3. https://jonwallart.wordpress.com/2017/06/01/reflection-of-field/

 

Formative Assessment Field

  1. https://jonwallart.wordpress.com/2016/10/24/100-drawings-landscape-project/
  2. https://jonwallart.wordpress.com/2016/10/31/landscape-artist-research/
  3. https://jonwallart.wordpress.com/2016/11/09/peter-lanyon/
  4. https://jonwallart.wordpress.com/2016/11/09/similaritiesdifferences-between-lanyon-and-le-grice/
  5. https://jonwallart.wordpress.com/2016/11/09/jeremy-annear/
  6. https://jonwallart.wordpress.com/2016/11/25/field-development/

REFLECTION OF FIELD

Both field projects have highly influenced my work in subject. The first field trip I atended was Things behind the sun where I went to stay in a hostel in Pembrokeshire to study the landscape. I chose to go on this trip as it was in contrast to the work I was doing in subject at the time and the work I created that summer, which was primarily focused on studying cities I had visited over the summer and I hoped it would give me a fresh mind set and broaden my ideas. I had been concentrating on patterns and textures of my surroundings in the city and abstracting them. I found it challenging and interesting adapting these skills to the natural environment of the Pembrokeshire landscape. I continued to collect shapes and textures that reflected the environment. In the workshops I began to learn how to make depth and perspective unclear and create the landscape as an object, which became my primary interest which I carried through into my subject work.

I decided to move away from studying landscape after studying it in first term. Before going to Morocco, out of my own interest, I was studying ways to convey the human form. Developing my child-like drawing style had allowed me to break conventional ideologies of the human form and express myself. I decided I was going to use what I had learned in order to be able to capture the busy lifestyle of Marrakech which was in contrast to the quiet, calm Pembrokeshire setting. I wanted to carry on developing this painting style to achieve a unique visual language in my art. Both field projects have been a lot to do with developing myself as an artist and one day I hope that people will be able to identify my work without having to look at the signature.

I focused on different aspects in each field trip and treated them as very separate projects, focusing on how I can reflect the landscape in Pembrokeshire, using natural colours and focusing on my interactions with people in Morocco and its vibrant colours. Recently I have begun to combine these two very different experiences in my paintings which has helped with creating a visual language in my work that is unique and personal to me. I believe these field trips were very beneficial to developing myself as an artist. My work focuses around these two unique and diverse experiences and I believe they were vital in order to inspire my subject work. The field trips have inspired me to carry on gaining new experiences and travel as much as I can to create art. Recently I have adapted what I have learnt in field and I intend to continue to reflect my current environment of the city with shape texture while combining this with my interactions with the people around me to develop my painting style.

MOROCCO PROJECT

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I decided to move away from studying landscape after studying it in first term. Before going to Morocco, out of my own interest, I was studying ways to convey the human form which is what lead me to this quote.

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I have been looking at the similarities between late Picasso and Basquiat because of their child-like drawing styles, while also comparing them to my own childhood drawings. I think children’s drawings have an honesty to them as they are an instinctive way of representing the world.

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While studying this I came across how Basquiat reflects diverse and complex culture in his paintings. One way he accomplishes this is by the use of words, he uses a written language and reflects it as a visual language. I decided to develop my child like drawing style and also think about how words can be used with images to reflect a sense of culture.

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Developing my child-like drawing style has allowed me to break conventional ideologies of form and perspective and express myself. I decided I was going to use what I had learned in order to be able to capture the busy lifestyle of Marrakech and to reflect more than a photo can.

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When in Morocco I focused on things that appealed to me and things I knew I could use in my art. I wanted to focus on anything that is current rather than the history, so I personally found little inspiration in the visits to the palaces. I found inspiration for my art in the people of Morocco.

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I found inspiration for my art in the symbols I came across such as Berber symbols, arrows, Arabic letters and Graffiti done by the locals. Found little inspiration in the complex patterns because I found them to be amazing just as they were and I wouldn’t be achieving anything from trying to replicate them.

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I found the messages that were left by tourists interesting as they reflect my personal experience of what I came across rather than just focusing of the the generic things. It reminded me that Morocco is a tourist destination and something current that I could focus on.

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I was attracted to the Moroccan rugs because of the bright colors and the symbols. Using bright colors in my work is new to me. These rugs are iconic of Morocco and reminded me of the people that sell them.

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I found that the way people get around was interesting as its very different from here. There seemed to be no rules but surprisingly the traffic ran more smoothly than here. They had some unusual means of transport like horse and cart and dated yellow taxis. There was a sense of danger.

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I felt stuck on what to draw so I began with copying Arabic letters from a Fanta can and I started to see figures that reminded me of prehistoric cave paintings and Egyptian art which I already have an interest in because of the similarities they share with child-like drawings.

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I wanted to paint with colors that would reflect Morocco so I bought some Moroccan pigments. They were quite hard to use so instead of painting with them I used them to learn from.

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Here I’ve reflected my personal experience of the roads in Marrakech. It shows the busy chaotic lifestyle and danger of crossing the roads. Here I began to develop how I could use words with images. ‘Quick chiri’ is something I saw written in the palace and it reminded me of crossing the roads.

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In order to reflect the culture and my personal experiences of Morocco I have been using words with images. I developed my characters and added words with my images to reflect my own personal experiences and to show things I’ve seen written and things I’ve heard.

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Other than my own experiences I focused on current issues and what all tourists would have experienced such as the poverty and the begging and the desperation of some of the Moroccan people and also having to constantly reject them.

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I’ve used this painting technique to reflect how I felt arriving in Morocco, being bombarded with color. I’ve painted a daunting figure because the cultural change was daunting for me. This was because of the fact that I didn’t know what to expect around every corner and I was never sure of anyone’s intentions and constantly being pestered to buy stuff.

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As I began to adapt to the culture I began to appreciate the good side of Morocco. I’ve painted late night Moroccan performers to reflect this. I’ve used bright exaggerated colors and an energetic way of painting. The people almost look like a Moroccan rug. The bare feet show the issue of poverty.

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I want to carry on developing this painting style and use of colour to achieve a unique visual language in my art. This project has been a lot to do with developing myself as an artist and one day I hope that people will be able to identify my work without having to look at the signature.

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Going to Morocco has made me want to carry on gaining new experiences to influence my work. I want to carry on developing a more diverse cultural understanding and base my art on my interaction with other cultures. I want be be more active and involved rather than sitting back and studying things from a distance.

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MOROCCO ITINERARY

Day 1 – Tuesday 24th January

Travel from Cardiff to Marrakesh.

Day 2 – Wednesday 25th January:

Guided tour scheduled for the day.

Day 3 – Thursday 26th January

Majorelle Gardens – A site dedicated to the French painter Jacques Majorelle (1886-1962), who bought the four acre plot of land in 1923 in Marrakech. It contains his paintings, decorative arts and architecture, artisanal pieces – and shows off his passion in botany – the garden accompanying his work as an artist.

Café clock workshops – Islamic Calligraphy workshop – (calligraphy meaning ‘Beautiful Writing’).

Day 4 – Friday 27th January

Visit ‘the day centre for handicapped women’ – learn about embroidery and the creative activities that the women do there. This is a good way of getting work experience and meeting new people from the town that we wouldn’t otherwise.

Gallery trips – The recommended best art galleries David Bloch gallery and the Matisse gallery situated near the plaza and 40 minute walk from the hotel.

Day 5 – Saturday 28th January

OAPAM School for the blind – a visit to meet the students at this school which has a sensual garden to interest the children in creative tasks such as gardening, with interesting smells and surfaces to affects all the senses. This will be a unique experience and will hopefully bring excitement into the students day when we visit.

Camel Riding – I would like to experience the culture of marrakech.

Henna workshop – Another workshop where I could learn about a skill used often in Morocco, further research into the culture of the country as well as the patterns and designs used in art.

Day 6 – Sunday 29th January

Museum and Mosk visits – I haven’t yet found enough information for this far along in the trip but I will get information when I am there. I want to visit the more religious and historical areas of Marrakesh, as well as have time to explore more around the Medina (walled town), create drawings and take photographs. This will be a day spent nearer the hotel doing things I haven’t yet done much of.

Day 7 – Monday 30th January

Menara Gardens -an ancient olive grove containing a landscaped garden with a large pond in the centre – creating a peaceful area away from the busy city. This garden has been around for over 700 years and is known for being a place to take quiet walks and enjoy the landscape. This would be a good place to create sketches for future work.

Bahia Palace – A collection of houses built over 6 years  by the Moroccan architect El Mekki on behalf of the Grand Vizier Ba Ahmed ben Moussa said Hmad (1841-1900). It holds traditional tiling, artworks and architecture often recognised as Moroccan art which will be inspiring to see in person to fuel ideas for work when I return. Again, there will be a contrast between the garden and landscape and the man made work created by El Mekki.

Group Meal and Belly Dancing – a good way to socialise and share ideas or experiences from the trip as well as being entertained by music and dancers from the local area.

FIELD DEVELOPMENT

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Through the process of creating sculptures and paintings I began to develop my work of reflecting the landscape as an object. I found the trip to Pembrokeshire very influential as I believe that good paintings of the landscape need to come from personal experience. Although I didn’t do much painting and drawing on the trip, the memory of being there has made made my work much more directed and fluent.

JEREMY ANNEAR

Annear’s work is strongly influenced by the painters of St Ives as well as Klee, Picasso, Braque and Miro. In a 1998 interview he described the importance of the Cornish coast to his work: “The narrowness of the Cornish Peninsular, the bouncing of light from coast to coast tends to pull the eye around. The ribboning of the line between the land and the sea, the shapes forms and colours all synthesize into abstract form in my painting along with my studio interior and other objects around me.”

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Similar to Peter Lanyon, Jeremy Annear has challenged aspects of depth and perspective, making the landscape an object. However unlike Lanyon, Annear has juxtaposed this object with the visual representation on a horizon line. This theme is repeated in Annears work and creates a unique personality in his work. Making the landscape an object reinforces the possibility of the painting having come from a sculpture or potential to be made into a sculpture.

There are aspects of Annears work that are also similar to Jeremy le Grice. His clear abstract shapes and contrasting colours and textures makes this his work bold and confidently simplistic. This also creates an opportunity to create a sculpture from the painting.