HND Fine Art/Second Year/FMP/Power Transference

'Power Transference', is a continuation & progression of my previous

'Transformation' theme. Investigating personal and social perception & depiction of the female form, my intent is to explore a series of mythological paintings by Peter Paul Rubens. Exploring subjects such as; power, dominance, vulnerability, movement & sensuality, my purpose is to study these topics through contextual research, academically written essay & explorative, creative practice.

 My progression will documented each week through my PDP blog, alongside my workbook. Analyse of on-going updates, reviews, group critiques and tutor discussion’s will support and encourage my practical direction. 

Brief Checklist (PDP);
Project Proposal/Agreed Theme/ Actions

Team Work Roles: Minutes of ongoing meetings

5 x Names of Sponsors

Partnership Affiliation Bolton University Year 2

1 x Venue – Justification (each student)

Financial Forecast (each student & group)

BLOG (Analysis & Evaluative Elements) on going work, development of project, exhibition planning, cost issues, curatorial issues. . 

Presentation Professional Exhibition of Work Group & Individual)

Publicity Materials and Options (Analyse)

Evaluation – Own work, ongoing elements, exhibition and audience response.

Note - PDP elements can be found on: 

HOME PAGE & HND Fine Art/Second Year/FMP

Art and the Perception of Women:

Fmp & Essay proposal

FMP, Ideas in Context and Essay Proposal;

An analysis of traditional and contemporary artworks in which the female figure is often portrayed and how varying concepts and depictions impact or alter the audiences perceptions. 

Course title: HND in Fine Art Level 5

Assignment Title: Historical and Contextual Study

Unit Title: Critical Study in Fine Art

Unit No: Unit 6

Student: Charlotte Stockley

Student Number: U10266772

Assessor: Lee Paton 

Relating to my final major project, my aim is to discuss, analyse and contemplate the history and ethos behind Greek myth and the association through Renaissance and Classical mythological paintings. My objective is to incorporate their influence and narratives through contextual and creative links within my work. Primarily focusing on Rubens traditional, mythological paintings, my intent is to pursue the ‘Transformation’ theme, allowing myself to evaluate, explore and investigate the emphasis of form, movement, sensuality and colour found within his these Works. ‘While copying his predecessors, Rubens prised their secrets from them and forged these influences into an emotive pictorial idiom of his own’. (Rubens and His Legacy, p7).

Likewise, the ‘Transformation’ theme revolves around how I and previous/current artists have acquired influence and vision from others, to alter and convert similar narratives or techniques into individual and unique artwork. The narrative is instantaneously revised through the artists initial research of the subject matter, preliminary drawing process and subjective, responsive application of media, colour and marks,

Researching artwork from the Renaissance, Baroque and Modernist period, ‘transmogrification’ is clearly noticeable through the artist’s individual interpretation and aesthetical depiction of political, religious and mythological narratives. These stories frequently portray scenes of sexual intimacy, rape, war, grief, murder and sometimes the bizarre beliefs of gods, goddesses and mythological creatures. Aspects of these can be seen in a variety of Rubens work; ‘The Rape of the Daughters of Leucipuss’, ‘The Abduction of Ganymede’ and ‘Samson and Delilah’. Lust and control are the accompanying themes surrounding these particular works, with domineering figures and strong, accentuated emblematic colour schemes, juxtaposed with the demur, hapless, sexually dominated 

female figures

During my continuing investigation and observations I have become aware that the colour red, particularly vermilion, is notably prominent in many of the Baroque and Renaissance artwork. ‘In both figurative and abstract painting, colour can be used for its decorative beauty, to create mood, or to express or arouse an emotion. It can also be used symbolically’.

(Andrew Graham-Dixon: Art-The definitive guide, p31). Studying Rubens artwork, the contrast of subdued, darker hues against the powerful warmer tones creates an atmospheric, emotive composition, effecting the audience’s response towards the scenario being portrayed.

In my opinion, the positioning of red in various works by Rubens acts as a linking device by accentuating and alluring the viewer into the work, alongside emphasising and symbolically representing assorted scenarios. For example; Studying figure 1 and the placement of the red material, strategically positioned under and through the legs of the above female, may suggest passion, desire, danger and exploitation, immediately creating friction and attracting your gaze into the centre of the action. However, ‘as with all aspects of composition, a

unified colour scheme and finish, the interplay of light and shade, and the use of perspective all help to weave the action together.(Andrew Graham-Dixon: Art-The definitive guide, p17).

In my view, the overall configuration, magnitude, colour and curvaceous female and masculine male forms displayed in Rubens compositions provokes vibrant, imaginative, energetic and tense perceptions for the viewers, which I intend to continue to explore and research throughout my independent practise. My aim is to create bold work inspired informed by voluptuous, female figures, using mark making techniques to highlight and accentuate the aesthetics of form. My intention is to challenge the perception and debateable response towards the female figure from both the female and male perspective. I also aim to analyse through compositional and narrative elements, the role of the female artist within own work, and how this affects the work, the artist and viewer.  

My purpose for the period of this project is to focus on several imperative factors; the colour red and it’s symbolic, significance in traditional and contemporary artwork. I want to incorporate and involve it in my own personal study, creative practice and research. It is the symbolism of the power that this colour resonates. Exploration of the female form and how female artists are perceived through the male gaze, and/or, how female artists identify or express themselves within their work and why, are added elements that I intend to explore visually, creatively and through the essay content. The inclusion of a comparative analysis investigating interrelationships of figurative and abstract directions within my work, and, how these personally challenge my individual perspective through, creative and academic practise. Finally exploring how movement is formed using shape, form, Chiaroscuro and colour. Although these objectives are my main attention, creating physical marks enables me to understand my individual emotions and thought processes.  ‘I found I could say things with colour and shape that I couldn't say any other way - things I had no words for – Georgia O'Keeffe’, Available: http://www.brainyquote.com/quotes/topics/topic_art.html. Last accessed 15th Feb 2015.

Selecting works which instinctively appeal to me subconsciously and emotionally will allow me to maintain a constant, responsive and correlated dialogue throughout my project development. Allowing further exploration and exploitation of the aesthetic and philosophical themes discussed.

Collating relatable contextual research, utilisation of relevant documentaries and books will be analysed and recorded. ‘Rubens and his Legacy’, Nico Van Hout, details work created during his lifetime. Alongside, inspired works from Picasso, Cezanne, Rembrandt and others, allowing me to review and analyse mythical scenes, fleshy forms and themes of power, desire and violence. ‘Art – The Definitive Guide’, Andrew Graham-Dixon, clearly documents, historical and influential artwork throughout a timeline of art movements. Of particular interest to me, the Baroque and Renaissance period. Key paintings throughout the book are evaluated and annotated with specific intentions and techniques of the artist. Thus, enabling myself to comprehend the contextual and aesthetical purposes surrounding the work. Online information listed on MOMA, The Tate, The National Art Gallery and similar websites will reinforce my practical and contextual links. Associated information from; past and present exhibitions, artist talks and topics including drawing, investigating identity, feminism and art movements will be referenced thoroughly  and expanded on during my blog. My academically written contextual essay will aid in the development and expansion of my knowledge of chosen themes, artist, techniques and the contextual ethos behind historical and contemporary artwork.

To gather inspiration in conjunction with Ruben’s, my intention is to investigate and study work from related artists and art movements. Neo-Expressionist Georg Baselitz, drawings, prints and large upside-down paintings are hugely motivating and exciting for me to study. The large scale, expressionistic figures often materialised within cultural, historical, and erotic themes, are exaggerated with instinctive, ruthless brush strokes. Of importance to me are the works portraying figures with erections or figures masturbating (figure 4). The nature of these works intrigue me due to their explicit, controversial, boldness to provoke a reaction from the audience. His semi-abstract figurative style also conjoins into my self-directed practical work. The challenge of exploring my artistic direction to find a successful medium between figurative and abstraction.

Sandro Chia’s, dynamic, vibrantly coloured compositions, often represent motifs from Christian mythologies. Included in these scenarios are subjects of eroticism, melancholy and death, quite contradictory of his energetic and lavish colour palette. Works that excite me are Chia’s studies which capture the subjects in instants of movement. The simplistic motifs, application of marks and colour, allow the movement and motion to become visible within the final composition. The opposing figurative and abstracted style of both artists, coupled with their colour and mark making techniques will impact and link to my personal individual approach within my project.

Equally, CY Twombly creates work echoing themes of Greek and Roman mythology. Often accompanied with emotive, responsive, physical and diverse mark making techniques. Concerned with written language, such as poems, myths and histories, Twombly regularly opted to draw unidentifiable scribbles, or words directly onto the canvas. These original terminologies subtly suggest and indicate the narratives behind his process. Figure 6, depicts the myth of Leda and the Swan. Contrastingly dissimilar techniques in comparison to Rubens, Baselitz and Chia, Twombly’s style was to attack the canvas with elaborate and exaggerated marks. Opposing to depict the erotic traditional narrative of a figurative nature, Twombly uses considered yet violent marks and colour to re-create the presence of forms and subjects. Twombly’s large scale gestural works have often been sources of inspiration and influence towards my work. The physicality, energy and emotion displayed within his works are themes I aim to reproduce in my own style.

In relation to my contextual essay, ‘Art and the Perception of Women’, additional artwork from Jenny Saville and Lucian Freud will be evaluated and questioned through an academic exposition. Due to their unrepressed, honest, provocative, painterly approach, my aim is to discuss the transition and evolution of historical, traditionally painted, erotic nudes, in comparison to today’s realist approach of exposing the natural form. A contradictory approach purposely opposing, romanticising the female form for male inclinations.

‘Rubens and his Legacy: Van Dyck to Cezannne’ exhibition is currently on show at The Royal Academy of Arts, London. Unfortunately, due to cost implications, it is unlikely I will be able to visit. In spite of this, the Royal academy website lists pages of correlated information of exhibitions, podcasts, reviews and artist talks which are available to me for research. A recent visit to the Whitworth Art Gallery, Manchester, proved inspirational and stimulating, especially the large scale gunpowder work by Cai Guo-Qiang.

Immediately the scale of the artwork, the calmness it presented within the exhibited space, and the use of violent gunpowder utilised as a subtle mark media. This all presented on handmade paper has offered an avenue that I feel needs exploring for final outcomes. 

To instigate my project drawing from a series of Rubens artworks, life models, performing art students and my own figure will provide me with initial, preliminary studies, providing me with challenging figurative and representational elements alongside more abstracted elements of shape, pictorial space and colour. Re-creating euphoric, sexualised and domineering scenes using female forms as the dominant motif. To revise my own narrative of female perception, my intention is to photograph female’s in various poses inspired by Rubens masculine imagery. Using professional lighting equipment my aim is to emphasis the curvaceous female physique with light and shade. With my intended end points being an academically written contextual essay and possibly two professional curated exhibitions action planning, tutorials, group critiques and weekly reflections on my blog will aid my development and progress throughout.

However, there are some limitations that myself and the group will need to take into consideration, in regards to our exhibition with the University of Bolton. It is not possible for us to travel each week to visit the student’s campus due to cost and inferences of our own studio practise. Utilisation of social media, email and blogs will be our main form of communication and teamwork, keeping both parties updated of any notifications and progress. During my personal development all aspects and evidence from meetings with Bolton, logo design, travel arrangements, possible space documents, insurance, sponsorship, cost implications and weekly team meetings will be recorded on my blog and PDP folder.

Further support and encouragement will be identified through peer group critiques to open up ongoing dialogue and analysis of project stages, tutorial support and meetings to support and maintain creative and academic direction. My Blog will play a key role through constant analytical reflection, project planning and professional discourse.

'PowerTransference'

Initial starting points 

  

  

To begin my project, I began to look at what Rubens imagery would be applicable for my initial starting point. The works selected; 
Abduction of Ganymede
Samson and Delilah
The Consequences of War
Cain and Abel
Leda And The Swan
were relevant to my themes of femininity, masculinity, authority, form, composition and colour. 
To gather a feel of the compositions I began quick sketches using pencil to create gestural marks. My aim within this quick process was to focus on the form, light and dark present within the images and how I could use responsive marks to re-create tension, form and movement. Studying and drawing the figure would allow me to improve my proportionate drawing ability of the human body.

Ideas page - Group critique;

As this was the start of the project, it was important for me and the group to sit down and hold a critique, where we could all discuss our ideas and concepts. These initial critiques are vital as they allows us to decide and consider which possible directions we can push our creative practice. From the beginning I sought to focus on the female figure and the colour red (which I noted was prominent in many of Rubens paintings. Also in many other artworks from the renaissance period), as these have been recent influences from Rubens paintings (and throughout my previous ‘Transformation’ project). I know that choosing the female form will be challenging because it is unlike my abstracted style. With this being my final project my intent was to choose a direction which I was going to be challenged by. Being fairly confident from my previous 'Transformation' project with creating expressive, abstracted canvases, it was a tough decision for me to explore a new figurative direction. However, I have often been perplexed with the female form and this project seemed like a good time to challenge my own creative practice between the figurative and abstracted approach. 

Drawing from Performing Art Students;

  

  

To progress my work forward, my next step was to photograph and draw from the performing art students who I had asked to re-construct scenes from my original imagery. With these drawings, I limited myself to five minutes per pose. Limiting myself time-wise would allow me to react naturally and instinctively to what was in front of me. Working quickly and not over-thinking about my marks usually enables me to create my most experimental and sometimes successful outcomes.         

The students used tables, chairs and red cloth to incorporate into their positions. The scenes used where;
Abduction of Ganymede
Samson and Delilah
The Consequences of War
Cain and Abel
Leda And The Swan. 
I chose these scenarios due to their complexity of several underlying themes of tension, sexuality and power struggles. Within these drawings my aim was to capture form and movement, in quick line drawings, which could possibly lead to future compositions to work with. Drawing from a primary source enabled me to investigate compositional elements and varying angles could be explored in contrast to a flat printed version of a Rubens Image.

Quick life class studies with ink;

I have decided to work in life class sessions as much as possible over the course of my project, to practice and improve my drawing skills. Using this time will also allow me to experiment with media and different styles of working with the figure. Within this session I opted to work with ink, to create some loose drawings, again not concentrating too much on the overall outcome, but still trying to keep the figure accurate and in proportion. This aspect is going to challenge me throughout my progress, of battling with myself to keep the figure accurate or to move away from it. Drawing the figure has often been challenging for me, so to base my project on the female physique was a risk, but I felt I need a challenge to prove to myself.

Re-Photographed; (I will not be displaying these photographs on my blog for privacy reasons).

Re-evaluating my previous photographs from the performing art students, I found that several factors were impeding my progress. Features taking away from the motifs were artwork, clustered walls and other objects in the background of my photographs. This made it difficult for me to decipher the photographs the way I intended. Also the figures where clothed which affected how I represented the physique and some of the conformations where too overwhelmed. To try and progress from this, I chose to photograph myself and my colleagues, who were willing to model for me. They permitted me to photograph them in their underwear as my aim was to focus on the curves of the female form. For my next images I utilised a large frame, which aided as a solid structure. I positioned the models in expressive poses, as if they were stretching out of the confinements. The solid structure of the frame contrasted against the softness of the womanly physique alongside enclosing the composition vertically with added aspects of shape and space. As seen in the Rubens paintings the tension between the extended figures and the canvas create an impression of imprisonment and incarceration. Something I wanted to bring to the forefront of my work. This not only expands on my thoughts of how women are treated or perceived in a male dominant society, but also my personal struggle with depression and how creating artwork often feels a release. I didn't particularly want to be present in the photographs, but I felt as though I would develop a deeper understanding and insight into my project. My intention was to use my own thoughts and emotions of myself and body and direct them into my emotive and personal outcomes.  I found this more difficult than expected, which at times can be reflective of my work and progress.

Exploring with Proportion & marks 

Working with red;

Included in my photographs was the red material, which was used to emphasise tension, movement alongside being a symbolic colour. Within my work I knew that the colour red would play an important role as it enables me to depict various circumstances and emotions, both personal and that of my work. Society often responds to red as an emblematic colour of love or passion, but within my work my aim was to exploit it to represent danger, anger, constraint and frustrations within a personal concept. However, the public concept behind my theory and colour scheme was to evoke reactions of the audience and to question their perceptions of the female form –especially seen from the male gaze-, and how the exaggerated, harsh mark adds impact and uncertainty. Looking at the female form not only challenged my creative practice but my personal emotions towards myself, which at times was difficult to keep working towards.

Drawing of myself; 

Continuing exploration of proportion & Form

Small workbook studies;

With my photographs taken, I began experimenting with compositions in my work book. Still unsure of what direction my work was taking, I hoped that experimental studies would provide me new directions to explore. Focusing on marks, proportion and colour I started to create investigatory studies. Initially focusing on lines and shapes of the figure, my objective was to find a composition I could progress further. I created thumbnails as preliminary starting points –based from my previous photographs- to advance onto a larger scale. Over the course of a couple of weeks, I played around with various sketches in my workbook. Still intimidated and struggling to progress further in my work, I spent a lot of time avoiding it or creating work that had no real presence or structure. 

Foursight Art Group Meeting (PDP); 

-Discussion of possible funding activities 

-Overview of recent meeting with Bolton University students

-Organised group roles in order to effectively manage time and organisation of

 upcoming events

-Discussion surrounding possible sponsorship opportunities

-Proposal live brief for graphic foundation students to design Foursight Art Logo

-Group decided to email Leigh Turnpike Gallery 
- The World of Glass St Helens was my suggestion as I knew of several art groups currently exhibiting there. 

Larger scale work;

Finally moving onto larger scale paper, I chose several photographs to work from. Using mixed media of inks, pencil, charcoal, chalk and graphite my purpose was to create large scale expressionistic drawings. Within the larger works my aim was to emphasis the curvaceous female physique with, line, light and marks. I am currently finding it hard to understand my own creative direction and how I can create what I am visualising. I can see that my work is not progressing the way I would like too, so I need to figure out why. I spent some time with my tutor with him often showing me how I could improve my marks. I am really thankful that I had on-going support, but I was also equally frustrating myself because I needed it. It was difficult for me to click with these pieces of work, which I why I believe they are unsuccessful pieces. 

Individual Group Roles (PDP); 

 To allow us to work efficiently as a small team we each chose a role that would support, promote and organise activities leading up to our end of year show;

....

 Georgia Smallshaw - Resources Manager

 Organisation of  transport of getting work to the exhibition spaces and when. Organisation of the costs and health and safety for the events. Planning of what will be needed for the events such as food, budgeting, costs of renting the exhibition spaces. 

Chloe Reynolds - Co-ordinator

Responsible for organizing and executing events such as our end of year show and being the 'go to person' about our relations to contracts and building the relationships. Manager of meetings and minute. 

Calum Rennox- Spokesperson

Responsible for the marketing; such as the logos, posters and other advertising jobs. Along side Calum, Charlotte will be working closely with similar responsibilities.

Charlotte Stockley- Networker

 In charge of advertising, using social media websites and along with managing group emails. Also the main organiser of the sponsorships we need to request. (Although we each need to do this task as well).

Mono-printing;

 

Deciding to step away from my large scale pieces, I decide to work in the print room; this also gave me some space and time to myself, so I was able concentrate on my goal. Having some issues of my own and the problem of my work, I was finding it hard to remain positive and focused on my project. However, utilising the print room and using the Mono-printing technique, my target was to produce as many prints as possible. With this quick process I started feeling more confident as certain areas of my prints were successful. Always using my photographs as my preparatory points I began to improve my prints. Using different utensils and applying varying pressure permitted me to produce a variety of marks and lines. My inspiration to explore this technique came from a piece which I had previously created and used in my professional portfolio. Firstly using black ink for my early prints, my concentration was on composition, form, tone and how I could use assorted marks to create diverse outcomes, dissimilar to my original photographs. Aiming to redevise my imageries through mark making, my intention was to highlight the curvaceous form alongside exaggerated gestural marks to imply a dominant motif. 

 

Although these prints are an improvement on my previous work, I believe the photographs could once again be improved. As I needed these next photographs to be my final successful images, I spoke to Liz_____ a photography student. The models I used once again were myself and two colleagues. We set up the frame and Liz organised the lighting professionally, so the form would be accentuated. Using poses I found successful from my previous photos and some others, the outcomes created euphoric, sexualised and domineering scenes where the female form was the dominant motif. Movement, exploitation and flow within the form and composition are what presented me with effective final outcomes. Although the female physique still looks sensualised, my intent is to have the sensuality disrupted by the dominance of gesture and emotive application of marks.

 

Foursight Art Group Meeting (PDP); 

-Deadline for graphic students logo design brief

-Final designs had been presented and collected for a future meeting to choose the final design

-The final design would represent 'Foursight Art' professionally and on social media

-Sponsorship email draft

- Sponsorship email sent to;

Wigan and Leigh College Governors 

Kathryn Cornelly (Guided Bus Way)

Nick Bastow (WWL NHS)

CSA Studios

J.fletcher Engineers

Wigan Council 

Bolton Council 

WLTC
Holida Inn 

Mono-printing 2; - Improved Photographs;

 

 

Mono-printing 3 - Colour;

Pleased with the outcome of the photographs, I used these to instigate further mono-prints. During this process my intention was to introduce colour. I began to utilise varied tones of golden yellow, reds and blues.  

 

 

Advancing in colour opened up various directions for me to explore. It was not only about my mark making techniques, but also colour placement and symbolism. Working with colour enables me to begin exploring relationships and contrasts between colour schemes, impacting the overall compositions along with emphasising the importance of my underlying concepts and theories. Initially investigating with full colour compositions, before limiting and controlling my marks to singular continuous lines. 

 

 

My most successful prints came from simplistic line drawings. The singular line created a feminine result however frequently accompanied with opaquer, aggressive marks opposing the white space. These prints where a learning curve within my work, because of their minimalism. I often have the tendency to overwork and complicate my work, whereas sometimes less is more and this is something I will try and control within the development of my project.

I hung my prints within my studio space so I could constantly reflect and consider possible progression routes. Surrounding myself with my own work and images of influential artist support and encourage my creative practice. Benefiting from my studio space compared to the restrictions of a workbook.

Request for Financial Assistance;(PDP)

from Wigan & Leigh College

2014-2015

Requests for Financial Assistance from the Wigan Foundation for Technical Education

for Trips and other Educational activities

Member of staff submitting request and contact details. Name/ tel no/and e-mail:	Lee Paton HND in Fine Art Course Leader l.paton@wigan-leigh.ac.uk Student Representative c.reynolds@wigan-leigh.ac.uk
Student Group	HND in Fine Art Level 5 Year 2 Students
Date of Trip	Exhibition Curation 14/18/19/05/2015 Preview Evening 20/05/2015
Destination	Turnpike Art Gallery Leigh
Total cost for the student group	Overall Cost £910:00 – Minus £300:00 Media materials                                       Minus £300:00 Venue                                       Minus £50:00 Marketing - Group Total £610:00
Total cost per student (including any contribution from the Foundation or other sources)	Overall £227:50 Minus Sponshorship - £140:00 per student
Number of students requesting assistance	4
Additional expenses for travel and admission etc. to be paid by each student	Material and Media costs per student £75:00 subtracted from the overall cost Probable Costs for hanging materials/frames etc Some incurred travel expenses, negligible.
How much in total is being requested from the Foundation?	£150 - £200
Is funding being sought (or been granted) from other sources?  If so, how much?	Sponsorship Creative Leigh: Venue Hire secured for free - £50 per day total for the week £300 Marketing – J.Fletchers - £50
Description of visit/event	HND year 2 in Fine Art Final Major Exhibition – Group curation, promotion and exhibition during Leigh Creative Festival event month
Why do you feel the Foundation should support this activity?	An exciting opportunity to work in partnership with the wider creative community – Wigan & Leigh College promotion through local media, and social media – students personal blogs and group website
Can you confirm that the appropriate risk assessments will be undertaken?	Yes – Linked with Sue Counsel, Venue Management, Appropriate College Risk Assessments
Who will be providing feedback for the Trustees?	Lee Paton and Student Representative

Please note that it is a condition of funding that the person requesting the funds confirms that all appropriate risk assessments and other requirements will be carried out in accordance with College policies.  Furthermore, that they will provide written or documented feedback to the Trustees upon the completion of the activity.

Total Costing

Group Marketing – Invites/posters/visitor book/key information – £50:00

Group are also saving on marketing through emailing invites and use of personal Blogs/social media links/College website

Personal Marketing - £20:00 per student – Group Total £80:00

Material Cost – Per student £75:00 – Total £300

Venue Hire - £350:00 - £50:00 per day

Preview evening security - £60:00

Catering/refreshments - £70:00

Exhibition Total - £910:00

Personal costs include;
Lining Paper £4.00 Per Roll
Acrylic Paint; £6.50 
Business Cards; £9.00
Posters and Invites; £6.00
Fuel; Transportation to and from Leigh Turnpike. Parking fees 
Fuel; Transportation of work to and from Bolton University. Parking fees 
Beverage; Was very kindly funded by Wigan and Leigh College Catering Department
Opening Night; J.Fletchers donation 

Large mono-prints;

   

Realising that something was beginning to work with my prints, my next challenge was how to improve upon this. To do so, I acquired a large wooden board, which I took down to the base room, which I could ink it up. This large scale board would allow me to create much larger prints, where I could include physical, expressive and gestural marks. Being unexperienced with the new process, I was finding technique difficult. Although my smaller works where successful, adjusting to a larger scale was proving difficult and my proportionate drawing had been impacted. 

I also lost the continuous flow from my previous prints because I was focusing solely on proportions, which in turn, lead to my marks being restricted and forced. Also with my initial attempts I avoided the feet as these were my weakest points, instead of practicing them. Becoming frustrated with my work, I began to overpaint the least successful outcomes. 

Foursight Art Group Meeting (PDP);

-Discussion of sponsorship - Charlotte received a £50 donation from J.Fletcher Engineers & other possible sources of funding - Green project - College Governors 
-Cost breakdown & Travel arrangements 

Over painting;

 

During this period I became increasingly negative and discouraged with what I was producing and the show was not far away. Because of this I had a poor couple of days where remaining motivated and positive on my work seemed impossible. For my overpainting exploration I had a sufficient amount of ineffective outcomes to explore and overwork with acrylic paint. To encourage my progress, I revisited my 'Transformation' canvases, as these where when I was working effectively. Looking back on my colour use, placement and mark making techniques refreshed what my aim was to portray. Once again I sought work's of CY Twombly & Georg Baselitz to inspire and influence my technique of loose, gestural and dripping application of paint. 

This method seemed therapeutic, being able to completely transform my work and work with a media I felt confident and assertive with. Overworking the printed lines with expressive and responsive coloured marks, gave the work a fresh, innovated appearance. Relating back to my theme of dominance, inspired my emotive, responsive and gestural application of paint.

Letter to the Governors (PDP); - (Emailed through L.Paton)

HND in Fine Art Year 2 Level 5

FoursightArts Group, 

Wigan & Leigh College

Calum Rennox 

Georgia Smallshaw 

Chloe Reynolds

Charlotte Stockley 

FoursightArt@hotmail.com

Dear Governors,

We are four students currently reaching the end of our HND Fine Art Yr2 level 5 programme of study at Wigan & Leigh College. As part of our end of year show, and essential units, we have formed a new group called FoursightArts. As an important element of our course will be exhibiting work both in Leigh and Bolton in the near future. These exhibitions will be group shows and will include forming student partnerships, from Wigan, Leigh and Bolton campuses. The four of us are progressing to Bolton University after this year, and are building professional partnerships and curatorial understanding.

The exhibition in Leigh is scheduled for the Turnpike Gallery from 17th May until 29th May as a part of the Creative Leigh arts initiative. As part of this exhibition the A Level Art students based at Leigh 6th Form Campus may have be invited to participate, and discussions with Pre-Degree and year 2 Level 3 Art & Design students are in progress. This we feel is helping to support and develop the Arts on a local basis within the borough, throughout the College, and in a time of financial constraints.The reason for writing to you is to publicise arts within the Wigan and Bolton Boroughs, and to approach you to discuss relief through financial support, this would assist the group towards the costs incurred in putting on a show in these locations.

The costs would include materials for hanging / mounting work, production of publicity materials, insurance for the duration of the exhibition, transport, private preview evening refreshments associated with curating and presenting a professional. Any amount of monies and/or support you could provide would be welcomed, no matter how small.

We could meet with you as a group to discuss the ongoing project, and provide you with a more in-depth proposal when required.

We look forward to hearing from you.

Regards

FourSightArts Group

Calum Rennox, 

Georgia Smallshaw, 

Chloe Reynolds, 

Charlotte Stockley

Successful line prints;

Producing work which began to make me feel optimistic –although still panicking-, I re-visited my mono-prints. My succeeding series of large scale line mono-prints I generated where surprisingly rewarding and thankfully beneficial considering it was the last couple of weeks leading up to the exhibition. Re-finding the continuous line and movement within the figure (as with my smaller prints), on a large scale allowed me to exaggerate and heighten form, line and continuous movement within the figure.

 

Using particular selected, sensual, flowing lines to depict the form, also evoked a personal awareness of distortion and fragmentary visual content. These recapped me of the picturesque yet distorted figures produced by Francis Bacon.

Francis Bacon, Turning figure c. 1959-62

Francis Bacon, Bending Figure No.2 c. 1957-61

http://www.tate.org.uk/art/artworks/bacon-turning-figure-t07352

Noting his disfigured, spontaneous figure drawings, Bacon frequently challenged conceptions surrounding portraiture and the exploration of human physique. Enthralling paintings of twisted limbs, contorted figures and animalistic properties immerse the viewer into a nightmarish idealism of isolation and anguish. Viewing his works 'Turning Figure' & 'Bending figure', the continuous line highlighted the movement and contortions of the human body, which my aim was to re-create throughout my works. Maturing this process my strong intent was to produce a range of singular and double lined studies. Exploring further into the properties of line, colour and mark making, my aim was to overwork the initial solitary line with heavier, stressed intentional marks, creating either a discordant or harmonious appeal. The evocative marks disrupting and conflicting against the sensitive lines reinforced my original subjects of femininity, masculinity, authority and now accompanying aspects of isolation and vulnerability. 

Publicity (PDP);

As Myself and Georgia where away delivering exhibition work to Bolton University, Calum and Chloe started to promote the exhibition through posters and invites. 

-100 A5 Invites= £15.90

-20 A2 Posters= £8

Total= £23.90

These invites where for family, friends and tutors and students. Posters where displayed around Wigan College and various locations around Wigan town Center and Leigh. (Chloe placed 15 posters in local cafes, shops, supermarkets, the library and the town hall).

Invites where also sent electronically and published on social media sites.

Calum created a comments book for the opening night of the exhibition. The book had the Foursight Art logo laser printed onto it.

Working on final pieces;

 

Analysing my previous painted outcomes, my plan was to once again over-paint some of my less successful recent mono-prints. Deciding this time to subconsciously and instinctively apply the paint, creating a spontaneous language, I put all my previous worries to one side. Using warm colour hues to suggest the figure, I remained intuitive with my application of media. Examining how my work was developing, I now began to consider and contemplate literal placements of colour. Aiming to keep the arrangement of the figure flowing and refined (using complimentary colours of orange and blue to create pictorial space), my objective was to disrupt the femininity. Intentionally applying large strokes of red paint & oil pastel across selected areas of the figure to emphasise distortion, subjection and a return to a familiar term, ‘rape’ from my previous project.

Once again this process challenged my personal emotions, as I began to stress and exasperate certain areas of particular sections of the female body. My intent was to create pieces that would challenge the subject of how women are perceived by the male gaze for sexual or fantasied pleasure, how women often judge themselves (Body dysmorphic disorder, Anxiety, self harm) in a culture that has an overbearing unrealistic expectation for females to look 'beautiful'. And how they are dehumanized, overpowered and  portrayed as objects, still in (I believe) a male dominant society. Also working in, what can be describe as a masculine media 'paint' (compared to, example textiles, (not my personal opinion), but taken from research), immediately confronts and purposely challenges the ideal of the male viewer. 

Within most aspects of my work, my intent is to portray various concepts and theories I am questioning. However, they also form as abstracted portraits and collections of personal emotions and thought processes, which I develop strong emotive links with individually. Often these underlying feelings are not discussed with peers or tutors, but expanded upon by myself. These thoughts recurrently decipher my colour use and impact upon my marks. Working with a figurative direction, I have began to find ways and means to incorporate it into my own style. In the future my aim is to pursue similar themes and subjects as I think myself and my work could benefit from exploring them. 

Bolton Exhibition (PDP); Bolton Market place, 2015

As part of our link with Bolton University, we was offered a place to exhibit within their second show 'The Project'. We also offered them the chance to exhibit in our show also.

Reflection - Me and Georgia did waste sometime running around delivering or collecting work to and from Bolton University. It was frustrating to organise as simple tasks where not being carried out, when they said they would be, which impacted on our own time to curate the show. Due to this (and our own mistakes) we were unable to hang their work in time. Difficulty in hanging the pieces due to H&S and other pieces that wouldn't adhere to the boards, we did not have time to find other means. 

Although this plan didn't work, it was still a learning experience, as to what it like to communicate with a larger art group. I apologised to the students involved, and I am hoping this doesn't cause any problems within our third year.  

Exhibition Overview (PDP);
H.N.D Fine Art Level 5 Year 2 

Personal Responses FMP

This is an overview of what the group have been working on since the start of the HND course in September 2014; this has been a journey through the exploration of transformation and individual concepts.

The HND year 2 course consists of 4 students which makes this visual journey quite personal. We are all aiming to curate and present our own final exhibition; by showing our individual understanding through the unique mark making, and creative output. The range of work consists of 2-D & 3-D pieces of art, non –traditional media and large works.  At the end of our first week this academic year, as a group we had in depth discussion regarding individual pathways of art, concepts and the philosophy of artwork. We all started by showing our initial thoughts through a transformative process, producing theoretical ideas and compositional development, from this we noticed that we started to question the way we view, create and represent art in a given space. We began experimenting on different scales and with different media; this enhanced our individual understanding art and our personal creative language. Each personal response is unique, as we are all looking into a range of concepts, philosophies and motifs. It has been an interesting experience to see how a group of artists have produced their different ideas, but have similar ideals and work together as a creative group, FoursightArt.
Reflecting upon our work we think we have been able to pull through different representational and symbolic elements based on our creative journey. It is this originality that will give our pieces their own unique styles which should cater to different audience interests. We all worked towards gaining a variety of responses so that we can then progress further onto a level 6 top-up year, carrying on this process and journey. At this final stage within the course, we have built a more professional understanding; it has helped us to work together as a team. Also the journey has encouraged us to discover ourselves as Artists and the new territories which we have been able to explore. Having artistic differences has presented creative challenges and learning points to develop further in the future. Each personal response is viewed and created in a range of ways where some might not be able to understand, but it is these challenges that we are setting ourselves up for.
Now that we are Higher Education students it is important to independently push ourselves to an advanced level of exploration, but also providing evidence for what we have discovered visually, and how we have progressed from the beginning of the course, consistently analysing and engaging responses. We hope that opening the show during this busy event for the college will gain publicity, showcasing the standard of our work. This will also help some of us become established creatives in our community, developing further understanding of the Art industry. We are optimistic that you will enjoy our journey through art and making just as much as we did, and hopefully you can see the links and differences based on our personal thought patterns and processes.

(Lee.P wrote on behalf of Foursight Art) 

Exhibition Organisation;
Curatorial issues (PDP);
-Poor condition of boards - impacted schedule
-Restricted use of some walls and spaces
-Health & Safety, Fire exit to be kept clear at all times
-All  materials and tools had to be stored away after each day c
-Restricted access to site, because of other activities - impacted schedule
-Transportation of work and materials, including work at Bolton - impacted schedule 
-Bolton students work not up to exhibition standard
-Small group of students
-Time management issues 
-Upon reflection, organisation should of been improved with regards to time management. This would of enabled us to finish all aspects of the show. 

(Photograph of the previous Artwork on display, this impacted our schedule as the boards were in a poor condition).

Visiting the location before transporting out work, we realised that we had a huge amount of prepping work to complete in order to create a professional exhibition. Firstly the boards where at a poor standard, and the only way to fix them was to sand them down and re-paint. Although this was a big backward step with our time schedule, we were not willing to present them in their current state. 

After sanding the boards down, we began to gumstrip any gaps or holes, getting them up to a professional standard once painted. This process took a lot of time, patience and teamwork, as there was only 4 of us and luckily we had the extreme help and support from our tutor Lee who, without his help, the show wouldn't of been possible. With limited time slots we had to work quickly and efficiently to complete our tasks. We each undertook individual tasks to progress the development along quicker, always communicating were we was up to. With other groups utilising the room afterwards, all materials and tools had to be stored away. This also impacted time as we had to finish the prepping work earlier to began cleaning. Although our time management caused many problems and challenges we were able to just about pull it off. However, this has been a huge learning experience for us to take into our third year at University. I believe these challenges have aided us in becoming stronger and more competent artists. 

Opening Night - Leigh Turnpike - Wednesday 20th May, 2015

Personal Statement;

Power Transference

‘Transformation’ is the theme surrounding and underpinning my creative practise. The subject underlying my work is my interpretation, individual depiction and transfiguration of the traditional, mythological paintings by Peter Paul Rubens. The themes, narratives, colours and forms present within Rubens work have enticed me to explore and investigate these particular matters further. My purpose throughout the course of the continuous ‘Transmogrification’ topic has been to explore the female form, movement, sensuality and distress, all conjoining back to the original source, Rubens.

Initially inspired by Rubens, CY Twombly and Jackson Pollock, my intent was to explore and experiment with colour and mark making techniques to discover and query my own perspective and emotions surrounding these areas. Using physical and gestural application of paint, I began to create a series of large scale, conceptual and responsive canvas and print outcomes. A familiar theme began to appear, dominance and a word taken from a Rubens painting, ‘rape’, these elements became catalysts for the gestural content and application of media. The works formed into dramatic, emotive abstractions, where colour and marks have been used to decipher theatrical and powerful scenarios.

Progressing on from my canvas work, I remained focused and observant on Rubens and the female form. Challenging myself with anunfamiliar figurative direction, my analytical research has been grounded around the works of Sandro Chia, Georg Baselitz and CY Twombly. Preliminary studies of my own figure, colleagues, life models, and performing art students provided me with initial compositional investigation. Using these starting points I recreated photographic sets depicting elements of Rubens paintings, with only the female forms to instigate a series of drawings and prints relating to Rubens artworks. Preliminary studies provided challenges with figurative and representational elements, alongside more abstracted elements of shape, pictorial space and colour. The outcomes created euphoric, sexualised and domineering scenes using the female form as the dominant motif. To revise my own narrative of female perception, my intention to photograph females in various pose’s inspired by Rubens masculine imagery, highlighted the need to return to figuration. My aim is to emphasis the curvaceous female physique with, line, light, marks and colour, to have the sensuality disrupted by the dominance of gesture and emotive application of marks.

Charlotte Stockley

FoursightArts

HND Fine Art Level 5 year 2

www.charlottestockleyfineartist.blogspot.co.uk

Line Figure Series, 2015

Mono-print on Lining Paper

Mixed Media Figure Series, 2015

Mono-print, Acrylic, Oil Pastel on Lining Paper

Innocence, 2014

Acrylic on Canvas

Innocence & Dominance,2014  

Acrylic on Canvas 

Exhibition Summary;

The opening night turned out to be a huge success. It was good to see a great turnout, after the work we had put into it. Facing and overcoming all the new challenges and unexpected problems of curating, organizing, sponsorship and publicizing it was eventually worth it. Finally being able to stand back and see the show in a new light was a proud moment, and I can’t thank the team and Lee for all the work they put into it. This has defiantly been the most professional and successful show which we have been involved in, especially with it being in a public location and gaining future contacts. I believed the show was up to degree standard and to transform the space into a professional, proficient show was a huge achievement for us all.

Throughout the night I received fantastic feedback and had the opportunity to meet my high school Art teacher and Yellow door artists to discuss my work, upcoming plans and possible future associations. It was especially great to see them supporting me, and their reaction to my work.
The governors, principles and tutors of the college also attended which was great to see them supporting the college’s art students, and the new HND course. I hope we created a show that the tutors and the college would be proud to be a part of.

I also had interest from people who would be willing to purchase my work, which is always surprising!

Feedback from Governors;  Email 

Future Possibilities; 

I have made great connections to practicing artists and professional studios such as yellow door and Cross street. I was looking to utilise a space at Cross street arts for my third year at Bolton University. However, due to timetabled days of Monday Tuesday and Thursdays, it is unlikely I will persue this option until I have finished my degree. However, I am in regular discussions with Steven Heaton & Yellow Door founder Naoise Johnson, and I will be looking to hopefully working with them in the future. This will encourage my path of aiming to be a working practitioner and hopefully in the future owning or being part of a successful working studio/gallery.

http://ccskills.org.uk/careers?gclid=CLWVhuC7-LkCFS3HtAodsgEAOQ

http://www.prospects.ac.uk/case_studies_fine_artist_case_study_1.htm

Utilising websites such as Art jobs, Art careers, A-N, I have been able to research into possible future job and career opportunities. This has given me confidence to persue my artistic career and encouraged me to complete my top-up year to work towards completing my degree. Reading case studies and questioning artists I  have connections with has allowed me to gain a deep understanding of what it is like to be a working Fine Art practitioner. 

Conclusion; 

In conclusion to my work, I believe this was one of my most challenging and difficult projects. Due to individual difficulties and the challenging theme I had set myself, I found it hard to battle through and produce exhibition worthy work. My opinion is that I did not create my most successful work during this project, but I have become aware of areas to improve in to future. I believe I could have been more pro-active in the organization and management of the show, but at the time my main focus was to concentrate on getting to college and my practical work. I am grateful some pressure was taken of by tutors and colleagues. However, I do believe that in the prepping of the site I did the best I could. I am glad I battled through the problems to be involved in a great show to finish of my HND. Hearing the great feedback keeps me encouraged that I am pursing the right career path.

For Lee Paton, John Walkden, Robin Salt – Thank you for your ongoing support and advice over the last couple of years. Your enthusiasm, knowledge & commitment that you have shown throughout the course has encouraged us to thrive, create and grow as individuals.