The Finished Self Negotiated Project

Book List and Useful Websites

Book List and Useful Websites

Books

• JonOne (Jononerock by JonOne)

• Bridget Riley (The Eye's Mind, Riley, Bridget)

• Rudolf Stingel (Rudolf Stingel by Stingel, Rudolf; Bonami, Francesco; Zettl, Reiner)

• Albert Oehlen (Albert Oehlen by Oehlen, Albert; Riemschneider, Burkhard; Ohrt, Roberto; Hergott, Fabrice

• Jonathan Meese (Jonathan Meese: Fraulein Atlantis by Meese, Jonathan)

• Anselm Kiefer (Anselm Kiefer by Rosenthal, Mark)

• Charline Von Heyl (Now Or Else by Heyl, Charline von

• Despina Stokou (Ghosting by Stokou, Despina; Pfenning, Leonie)

Websites/Links

• Despina Stokou interview (http://www.berlinartlink.com/2010/11/26/despina-stokou-interview/)

• Despina Stokou comments (https://artviewer.org/despina-stokou-at-derek-eller-2/)

• Bridget Riley Interview (https://www.ft.com/content/aac6af02-deb4-11e8-b173-ebef6ab1374a)

• Bridget Riley Film (Bridget Riley, David Thompson, Balfour Films, 1979 [29 mins long]

• Jonathan Meese Website (http://jonathanmeese.com)

• Johnathan Meese brief analysis article (https://frieze.com/article/jonathan-meese)

• Anselm Kiefer documentary into creative process (Over Your Cities Grass Will Grow, Sophie Fiennes, Amoeba Film, Kasander Film Company, Sciapode, 2010)

• Anselm Kiefer Short Essay (https://www.metmuseum.org/toah/hd/kief/hd_kief.htm)

• JoneOne interview (https://www.dragopublisher.com/interview-with-jonone/)

• JonOne TEDx Talk (https://www.youtube.com/watch?v=nyAPV9DPHYc)

• Charline von Heyl in depth interview (https://bordercrossingsmag.com/article/too-little-and-too-much-all-the-time)

• Analysis of selected Charline Von Heyl artworks (https://www.wmagazine.com/story/charline-von-heyl-abstract-artist)

• Detailed Albert Oehlen interview on Vimeo (https://vimeo.com/258357553)

• Article on Albert Oehlen's works and analysis of work (https://www.ideelart.com/magazine/albert-oehlen)

• Information on Rudolf Stingel and his practices (at the bottom of the page) (http://www.sothebys.com/en/auctions/ecatalogue/2019/contemporary-art-evening-auction-l19020/lot.48.html)

• Interview with art producer Jan Eugster, who has been working closely with Rudolf Stingel, assisting with metal casting (https://www.youtube.com/watch?v=IclUX0HqZuQ)

Negotiated Learning Plan

The Google Drive link for the negotiated learning plan can be viewed by clicking on the link below.

Click here for the Negotiated Learning Plan

Research Photographs Google Drive Folder

The link below will send you to the folder containing the research photographs on Google Drive.

Click this to access the folder

All Film Questions Links

Below are the links to the question responses for the film discussion module.

Film Questions Week 1

Film Questions Week 2

Film Questions Week 3

'Artists In Their Own Words' Review

Further Latex Application and Decoration

Further Latex Application and Decoration

Once the latex 'dirt' had completely dried, I felt as if additional layers would be more effective in depicting the objects submerged in the grime. This time, I chose to use less tissue, and to combine the latex with paint; the additions were more decorative than structural. I chose to include more yellows and greens to the colours, making the brown appear more natural, and as if it has started 'rotting'.

When this dried, I added a final sealing layer of clear PVA to the build up. Not only does this protect the latex structure if the artwork needs to be moved, but also it adds to the wet look previously created from the latex. I am very satisfied with the final result of this, as now the artwork feels more alive and genuinely abject.

Below are two images of the areas which were focused on the most:

Adding Objects and Additional Texture

During my field research, I also found a large amount of litter which were mostly related to drinking and smoking near the vandalism sites. This inspired me to add an additional element to my artwork.

I used a Newcastle Brown Ale bottle cap, a rolling paper packet, two rolling paper packet inserts, A near empty filter packet and a cigarette end (originally a full cigarette which I cut to create that appearance, due to current circumstances). I then used liquid latex to secure these items onto the buildup, making them appear somewhat embedded. In addition to this, paint was applied onto the objects and new latex to blend into the surrounds, and add to the realism.

This off-the-cuff decision is one that I feel will benefit my project, as I am attempting to convey these voices and environments to the public, and these objects represent the demographic I am trying to represent successfully. Once the objects are secure. I will add some minor adjustments to the objects with paint, to make them appear weathered.

Below are four photographs of the objects, and their position in the artwork:

Painting the Latex

After allowing the latex a day to dry, I combined primary acrylic colours with one another to create a brown base. I then darkened the mixture by applying more blue and red, which resulted in a colour reminiscent of grease stains and oil build up. The dark brown comes across as extremely effective, all whilst blending into the general atmosphere of the artwork.

The latex also made the paint appear more reflective, which makes the material look wet. This was a very successful process, which has added a greater sense of depth and realism to my work, ultimately relating to my project message.

Below is an image of the result of this process:

Stage 1 Exhibition Poster

https://drive.google.com/open?id=1paQ1kAw4u3Y9Amn-FSCJcTd5iKkyvDmq Poster in JPG Format

https://drive.google.com/open?id=1ssxdtLCu3Xdgfp3G60sOtvVvAdBetjtA Poster in PNG Format

Applying Latex and Tissue

Liquid latex is most commonly used for prosthetic costumes or mould-making, however it is also perfect for carefully creating texture in mixed media artwork. In order to convey notions of filth, I wanted to incorporate what appears to be layers of grime building up in the middle of the piece, partially obscuring tiles further to the back. 

To achieve this, I coated torn pieces of tissue in liquid latex, and layered them on one another between the seams of some of the tiles. I would then paint over this build up with additional liquid latex to secure it, and simply repeated the process. I chose not to paint it at this time, or mix the latex with paint, in order for it to dry completely.

Below is the result of this process:

Artist 8: Bridget Riley

Artist 8: Bridget Riley

Bridget Riley paints hypnotic ‘optical illusion’ art that appears to directly interact with the viewer, as if it is physically moving. This is due to the effect created from Riley’s monochromatic colour usage and the dimensions of the squares, which was a result of her unconscious painting. This instinctual approach without direct consideration of form just adds to the intoxicating aura of the piece.

I really enjoy the concept of an ‘unconscious’ approach to creating and would like to explore this in my own work. Her almost architectural approach to her later works is also influencing me to consider my placement of key elements of artwork. This will allow my work to become more considerate, yet combined with a semi-conscious approach, I feel as if this would greatly benefit the tone I want to convey in my final piece.

Movement In Squares, 1961

Arrest 2, 1965

Orient 4 1970

Painting The Background and Forming Texture

Acrylic paints can be secured onto most materials, which is initially why I used this medium for painting the tile. However, upon application, the tones that were formed from the acrylic paint's bold colours ended up being extremely effective. Not only does it appear as realistic dirt and grime, but also it mixed with the clear PVA extremely well.

In oppose to using water to dilute the paints, I used clear PVA glue in order to further add to the texture of the piece. This allowed me to explore some techniques, including adding a thick 'film' layer onto the mirrors to make them appear dirtier, and to help the paint become more three-dimensional.

The result of the painting process can be viewed below:

Attaching the Tiles and Applying the Graffiti

One issue that prevented me from advancing was the shortage of suitable adhesive. Only large quantities were available, and I felt as if this would add far too much weight to the wooden panel, which is hollow. In order to minimise the amount of stress on the wood, I resorted to attaching the tiles onto the panel using a hot glue gun.

A lot of glue was necessary as I did not want the tiles to accidentally slide off of the panel. So I would apply a thick layer to both the panel and the tile, and would make sure there was enough weight pressing them together.

After a day, the tiles were completely secured, and would not move whatsoever. I am happy with the outcome, however I will note to be careful whilst handling the artwork throughout the creative process.

Using elements from the photographs I collected whilst doing field research, I applied them onto the tile with ink. The most successful mark making medium I used was the fine tipped permanent marker, which seemed to dry almost instantly. The CD marker also had a similar effect.

The whiteboard markers, as indicated in my experiments, had to be left for a couple of hours in order to allow the ink to dry. Even whilst dry, it was easy to accidentally erase the lines created. Therefore, I focused on the permanent coloured markers for the most important details. If any elements are obscured or destroyed entirely by the painting stage, I will apply pen directly onto the ink, which should allow the whiteboard markers a base to secure the drawings.

Below are images of the tile base with the graffiti and typography applied:

Artist 7: Anselm Kiefer

Artist 7: Anselm Kiefer

Experienced in sculpture and installation work, Anselm Kiefer also has produced multiple series of mixed-media paintings. Recently, his paintings have dealt with the concept of string theory, indicated by his use of straw that guides the viewers eyes around the canvas. ’String Action’ from 2018 uses this approach, forming grids which direct your attention towards a spire formed out of the straw.

This approach in guiding the viewers is really enjoyable, as it allows you to fully appreciate the work past the initially clustered appearance. I also really like the colour palette present, as it comes across as inherently organic, especially from the use of straw. I would like to incorporate a similar method of guiding the viewer in my own work, as well as using more organic tones to feel more grounded. However, Kiefer’s combination of colour and form comes across as more conceptual, relating to his message.

String Action, 2018

Margarethe, 1981

Untitled, 2017-18

Artist 6: Jonathan Meese

Artist 6: Jonathan Meese

Conceptual artist Jonathan Meese approaches his work with intentions to provoke and directly interrogate common notions of art. His mixed media paintings in particular encapsulate an almost uncategorisable yet vibrant chaos. Adopting aesthetics seemingly derived from mythological renaissance paintings, they become tapestries that resemble figures and scenes, with Meese often inserting his own image into his work.

Meese’s tone and message are an aspect I really enjoy about his work, as well as his pairings of colours and the chaotic form usually included. His approach is one that I would like to explore in my work, experimenting with an unconventional form and a blatant, loud tone. This would work particularly well for the messages I would like to convey.  

Diese Miss Ist Nicht Von Dieser Welt, 2018

Django's Blitzpimme Heisst Nill, 2011

Achtung: Killernill-Rum Und Rum-Neddy-Cashy Pimmeln RUM, 2011

Artist 5: Despina Stokou

Artist 5: Despina Stokou

Despina Stokou enjoys exploring the idea of communication and monologues in her work, by presenting collected data in the form of expressive, vivid paintings. The way in which this text is displayed implies confusion and anger through the intensely frantic layering of words and phrases, representing constant a constant string of absurdities such as her work ‘The Martin Creeds 6’. This uses a deep red background combined with a photo and sporadic, obsessive text.

I love the way in which Stokou presents the text, and I would like to employ a similar method of layering it in my work, overwhelming the viewer. In addition to this, I would also like to convey a similar atmosphere of panic and exasperation in my own work, as I feel as if this would really highlight the intent of my work in particular.

The Martin Creeds 6, 2013

New Year Pie (Louisa), 2014

White Lies, 2018

Artist 4: Charline von Heyl

Artist 4: Charline von Heyl

Bold and dynamic, Charline von Heyl’s work appears to be in motion, with her compositions appearing to slither and rotate around the canvas. Her later works connected the form together through active and spiked brush strokes. ‘Dialogue Solitaire’ from 2008 for example contains a series of dark intertwining lines that appear jagged, yet rigid in their specific location on the painting. Suggesting an intensity, yet conveying a stability.

I think that her combination of motion and structure is one that I would like to explore in my creative process. In Heyl’s work, this combination comes across as extremely effective in keeping the viewer interested, and guiding them around the canvas. Heyl also experiments with different thicknesses of line, which I feel would be really effective in presenting a sense of contrast to the viewer.

Dialogue Solitaire, 2008

Untitled, 2007

Language Of The Underworld, 2017

Artist 3: Albert Oehlen

Artist 3: Albert Oehlen

Often self imposing restrictions in his painting process, Albert Ohlen’s artwork becomes ‘post-figurative’, exploring the process of the paint medium rather than the subject matter itself. His earlier work is described as using a Junge Wilde painting style; a blend of broad and expressive brushstrokes with intense, bright colours. Oehlen’s work such as ‘Music Always’ is slightly different however as he painted directly onto pre-printed fabric intended for use on a billboard.

I like the idea that Oehlen has somewhat defaced what previously was on the fabric with a combination of an earthy ‘smear’ and more expressionist painting techniques. I also enjoy the fact that he builds upon the artwork with three different types of paint, adding texture which paired with the painting style makes it appear more organic. This is a concept I would really like to convey in my own artwork.

Music Always, 1954

First Take, 1994

Ziggy Stargast, 2001

Artist 2: Rudolf Stingel

Artist 2: Rudolf Stingel

Rudolf Stingel’s works are innately interactive, dating back to ‘Instructions’ published in 1989 that informed readers on how to replicate his artworks and mono-chromatic painting style. This attitude evolved in 2003 when he presented those at the Venice Biennale with ‘Untitled’, a room lined with foil coated insulation that encouraged passerby to decorate and mark it in any way they wanted. This resulted in a highly decorated wall that was covered in carvings, photos, and even tags. His retrospectives in 2007 presented the piece in Chicago and New York also, which in turn allowed a new wave of passerby to alter the artwork.

These randoms acts of participation were faceless, yet deeply personal. I find it fascinating how this artwork in particular Is completely down to audience response, documenting contemporary life. Stingel steps away from the notion of boundaries between audience and artist, providing a voice for the viewers.

Untitled, 2002

Untitled, 2002

Section of Stingel's 'Untitled', 2003

(https://www.artspace.com/magazine/art_101/book_report/rudolf-stingel-dca-53436)

 

Experimentation 1

Mark Making On Tile

Artist 1: JonOne

Artist 1: JonOne (John Andrew Perello)

JoneOne uses his experiences of growing up in Harlem and his involvement with graffiti groups in his oil painted canvasses, depicting tags and words in a chaotic yet calculated form. His 2007 ink on canvas piece ‘Letters From A Soldier Of Art’ has text being repeated in rows that seem illegible, especially towards the bottom of the artwork. This combination of black text with colour highlights the gestural nature of the font, making it appear moving. The dripping present throughout the entirety of the piece reinforces this notion, implying as if it was done in haste. 

I really enjoy JonOne’s use of font as defining the form of an artwork, as my artwork incorporates text elements also which I would like to highlight. The intensity and pace of JonOne’s writing is also very effective in conveying chaos.

 

Letters From A Soldier Of Art, 2007 

Earned The Hard Way, 2017

Trees of Codes, 2019

Preparing the Base and Addressing Circumstances

Preparing the Base and Addressing Circumstances

The two key components to begin my artwork was to obtain a wooden panel, and a selection of tiles. Originally, I needed three wooden panels and an assortment of tiles to complete the project, however due to current global circumstances, I cannot make my artwork interactive. I decided to instead resort to a larger wooden panel, and to focus on concisely conveying my themes with limited resources. This initial stage was difficult, however I managed to re-purpose a panel from a disused table. The tiles were donated from my peers, and the more recently claimed tiles are completely safe to use as they were disinfected.

Also I managed to obtain some mirrored tiles, which were not originally going to be used in the piece. This will reinforce to the audience that this artwork is conveying the notion of a dirty, heavily vandalised public bathroom, making them an extremely effective addition to the composition. 

I originally wanted to make the mirrored tile central to the piece, like what is depicted below in my initial plans. However, I feel as if two mirrored tiles on the top right of the artwork would be more effective, with the 'half' tiles being placed on the left. Placing the mirrored tiles in that location reminded me of a window as well as a mirror, which I think will broaden my horizons in concisely conveying my message to the audience.

I will use tile adhesive to attach the tile to the wooden panel, but first I had to layer the panel itself in several layers of white gesso. This is beginning to alter the wood's appearance and texture, making it appear as if it is drywall. Several layers need to be applied before I can continue, as the paint will also help the adhesive stick to both the panel and the tiles.

The gesso application process can be seen to the bottom right:

Continuous Line Drawing

Continuous Line Drawing