Art or Palette?

I’m including this serendipitous piece here because the module has as its key objective the exploration of painting media and while there was no intent behind it, I think it has opened another door on both the way media can work and how outcomes might be judged. I posted it initially on Instagram with the question, art or palette? Most people dodged the challenge but some made their pitch – it was art. I felt I had to come clean so I told them it wasn’t, it was my palette. One person said then that it was both art and … Continue reading Art or Palette?

Formative feedback, Part 3

For logistical reasons, it made more sense earlier to deal with written elements of the course after completing the practical work. Some of those conditions still pertain but seem likely to persist due to current lockdown conditions delaying delivery of materials, and so I’ll need to make some logistical and physical accommodations to progress. One thing to emerge from this upside down and back to front way of doing things is a sudden realisation that following up the work of other artists is beginning to make sense in terms of my own practice, and another is that this has most … Continue reading Formative feedback, Part 3

Part 4, research point 1 – painters of tondos

The task suggests looking at some of the artists mentioned in the introduction to this part of the module and so I began by searching for Iain Andrews as his is the first name in the text. It sits next to an illustration of one of his pieces of work but as this is undated and has no title, it wasn’t retrievable. Other works of his seem not to be in this format but have a similar style – surrealistic images and allusions to content evidently equated with Freud’s analytic theories. Andrews is an art psychotherapist (not a psychologist as … Continue reading Part 4, research point 1 – painters of tondos

Part 4, project 3, research point 1 – looking at landscapes

There isn’t an explicit task to this other than to take a look at various kinds of landscapes from the surrealist oddities of Dali, Ernst, and de Chirico; the less dream-like but emotional and somewhat personal work of Nash and Sutherland; and to take another tilt at German Expressionism and Symbolism via Nolde, Klimt, Moreau, Bakst, and Kahlo. One of the first genres of painting to attract my somewhat sci-fi focused attention was surrealism. It looked out of this world, an imaginarium of weirdness that seemed aspirational. It’s hard to put my finger on it, but I think Dali’s 1931 … Continue reading Part 4, project 3, research point 1 – looking at landscapes