Sunday, 21 June 2015
Interaction of colour - Colour is relative
I've spent a good few hours looking at, reading and admiring the contents of a slip-cased limited edition, of 'Interaction of colour' by Josef Albers, complete with the full range of screen printed plates to accompany his text. Albers writings demonstrate principles such as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds.
Colour relatively
Colour relatively
A colour can appear to change depending upon the other colours around it.
The following examples illustrate how the same colour can be made to look different.
The following examples illustrate how the same colour can be made to look different.
Friday, 19 June 2015
Newcastle University Master of Fine Art Summer Exhibition 2015
Join us for a private view of the exhibition on Friday 21 August (6-8pm)
Included are works by 1st years, Mirela Bistran, Jodie Dunnill, Helen Shaddock, Yein Son and Liying Zhao.
http://www.twmuseums.org.uk/hatton-gallery/whats-on/exhibitions/master-of-fine-art-summer-exhibition.html
Thursday, 18 June 2015
Lino cutting workshop
Today I took part in a lino cutting workshop organised and led by Erika Servin as part of the VAMOS Festival.
I begun by drawing what I imagined as multilayered platforms of varied height onto the lino. I was then told by the Mexicans that Mexico is famous for its hallucinogenic mushrooms, and my drawing reminded them of such mushrooms. This was completely unintentional.
I begun by drawing what I imagined as multilayered platforms of varied height onto the lino. I was then told by the Mexicans that Mexico is famous for its hallucinogenic mushrooms, and my drawing reminded them of such mushrooms. This was completely unintentional.
The areas where there is a black line were not cut into, leaving this part raised and therefore ready to take the ink.
We looked at how to create different tones using different marks.
Eduardo showed me how to create an unusual mottled effect by ironing the surface of the lino. Unfortunately, the lino that we were using was too thick for the iron to melt the surface, but he did have a little sample of thinner lino to demonstrate on, so I got to see how the melting surface produced the unusual imagery.
From the lino above, I produced the print below.
I can't say that I am fond of what I made, but I thoroughly enjoyed the process and was really impressed with what the others produced.
Eduardo, one of the Mexican's leading the workshop kindly gave me one of his lino cuts. Now thats an example of how to do a lino cut!
We looked at how to create different tones using different marks.
Eduardo showed me how to create an unusual mottled effect by ironing the surface of the lino. Unfortunately, the lino that we were using was too thick for the iron to melt the surface, but he did have a little sample of thinner lino to demonstrate on, so I got to see how the melting surface produced the unusual imagery.
From the lino above, I produced the print below.
I can't say that I am fond of what I made, but I thoroughly enjoyed the process and was really impressed with what the others produced.
Eduardo, one of the Mexican's leading the workshop kindly gave me one of his lino cuts. Now thats an example of how to do a lino cut!
Unfinished Art is discussed on Front Row
Front Row - Tuesday 16th Junehttp://bbc.in/1GL6IQE
An exhibition at the Courtauld Gallery in London explores the works that artists have left unfinished, from Renaissance paintings to 20th century drawings.
In this episode of Front Row, Sarah Crompton reflects on the artists who have deliberately chosen not finish their works, and how an artist decides when a work of art is complete. It is interesting to think of this in terms of contemporary art, and the notion of process art brings into question when an artwork should be finished.
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Quadratura ceiling, Italy (Bologna)
17th Century Stylus. graphite, chalk (black), pen and ink (brown) on paper, 18.5x29.4 cm
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Wednesday, 17 June 2015
Tuesday, 16 June 2015
MILKILLING BxNU MFA Graduate Exhibition at BALTIC’s project space at BALTIC 39
My congratulations go to the first cohort of students to graduate from the BxNU Master of Fine Art, developed by Northumbria University and BALTIC, for producing a stunningly slick exhibition.
MILKILLING
BxNU MFA | Graduate Exhibition
BALTIC’s project space at BALTIC 39
Wed-Sun 12.00-18.00 / Thursdays 12.00-20.00
Private View: Monday 15 June 2015 / 18.00-20.00
David Bilbrough / Tim Croft / Rachel Errington / Joanna Hutton / Ricky James / Gethin Wyn Jones / Lily Mellor
MILKILLING | PERFORMANCE EVENT
BALTIC’s project space on Level 4,
Level 1 & Ground Floor /
MILKILLING
BxNU MFA | Graduate Exhibition
BALTIC’s project space at BALTIC 39
Wed-Sun 12.00-18.00 / Thursdays 12.00-20.00
Private View: Monday 15 June 2015 / 18.00-20.00
David Bilbrough / Tim Croft / Rachel Errington / Joanna Hutton / Ricky James / Gethin Wyn Jones / Lily Mellor
MILKILLING | PERFORMANCE EVENT
BALTIC’s project space on Level 4,
Level 1 & Ground Floor /
Thursday 18 June 2015 / 18.00-20.00
I am looking forward to the evening of performance and live intervention within the exhibitions Milkilling and Freddie on Thursday 18th June, 6-8pm.
Participating artists: Tim Croft, Rachel Errington, Joanna Hutton, Ricky James, Lily Mellor and James Watts.
I am looking forward to the evening of performance and live intervention within the exhibitions Milkilling and Freddie on Thursday 18th June, 6-8pm.
Participating artists: Tim Croft, Rachel Errington, Joanna Hutton, Ricky James, Lily Mellor and James Watts.
Sunday, 14 June 2015
Piotr Piasta: The Realm of Forgotten Existence at The Granary Gallery, Berwick-upon-Tweed
I first met Piotr Piasta towards the end of 2014 when he gave an artist talk at ISIS Arts in Newcastle at the beginning of his 6 month residency at Berwick Visual Arts, Berwick-upon-Tweed. I was really impressed with his work, and excited to see what he would produce during the residency. I was not disappointed.
His residency was "in partnership with the Centre for Rural Economy (CRE) at Newcastle University, a research centre specialising in interdisciplinary social science, researching rural development and policy, food and society, and the wellbeing of rural communities.
For this residency Berwick Visual Arts and CRE were interested in proposals from artists that responded to theme ‘Beyond the Rural Idyll’ and questioned what and who is rural, local, authentic or vernacular and that explore rural life and society beyond idyllic representations.
Piotr's artwork explores themes of history, time and memory often within a rural context and he is particularly interested in ageing within rural communities and the stories and memories of older people. His practice is particularly relevant to the themes of this residency, as an ageing rural population is a growing concern in rural areas, with social exclusion and isolation too often being part of growing old for many in the countryside.
During his residency Piotr has spent time with older people in Berwick, listening to stories about life in the town and using this to inform a series of oral history interviews with older people – many who have lived in Berwick all their life.
The resulting series of five short films combine these interviews with archive material from Berwick Record Office and new film footage of Berwick-upon-Tweed and Northumberland shot by the artist, in an attempt to interpret these stories."
http://www.berwickvisualarts.co.uk/whats-on/63/piotr-piasta-the-realm-of-forgotten-existence
Each film focuses on a particular aspect of rural life in Berwick-upon-Tweed, such as the building of walls, farming of cattle and sheep and mussel fishing. A different voice of an elderly resident of Berwick-upon-Tweed features in each film. The dialogue is very natural, not like a scripted reading, nor indeed an interview per se, but more like an extract from a conversation with only one person talking.
For this residency Berwick Visual Arts and CRE were interested in proposals from artists that responded to theme ‘Beyond the Rural Idyll’ and questioned what and who is rural, local, authentic or vernacular and that explore rural life and society beyond idyllic representations.
Piotr's artwork explores themes of history, time and memory often within a rural context and he is particularly interested in ageing within rural communities and the stories and memories of older people. His practice is particularly relevant to the themes of this residency, as an ageing rural population is a growing concern in rural areas, with social exclusion and isolation too often being part of growing old for many in the countryside.
During his residency Piotr has spent time with older people in Berwick, listening to stories about life in the town and using this to inform a series of oral history interviews with older people – many who have lived in Berwick all their life.
The resulting series of five short films combine these interviews with archive material from Berwick Record Office and new film footage of Berwick-upon-Tweed and Northumberland shot by the artist, in an attempt to interpret these stories."
http://www.berwickvisualarts.co.uk/whats-on/63/piotr-piasta-the-realm-of-forgotten-existence
Each film focuses on a particular aspect of rural life in Berwick-upon-Tweed, such as the building of walls, farming of cattle and sheep and mussel fishing. A different voice of an elderly resident of Berwick-upon-Tweed features in each film. The dialogue is very natural, not like a scripted reading, nor indeed an interview per se, but more like an extract from a conversation with only one person talking.
The visuals move seamlessly from black and white into colour, blurring the boundary between archive material and recently filmed footage. The camera moves fluidly in both types of imagery; panning the scenery; surveying the land. This creates the continuity between past and present, and makes for pleasurable viewing.
Piasta has a real talent for making moving paintings, and it is obvious from the accounts of the residents, that they have developed a strong friendship with the artist. He is extremely respectful of the individuals, and it is obvious from watching him talk to locals in the gallery today, that he is a valued member of the Berwick-upon-Tweed community.
Saturday, 13 June 2015
Friday, 12 June 2015
Wednesday, 10 June 2015
Salvaje Mexica: Humberto Valdez at Northern Print and Mujeres Mexicanas at Lime Street Gallery
There is a carnival atmosphere in the air... Yes, this could be due to the glorious sunshine filled days that we have experienced the past few days. But it could also be due in part to the ¡VAMOS! Festival taking place across North East England between 4 and 14 June 2015. The festival celebrates Spanish and Portuguese speaking cultures with a varied programme of events to suit different tastes and ages.
Tonight was the opening of a couple of exhibitions organised by Newcastle-based Mexican artist Erika Servin. At Northern Print there is an exhibition of lino cut prints by Humberto Valdez. "Valdez specializes in large format prints, mainly linocuts, woodcuts and etchings. His work is focused on using gestural mark making to reflect on memory, what is, and the desire for what was. His prints are a complex collage of historical references that have a constant relationship to social and political events."
http://www.northernprint.org.uk/home.html
The lino cuts are truly stunning. At times, clean, crisp lino cut marks are seamlessly positioned next to fluid areas of varied tones. The level of skill involved in these is incredible, and his experience is very evident.
Valdez has established and maintained a very successful print workshop with a reputation for instigating innovative printmaking workshops and community projects. He is also the founder and director of TIR - a community print project in Mexico City.
Erika Servin, Northern Print and Recyke y'Bike have created the UK version of a print-trike that Valdez set up in Mexico. By making a moveable printing facility, he is able to go to places and engage with those who otherwise may have never seen or used a printing press before. It is great fun!
The exhibition at Lime Street is by a group of women Mexican artists, all whom have strong individual practices, but also have the strong connection with each other. There is a real variety of prints, and very impressive, skilful work.
For more information about the ¡VAMOS! Festival visit
www.vamosfestival.com
Tonight was the opening of a couple of exhibitions organised by Newcastle-based Mexican artist Erika Servin. At Northern Print there is an exhibition of lino cut prints by Humberto Valdez. "Valdez specializes in large format prints, mainly linocuts, woodcuts and etchings. His work is focused on using gestural mark making to reflect on memory, what is, and the desire for what was. His prints are a complex collage of historical references that have a constant relationship to social and political events."
http://www.northernprint.org.uk/home.html
The lino cuts are truly stunning. At times, clean, crisp lino cut marks are seamlessly positioned next to fluid areas of varied tones. The level of skill involved in these is incredible, and his experience is very evident.
Valdez has established and maintained a very successful print workshop with a reputation for instigating innovative printmaking workshops and community projects. He is also the founder and director of TIR - a community print project in Mexico City.
Erika Servin, Northern Print and Recyke y'Bike have created the UK version of a print-trike that Valdez set up in Mexico. By making a moveable printing facility, he is able to go to places and engage with those who otherwise may have never seen or used a printing press before. It is great fun!
The exhibition at Lime Street is by a group of women Mexican artists, all whom have strong individual practices, but also have the strong connection with each other. There is a real variety of prints, and very impressive, skilful work.
For more information about the ¡VAMOS! Festival visit
www.vamosfestival.com
A new material
Tonight at yoga we were using some blocks, and Carrie, the teacher, had some made from upholstery foam. I rather like the colours, surface pattern and texture; perhaps its a new material to be introduced to my art work. Apparently it comes in a variety of colours too...
Test for sheet of plaster with varied layers
Today I've made a test mould for a plaster sheet. I want to create a sheet with layers in multiple directions, so the mould needs to be detachable from all sides. I will pour one layer and then prop the mould one way. I will then rotate the mould and open a different side before pouring a different coloured plaster into the mould. Describing this is extremely difficult, so here are some photos!
Tuesday, 9 June 2015
Silicone onto triangular surfaces
I've been reflecting on my work with silicone, and am uncertain about the direction I am going in with the cones. I know that I need to increase the scale I am working on, moving them from maquettes to more refined forms. Looking back at the experiments that first got me excited about using silicone, I evaluated what made them work, and want to try experimenting with things such as transparency, opacity, mark making and composition. I'm going to use some of the triangular surfaces that made up the forms in the Out of Kansas exhibition at the Lit and Phil. This gives me the opportunity to work on a larger scale, and transform surfaces into three dimensional forms easily.
Transparent silicone onto matt paint.
Transparent silicone onto silver metallic vinyl.
Opaque silicone onto matt paint, with sprinkles of hundreds and thousands.
Transparent silicone, opaque silicone onto metallic silver vinyl and matt paint.
Raising these from the floor for the drying process has made me think of the installation possibilities. The surfaces could be raised at different heights, allowing them to overlap each other. They could be on wheels to allow different positioning and create various compositions.
Transparent silicone onto matt paint.
Transparent silicone onto silver metallic vinyl.
Opaque silicone onto matt paint, with sprinkles of hundreds and thousands.
Transparent silicone, opaque silicone onto metallic silver vinyl and matt paint.
Raising these from the floor for the drying process has made me think of the installation possibilities. The surfaces could be raised at different heights, allowing them to overlap each other. They could be on wheels to allow different positioning and create various compositions.
Monday, 8 June 2015
Icing sugar mounds
My next experiment with icing sugar and icing involves contrasting the light, powdery substance with icing sugar in liquid form.
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