Douglas Crimp (1944-2019) and appropriating appropriation. My distillation of this 1993 paper is that it comprises a discussion or essay on the emerging use of photography in the appropriation of work done by someone else, in some cases by simply … Continue reading Project 1: visual texture; research points 1&2
My strategy for this exercise is to use my own work for the imported materials (there is a lot of this as I’ve just cleared out two portfolios full of work from previous modules and available now as ‘resources’) and … Continue reading Implied texture: ex 1, option 1.
I have fused the first two projects in this serendipitous piece which uses clothing material (nylon, possibly), paint peeled off a well-used palette, and strips taken from the OHP film I use to keep paint fluid while I need it. … Continue reading Part 4
The background This first exercise, collect/make/arrange, requires the grouping of a number of objects, loosely related in some way, on a table that can remain in situ for the duration of Part 2. Then to add to the collection by … Continue reading Part 2, project 1 – contemporary approaches to still life
I think this refers to what was originally about subjective physical mapping, mental representations of a geographical area. [cf this definition from the APA dictionary of psychology mental map – APA Dictionary of Psychology]. Psychologically, this might include mapping one’s perceived space in a given environment to understand something about how visible a person felt, or how much they felt they owned it. Latterly, it’s been much more about abstract conceptual material, ways of plotting ideas in non-hierarchical space. Tony Buzan, graduate psychologist and one of Mensa’s golden boys, was the originator and key proponent of this version. I met … Continue reading Part 1, Project 3, exercise 1:2 – Mental mapping
Impasto is the technique of applying paint thickly, often unmixed, with a brush, palette knife, pebble, or other implement. It can either then be left to dry in ridges or blended in situ. This task was to make three painted … Continue reading Part 5, project 1, exercise 1 – impasto
The demands of this exercise – putting a large piece of paper on the floor, covering floor and furniture with newspaper, then applying paint by dripping, dribbling, and spattering it onto the paper using large household brushes – are ones I can’t meet. I have no usable space of this kind and a back injury prevents me from adopting the physical position required. I have to be upright with my back straight. I’m going to argue that I have experimented with very loose applications of paint in the past, that I am unlikely ever to incorporate this technique in my … Continue reading Part 5, project 1, exercise 2 – dripping, dribbling, and spattering paint
I think the previous exercise gave rise to a soft enough landscape for now, so I’ve gone for the hard version. More architectural and structural but also involving a lot of horizontals and verticals that need, even if they’re hand … Continue reading Part 4, project 1, exercise 2 – hard or soft landscape.
Probably the most timely of projects and exercises, given the current situation! The exercise is about choosing a view from a window and, after making a number of sketches, painting a final composition that reflects a mood. At the moment … Continue reading Part 4, project 1, exercise 1 – from the inside looking out
This is based on one of two earlier sketches that I quite like. The other I am reserving for a later exercise. It doesn’t quite meet the criteria in that there are no limbs in view but for now, this … Continue reading Part 3, project 1, exercise 3 – tonal painting
Strayfish Arts 