After looking into the work of Lee Krasner, I decided to tear up and play around with a few of my drawings. I also used old artwork found around the studio to integrate into this piece. The reasoning behind this idea is not very clear at this point but as I start to piece the work together I can feel something interesting and intriguing happen with the art. Before I started this I felt slightly lost with my work because I just only producing charcoal hand drawings. After a discussion with a tutor I decided to start producing this collages. The idea behind them is not quite clear to me but I something quite strong and aesthetically about it.
I started by using masting tape to hold the pieces onto the paper just as a temporary hold so I could move them around and decide where I wanted them. I began to add in coloured paper and use my charcoal to draw over this. By doing this I was creating the connection between the original drawing and the coloured paper. I enjoyed using the lighter pink with this collage further than the dark pink painted paper in Figure 1 because the dark was too rich and didn’t give as much contrast as the lighter paper. As I continued to work with this collage I felt a strong positive feeling towards it and felt as though my work was going somewhere.
I am still in the development stage of my work but in the next few weeks I will have experimented with these collages and will have set in stone work for my exhibition. For these collages I will also be including work from my life drawing portfolio.
For my final exhibition I was quite troubled for ideas because although I love producing hand drawings using charcoal, I wasn’t sure how to confine them into an idea. After talking with tutors and other students about what we use our hands for. Gestures and language use the hands on. regular basis.
Signal language is used everyday by more and more people in today’s society because it is the biggest aid for the hearing impaired. I have spoken to a student who has struggled with a hearing impairment throughout her childhood however, she did not find out about the condition until she was fifteen years old. I asked her about how it affected her mental health and whether knowing she had the condition helped or whether it made things worse. She replied with a decline in her mental health and that it prevented her from her future career in the RAF. She explained how now she has comes to terms with it and has had surgery to help with this disorder. I asked how growing up was difficult, with a reply of “I was tested for iron deficiency and anaemia because I would always come home from school super tired but it was actually from trying to lip read all day”.
I have decided to create a few different phrases with my drawings. The first sequence I am drawing is “I am fine”, a phrase constantly used by people who aren’t actually ‘fine’. The reason for creating this kind of art is to link it back to art therapy and how an individual could express these phrases they may say to their therapists through artistic creation.
For the third part of my hand sequences I decided to draw an image halfway between the two other hands. This is a more clenched hand whether the palm and nails are still visible. I wanted to produce this piece because I feel it completes the sequence of these hand drawings. The drawings within this collection show a progression to the clenching of an individuals hand to form a fist. The reason behind these drawings was to portray depth and intensity within the hand along with the use of the compressed charcoal to form this intensity. I am fascinated by the way the hand is distorted to form this shape and how it wrinkles and crumples up during the clenching process. At this stage, this is the reasoning behind this collection.
This is the only hand that I have completing finished because I was interested in the depth and intensities of the palm as it clenched into itself. The intensity of the charcoal in this image draws out the lines and wrinkles in the hand. The compact charcoal has created a deepness to the work which draws the eye into the work and creates the 3D effect to deepen the work.
I may complete the other two drawings however, they are simply experiments at this time. By completing the other two parts will form the sequence and is a potential idea for my exhibition show.
hands giving heath problem signs
older people – grip strength – brittle bones, arthritis, muscle loss – more serious heart disease, diabetes
Tremors – anxiety, stresses low blood sugar, fatigue can cause
active vs passive – moving vs still – changing lifestyle – passive can = Parkinsons
‘liver spots’ ‘age spots’, veins become more obvious, wrinkles
For my final show I am thinking about including a video of myself producing a large scale drawing. I wanted to do this because I feel it will be able to show the physical movement I have to make in order to create my work. I feel with the video and my large drawings it will give the essence of what I am trying to get across to my audience. I want to show to the audience the physical and mental strength needed for this sort of work. I am experimenting with drawings of my own hands at the moment because I feel hands tell a lot about a person. Each part of your body has a recuperating part on the hand and so can tell a lot about the individual. I am also producing drawings of a friend looking at the way she can distort her body to show her ribs and bones.
I decided to experiment with film. Here I have experimented with a time lapse of a drawing because I thought it would be a good way to show this idea I have. Using a time lapse is interesting because not only does it allow me to see the way I work from a far but, also makes it a great way to show to the audience how I produce my work.
However, I want my video to be shown on an old-school TV in black and white. The time lapse idea is however, to modern day the machine and would cause controversy in my idea.
Time Lapse Experiment 1
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 looks at different anatomic parts of the through through the use of charcoal. Currently, the large scale static charcoal drawings I am producing are helping me to explore the physically and strength required by myself to produce such pieces. Along with this, I am almost exploring movement through the continuation of life drawing and attending dance schools to record the dynamics of the body.
I am fascinated by the way the body moves naturally in day to day life but I want to look at how we can purposely distort it to expose more and to begin to question emotions within the movements. 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.
Friday’s have allocated life drawing session organised by my tutors. This week was the final week and as the Wednesday taught classes are no longer on I decided to attend this class. I was the only student to attend the class and with no tutor to help me choose the poses and gesture to work with. This was quite daunting at first because I wasn’t sure where to start and what army of poses to ask the model to perform. Barry, the model, I’ve worked with before was so we worked very well together. Barry was great because he helped me with the different gestures as he understood I hadn’t led one before and so was very patient and understanding.
I really enjoyed this class because I was able to produce a range of drawings of different poses which were my ideas. I was able to personalise the class and dictate the different gestures and the timings of each one. I prefer short poses because I have to work quickly and so the marks hold so much more movement than longer poses where I take more time to produce the piece.