!!to be further elaborated as I finalise Assignments 4 and 5
Francis Bacon’s edgy, visceral paintings tapping the unconscious a key source of inspiration for:
Quotations from the videos below:
We do with our lives what we can. And then we die. What else is there?
If anything ever does work in my case chance, and what I call ‘accident’ takes over.
Gamble everything on the next brush stroke…different strokes trying to do something else then develop themselves
How are you going to trap reality? How are you going to trap an appearance without making an illustration of it?
- Colour of meat is beautiful
Issues for my printmaking:
Tate Gallery Retrospective with words from Francis Bacon spoken by John Hurt
BBC Archive film
His last interview
Works set to music
Research on abstract painting techniques for Project 2.2 Random Abstracts
Below are videos of different approaches in paint that I could explore in printmaking.
Possible to explore for masked monoprint and/or screen print. Or indeed using masking on any type of print. These techniques use masking tape that is also worth exploring.
See also: Abstract Expressionism
Willem de Kooning
look up on yountube
for further development linked to Assignment 4 and work on Maggi Hambling
Abstract expressionism is the term applied to new forms of abstract art developed by American painters in the 1940s and 1950s, mostly based in New York City, and also became known as the New York school.The name evokes their aim to make art that while abstract was also expressive or emotional in its effect. They were inspired by the surrealist idea that art should come from the unconscious mind, and by the automatism of artist Joan Miró.
Within abstract expressionism were two broad groupings:
Several important female Abstract Expressionists from New York and San Francisco like Helen Frankenthaler and Lee Krasner now receive credit as elemental members of the canon.
Women artists in abstract expressionism
My art is somewhat schizophrenic. My professional life is very intense – working on participatory development in Africa, Asia and Latin America. Part of my aim and motivation in my art is therefore political – how to try and make the world a better place through improving communication and understanding between people – the poor and the rich, women and men and across ethnic divides. How to make visual as well as spoken messages understandable without oversimplifying from one particular standpoint, but providing information for people to want to think things through for themselves.
At the same time my art is also a way of exploring different ways of seeing and learning about the world as part of a search for my personal individual meaning, outside my professional life. Something that communicates feelings – flashes of light darting across layers of reflection, fascination with transition states and half-glimpsed images by my brain in its attempt to make sense of random patterns and sensations. I am particularly interested in the power of suggestion and the process of abstraction. Although much of my work is detailed and figurative, I also experiment with found images and the degree to which images can be simplified in different ways for different effects and still remain readable to the viewer.
In my printmaking I have no one particular subject. I enjoy figurative drawing from life: people, landscapes, cityscapes. I have become increasingly interested in abstraction. And combining figurative and abstract elements into imaginative narratives. I am interested in exploring the specific features of different printmaking techniques compared to other media like drawing, photography and painting that I have explored in my other OCA courses.
Printmaking places a matrix or plate in between the production of the art work and its realisation as the final image. It freezes gestural markmaking, leaving time for reinterpretation before the final work is produced. The insertion of the matrix or plate also introduces an element of unpredictability – much depends on the particular state of the ink on the plate before it meets the paper. This unpredictability can to some extent be controlled through meticulous planning, experience and repetition, but is very sensitive to timing and heat and humidity in printing environment. In my work I prefer to treat unpredictability as part of the creative process – interacting with the plate as it evolves and building on what is produced as I go along. In that way I often discover new things about the image, new feelings and elements that I can push beyond what I could have planned or imagined.
Printmaking is generally done in layers. This enables both reinforcement and contrast in meaning and effects between layers. It means you can get intense splashes of light peeping through, struggling to emerge through the dark – sometimes planned, sometimes unexpected. I am interested in exploring the interactions between different types of ink, different papers and how this affects the ways that colours translate and interact to produce sharp and blurred edges to the transitions.
It is possible to push different types of printing process: monoprint, linocut, collagraph etc in the direction of their ‘natural’ effect. But each of the above can also be varied to produce a wide range of effects and mood. And the different techniques can be combined in an infinite number of variations.
I have become increasingly interested in exploring fundamental design principles – something I am exploring in depth in my OCA Book Design course:
I need to think more about what sort of planning I do. When I plan too much things become very static and flat – like a lot of the ‘hotel-style’ prints I do not like by other people. It is a very tricky balance. I still do not have sufficient technical skill to have real confidence always in what I am doing. But I think that with more experience, both in design, contrast and composition and particularly with control of ink with different types of surface and paper, it will be easier to envisage beforehand what something will look like. Then achieve something that builds on that vision including accidents and new discoveries. So that real creativity is maintained.
I intend to incorporate these elements into my work in Printmaking 2.
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