- Large Scale Drawing
2. Life Drawing/dance class
3. Drawing with both Hands
2. Life Drawing/dance class
3. Drawing with both Hands
“Every movement of the brush on the canvas alters the shape and implications of the image” (Francis Bacon, unidentified newspaper cutting, 1960).
This quote by Bacon is fascinating because he understands that every brush strokes should be thought through and the artist should understand that every mark they make changes their work for better or for worse. I feel this quote can also be applied to drawing because no matter how big or small the marks you m are are, they all alter your work.
Francis Bacon used life drawing as a form of ‘notes’ as part of his portfolio of works. I am fascinated by his use of graphite and charcoal because he uses it kin a way which create long marks forming fluidity and movement in the work. As he uses them ‘notes’ you can almost see he’s thoughts in the work. Bacon is looking at the shape of the figure to understand it before beginning more complex interpretations. Bacon’s work has inspired me because the use of life drawing has helped develop his ability to draw and apply this to painting. The way he uses to graphite adds a sense of emotion and mentality to the work because although they are just ‘notes’, he still manages to add his feelings into the work.
The sculptural artist, Giacometti widely used drawing in his work however, he did not work from a model in his work. The reason for this is because the drawing accompanies his though process. Working from a model means you are focuses solely on the shapes and contours of the model in front of you but, as Giacometti worked with his thought process, the pencil was able to flow more so accommodate his workings. Giacometti worked through a stage in his artist career where he would draw old creations through memory. This exercise may mean the new work are distorted recreations which may even push for new ideas and new works.
Much of Giacometti’s work is categorised under ‘Surrealism’ which is art that releasing the potential of the unconscious mind’ As he worked mostly from memory in his drawing, Alberto allows his mind to flow in the creations of his work. I enjoy the way Giacometti works because he does not only use his surroundings in his work but he also uses his own mental state and thought process to interpret and influenzas ce the way he draws and creates work.
Surrealism is a more conceptual way of working and brings in the potential of the unconscious mind to take control and interpret the idea independently.
As a Fine Artist, my work focusing on the exploration of human existence, looking at it anatomically as well as conceptually. I have explored the idea of our existence in a range of ways including, the universe and societal issues of body shape and anorexia but currently, I am looking into the expression of the human body through movement and distortion. I believe distorting the body enables you to truly see it. You need to look deeper, really seeing the body.
My current work explores the human body anatomically through life drawing and ‘people watching’. I am fascinated by the way the body moves naturally in day to day life. Our bodies move, distorting our shape and contours forming interesting positions. I used charcoal and chalk in mist of my work because with the use of long fluid marks, you can begin to form movement in the work. When working on quick drawings, the charcoal allows you to make fast marks to begin to form the shape of the figure.
Figurative artists were once identified after the arrival of the abstract art because they continue to apply parts of the real world in their work whether this is the human body, the environment or both. However, the style of working can be traced back to ancient times implying it has been a very popular way of working throughout history including Frida Kahlo, Reuben’s and Ancient Greece. This style of working steers away from strongly conceptual work, being the polar opposite too abstract art, where it gives a clear depiction of the environment and real life. Figurative art is a very aesthetically pleasing way of working because the use of paint or drawing creates beautiful works. Being the opposite of abstract art where the audience is challenged in a more conceptual way and where they may be question ing the meaning of the work. With figurative art, the mean ing is more obvious and can be interpreted easily.
I am fascinated by figurative art because sometimes we overlook our surroundings and become too conceptual as artists so, I want to explore my surroundings more in order to stay in touch with them and have a better understanding of them. Although I enjoy abstract art, I prefer working with my environment and tackling social issues in my work. The reason for this is because I want to incorporate my understanding of the real world into my work and show it to the work for them to comment on it. The reason for this is to question society and to involve the audience in my arguments and encourage them to comment themselves. I find in today’s society many people, specially young people, don’t comment on today’s issues including politics and cultural and so through my work I want to encourage them to begin commenting and form an argument themselves.
I started to look a friend who has suffered from malnourishment. I wanted to start creating a large scale drawing of her where she is changing her body shape to show her bones. Oriphysis is where the inside of the body becomes to show through and come out. By distorting her body shape she is able to show her bones through her skin. The image I decided to start with implies she is purposefully stretching her body out in order to show the bones. As I started to work on this piece I began to think about how far I wanted to develop and sculpt the work. The piece is not necessarily classified as ‘finished’ but I feel the unfinished-ness to the work forms a sense of development shows the way I started looking into the idea as an exploration. I am going to leave this piece as it is as I am happy with the way it stands right now.