Part 2, preparations: Photographing collections

12 July 2017. Experiencing a large number of forced breaks from outside my course is definitely not good for making and analysing progress. The design of Understanding Painting Media, as I mentioned in my Assignment 1 tutor feedback reflection post (Lacher-Bryk, 2017a), appears to me to require more deep immersion than I experienced in either Drawing 1 and Painting 1 and starting to write up the work done in Part 2 up to now feels like trying to pick up pieces distributed over a large area. This post will definitely be a life-saver to get me back on track …
My tutor  had a look at my feedback reflection post and advised me not to be scared. This may have been the single most useful hint I have received in a long time and it made me look at what I am and do at the moment. If someone had asked me directly, I would have answered that of course I am not scared, but getting the advice in written format I had the time to think about it and I realized that my tutor is 100% correct with her observation. I am scared. This relates to the things happening outside the course, which require an overwhelming amount of courage and stamina, and have been doing so continuously for a decade now (since the 17th of July 2007, the day our younger son was born, to be precise). I realized that I may, as it is now, not have enough courage left for my course to allow me to act with confidence. I am determined, however, to turn things around to make this fear work for me as a developing artist rather than against me. Will see what happens :o).

So, back to my preparations.

After having been told to research artists, who either paint collections or paint with unusual materials (Lacher-Bryk, 2017b) – a combination I thought odd, to be honest, we were to use everyday objects to lay out and photograph our own collections. These were then to serve as basis for the four exercises making up Part 2.
I produced the following collections:

 

Fig. 1. Two versions of “white on white”

 

Figure 2. Silver cutlery from my great-grandmother’s restaurant in Slovenia

 

Figure 3. Pencil patterns on fleece jacket

 Figure 4. Pub crawl

Figure 5. After church talk

 

Figure 6. Soup cube tilings

Figure 7. Socks, sunbathing

Figure 8. Necklaces and stuff I never wear

 

Figure 9. Toiletries and the sorting power of the written word

Figure 10. Shoes – Lisa Milroy way

 

Figure 11. Orderly collections of keys …

 

Figure 12. … and less orderly ones

 

Figure 13. Testing the effects of sorting a collection of photos

13 July 2017. My first-time experience of getting acquainted with the inner laws of collection-making saw a slow start even with the examples by several artists in mind (Lacher-Bryk, 2017b). Despite the attractive arrangements I had been unable to feel a true connection with their work, but it was, predictably, different with the objects familiar to me. When looking at the above results (Fig. 1-13) I feel that I prefer those collections, which appear to have a strong sort of communication going on among the individual objects, e.g. the bowls (Fig. 5), which remind me of groups of people standing and talking “after church” or another community event. It took me a while to find working arrangements and it was interesting to identify some laws which make them work. Basically, it was an impression of having an object’s focus turned towards or away from the group. This was probably easiest to see in the sets of keys (Fig. 12). The laying out caused the immediate creation of an invisible but nevertheless perceptible network of attraction and repulsion effects. The strongest of these radiated from, in my opinion, the set of identical simple silvery door keys with the red tag at the top centre of the photo on the right. When I look at it, the set of keys seems to exert an attractive force on all objects surrounding it, pulling them towards the upper edge and eventually out of the frame. It is probably those effects, which make artists examine the properties of collections in the first place, because they can lay the foundations for telling a powerful painted story. At the moment I am quite overwhelmed with the possibilities and so I decided to keep matters simple with the set of exercises for this part of the course.

Since my tutor also informed me that the main purpose of experimenting with a large range of media is there to eliminate those media I am not happy working with, I see the course in a completely different light now. I will thus try and be as sensitive as possible regarding my reactions when using certain media and then select those I am happiest with. This is something that appears to occur anyway, but only now am I aware of the fact that this is what I am supposed to do. Which makes me feel a lot less scared.

References

Lacher-Bryk, A. (2017a) Tutor Feedback and Reflection [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 29 June. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/06/29/assignment-1-tutor-feedback-and-reflection/ [Accessed 12 July 2017]

Lacher-Bryk, A. (2017b) Research Point: Collections and Unusual Materials
[blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 27 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/27/research-point-collections-and-unusual-materials/ [Accessed 12 July 2017]

 

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Assignment 1: Twenty 15×15 cm Shadows

4 May 2017. During the final weeks of Practice of Painting I had realised that I would want to continue working with shadows in this course as well. My assignment subjects will all be related to this area of interest.

For the first assignment we were required to choose the materials liked best so far to produce a series of twenty 15×15 cm square paintings on watercolour paper. When finished we were to arrange and rearrange them, to compare the relative effects before settling on an arrangement to submit (Open College of the Arts, 2015, p. 44).

Sequence of preparation:

• selection of twenty of my found images, which I had already pre-selected to include a large number of shadow-related views
• preparation of paper squares from 600 g watercolour paper
• selection of attractive square views from found photos (was done using my square viewfinder)
• cutting out photos to choice of view
• selection of fitting materials and painting styles for each photo, intuitively restricting myself to 4 different painting styles overall, so 5 paintings per style

My grouping the 20 paintings into sets of five felt appropriate, because a typical arrangement into 4 rows of 5 would be possible in a believable way. Also, I have the intention of telling a story in my sequence of images, which this will depend on the overall impression achieved by each tested arrangement, overall it will be one of how light and dark influence and structure the life of human beings through the day.

The selection of painting style was a mix of what I discovered for myself during exercises and styles I came to like when doing my artist research:

• 5 paintings in a negative space technique discovered when painting with dilute white gouache on black acrylic background
• 5 blurred shadows of diverse origins requiring additional research for “eroding” technique
• 5 paintings using white and black ink in Brian Alfred style
• 5 coloured paintings in Cecily Brown style

8 May 2015. Over the last five days I spent a very long time preparing my paintings. They were great fun to make, but I am glad to have been able to muster the energy to more or less work through. The results are more homogenous, having in common a particular atmosphere and mood, which might have got lost if I had allowed myself to take breaks.

Here are the individual results, grouped into their 4 sets:

1. Negative space technique (Fig. 1-6)

I had discovered the technique during Exercise 1.2, when working on my black and white found images (Lacher-Bryk, 2017). When painting on a dry acrylic background with dilute white gouache paint, the paint dries up leaving distinct highlights along the wet/dry boundaries and in dents developing in the wet paper. To me the effect is wonderfully mysterious and given the right amount of practice can be used to create intriguing patterns. I tried various degrees of dilution in my sketchbook first (Fig. 1 below). The heavy watercolour paper I used for my finished paintings did not quite have the same efficiency regarding the weird highlighting, but was attractive in its own way.

Fig. 1. Sketchbook: Testing effects of various degrees of dilute gouache on black acrylic background

Figure 2. Painting 1: Shadow of a bicycle on a tent

Figure 3. Painting 2: Entering a cave on a sea shore in Curaçao

Figure 4. Painting 3: Playing Frisbee

Figure 5. Painting 4: Krampus run

Figure 6. Painting 5: Family shadows (this painting is not as dark in reality, but was impossible for me to correct on the computer)

2. Blurred shadows (Fig. 7-14)

In our bedroom street lights and lights in the houses around us at times produce the most beautiful shadow images of the plants we have on our windowsills. I spent hunting  for the best photos for nearly a year, as conditions change and plants get moved, so I had to wait a while to come up with a good set suitable for this part of the assignment. I had never produced deliberately blurred paintings before and the artists to be researched in the study guide do not do this either, so I spent some time looking what I could come up with myself. There do not seem to be too many painters working with blurring, but I had a look at J.M.W. Turner and his “Rain, Steam and Speed – The Great Western Railway” (Fig. 7). While I greatly admire his incredible skill at staying indistinct over most of the painting to emphasize a few selected spots, this was not what I had in mind. Gerhard Richter’s “Self-portrait” (Fig. 8) came much closer to the effect I was after. The descriptions of the techniques applied by him were however also different from my idea, so I did my own practical research here (Fig. 8 and 9). In the end what I came up with was a white acrylic background covered in a thin layer of gloss varnish, then in grey gouache when dry. Again, when all three layers were dry, I used a very old, word-down small flat brush, water and a piece of cloth to wash away the sections of the background I wanted to highlight. This worked beautifully, allowing both precision and blurring as required.

Figure 7. Sketchbook: Investingating blurring effects (1/3)

Figure 8. Sketchbook: Investigating blurring effetcs (2/3)

Figure 9. Sketchbook: investigating blurring effects (3/3)

Figure 10. Painting 1: Shadow of plant on windowsill no. 1

Figure 11. Painting 2: Shadow of plant on windowsill, no. 2

Figure 12. Painting 3: Shadow of plant on windowsill, no. 3

Figure 13. Painting 4: Reflection of wooden candle holder on flatscreen TV

Figure 14. Painting 5: Moon shadow

3. Clear ink paintings (Fig. 15-20)

When doing my Part 1 artist research I decided that Brian Alfred’s particular flat style does not correspond at all to my intentions, but the attempt at recreating one of his paintings with materials of my own choice produced a result (Lacher-Bryk, 2017b) I wanted to explore further in my third set of assignment paintings. Since the technique was straightforward to apply (grey acrylic background, ink line drawing, then water-soluble black ink and water-proof white ink), I placed the focus on testing the white highlights in my sketchbook before attempting the final paintings (Fig. 15).

Figure 15. Sketchbook: Testing the placement of white in the paintings (thumbnails)

Figure 16. Painting 1: Lense light in our bedroom and window

Figure 17. Painting 2: Holocaust memorial in Berlin

Figure 18. Painting 3: My workshop lights

Figure 19. Painting 4: Fire station

Figure 20. Painting 5: 24 hour video EEG

Coloured Cecily Brown style paintings (Fig. 21-27)

This was the most demanding of the four sets. Cecily Brown and her approach to integrating the figurative and abstract into one painting is a very attractive concept to me (Lacher-Bryk, 2017c) and while I know that I am not yet able to work in this way consistently I felt that this style was required to complement the three more figurative black and white sets. I had chosen five photos, which I needed as figurative starting points to what was to become abstractions (Fig. 21).

Figure 21. The photos selected for the Cecily Brown set

I then prepared white acrylic backgrounds to paint on these with an intuitive selection of colours of acrylic paint. In my sketchbook I made thumbnails first, which helped me to find initial ideas for the abstraction process (Fig. 22). The rusty parts on the deck of a boat became a bathing scene, the wooden fence and shadow in our garden turned into attacking soldiers, the shadow of a tree on the street became a coral reef, some flamingos and their weird shadows turned colourful and the shadow of a tree on a building stayed what it was, but was painted upside down to result in a view I would not have been able to make up without turning it upside down in the first place – here I included some very valuable insight gained in exercise 1.4 (Lacher-Bryk, 2017d).

Figure 22. Sketchbook: Thinking about possible abstractions from original photos (thumbnails)

9 May 2017. Here are the results for this set:

Figure 23. Painting 1: Bathers (derived from image showing rusty deck of boat)

Figure 24. Painting 2: Flamingos with coloured shadows

Figure 25. Painting 3: Coral reef (derived from image showing shadow of tree on street)

Figure 26. Painting 4: Attacking (derived from image showing wooden fence)

Figure 27. Painting 5: Tree on wall

Today I arranged the paintings in grids and, overall, given a nearly endless number of possible, plausible and attractive arrangements, I decided that I would need to place my focus on the most important aspects. These did not include, as I had first planned at the start of this assignment, a story. Any sequence would have allowed any number of stories to be told, which is a consequence of selecting images as instructed by “wanting to paint them”. So I tested black and white backgrounds (Fig. 28 and 29 below). Of these white was more neutral towards the placement of my coloured paintings, so I continued with white, although I liked the stabilising effect of the black. I might have included any number of possible grids like single rows, double rows, pyramids, diamonds, patterns including the background, whatever. It was overwhelming to even think of these, so I stayed with the rectangular, testing narrow, wide and no gaps (Fig. 28-34), landscape and portrait versions (Fig. 33-34) as well as “quiet” and “loud” impressions (Fig. 30-31 appear particularly “loud” to me). It took me a while to come up with a solution I liked, which was overall quiet enough to allow a viewing of the individual images. The rest produced interesting patterns when viewed from a distance (difficult to test in my workshop), but invariably made my head burst when trying to see each single painting. The – what I would call them – energy clashes running along the individual borders appear to determine the overall impression to a greater extent than the contents of each painting. Also, all grids are far easier and more pleasant to view on the computer. What looks nice and sorted in the photos below was mostly none of the two in real life.

Figure 28. Testing on black background, paintings in sequence of production, narrow gaps

Figure 29. Testing on white background, paintings in sequence of production, narrow gaps

Figure 30. White background, no gaps, random order of paintings except for strategic placing of coloured images (horrible effect, gaps are very important obviously)

Figure 31. White background, narrow gaps, placing “loud” images at strategic positions

Figure 32. Creating a quiet centre and plaing directional images to make them point towards the centre. This alone is sufficiently stable to give the loud, coloured images the “rest” they require.

Figure 33. Same sequence as above, but widening the gaps (less attractive on the computer than Fig. 32 above, but better in real life, optical illusion of black circles in gap intersections only present on the computer)

Figure 34. Same sequence and gap width as in Fig. 30 above, but turning the paintings to make a portrait view (less attractive on the computer, nearly impossible to take a good photo, but my preferred version in real life)

The version from Fig. 34 above is the one I want to present as my Assignment 1 piece. I would not be able to tell which particular combination of factors works here, but I am pleased with the outcome. I could spend weeks rearranging my paintings, as there are so many interactions to learn to see, feel and consider. When assessment time comes up, I will prepare a set of preferred sequences and present them together.

Self-assessment for Assignment 1 to follow in a separate post.

References

Lacher-Bryk, A. (2017a) Part 1, exercise 1.2: Using found images – black and white [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/03/part-1-exercise-1-2-using-found-images-black-and-white/ [Accessed 9 May 2017]

Lacher-Bryk, A. (2017b) Research Point: Painting Style – historical and contemporary painting [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/04/25/research-point-painting-style-historical-and-contemporary-painting/ [Accessed 9 May 2017]

Lacher-Bryk, A. (2017c) Part 1: Own experimentation supplementing introductory research point [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/02/part-1-own-experimentation-supplementing-introductory-research-point/ [Accessed 9 May 2017]

Lacher-Bryk, A. (2017d) Part 1, exercise 1.4: Look at what you see – not what you imagine [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/04/part-1-exercise-1-4-look-at-what-you-see-not-what-you-imagine/ [Accessed 9 May 2017]

Open College of the Arts (2015) Painting 1: Understanding Painting Media. Open College of the Arts, Barnsley.