I came across a piece of wood that had been left outside of college, which I found very interesting. Looking at the marks and composition created by the elements, got me thinking of maybe leaving my own canvases/paper/materials outside to see what marks and textural qualities the earth could create with little intervention by myself.
I created these canvases more out of uncertainty than purpose, but I had fun playing around none-the-less. I took influence from my previous work, with the branches and texture.
FMP:
Proposal
For my final major project I am going to continue my
previous project, where I believe I made a successful and strong starting point
by exploring the qualities of texture and mark making using paint and print. I
love the physicality of textures such as bark, leaves and rocks along with the
ever changing colours of the trees and flowers. In my opinion these in
themselves are pieces of art.
To begin my project I am going to leave several pieces of
plain white paper in certain areas, such as in my garden, or buried into the
soil, allowing nature to leave its random imprint. Some I will not interfere
with, whereas with others I may add yoghurt, sugar or other media such as glue,
paint or varnish to experiment with the outcome of the mark.
Influenced by the outcomes of these, I will begin to explore
and investigate mark making on canvas, paper, handmade paper and other
materials, using paint, ink, charcoal, graphite and other media.
My contextual referencing will be based on artists Wols; for
his randomness and layering of colour, Antoni Tapies; for his abstractedness and media
involvement to create texture and thickness, along with Jackson Pollock; Because of his
expressive, gestural and explosive application of paint, and finally Morris Louis;
for his colour and simplicity.
To arrive at my outcomes, it will be a process of exploring
and exploiting media in as many ways as I can to create a unique mark.
To document my journey throughout I will have my own work
book, alongside my personal blog and daily diary where I can document and
reflect on my progress.
At the end of the project I will write and evaluation
describing my processes and outcomes, with a reflection of our exhibition.
With my FMP I am wanting to extend my practice in mark making, along with the influence of the textural qualities within the environment. I want to do this by leaving certain surface areas such as paper/canvas exposed to the weathering process. The outcomes of this process (although I am unsure of what it will be), are going to be my main starting points, to hopefully move onto creating a unique painting, influenced by my primary findings. I am wanting to leave my project fairly open and flexible because I do not want to focus too much on one particular direction. I am wanting to explore and experiment with certain media's to create textures and marks, in a unique and individual style.
Around a few sections of my garden and college I have placed canvas, card and paper in certain areas. I am going to leave these out for a few days to see what marks or textures may be created by the environment surrounding them. I am sticking with my previous project of using natural, earthly, branches and objects to influence my work. However, I need to start pushing my work in a direction I can keep focused on because I am going to have to produce a final outcome for my end of year show in May. I am going to use whatever marks, however how subtle, to influence paintings and prints, which I can use to exhibit. Maybe, Depending what happens on these surfaces, I may also want to show these.
These are a few little pieces I found quite interesting and subtle. I used no nails to stick pieces of wood onto paper, and once they had dried, I tugged them off and left behind where imprints from the branch and twigs almost like fossils.
Here is a few pieces of my paper which I had left outside for a couple of days. I left them in different places around the back of college, where I could bury them under the soil. From my previous attempt I figured out that burying the paper produced a more random, textured outcome which I want to push further, into painting and print. These where some of my most successful outcomes because of the depth, texture, and white space left behind. The one on the right I think is slightly less successful because it is so dense, but I am going to look at the outcome again once the soil on top has dried. I can not wait to push these forward into paint, as I know i can be expressive and gestural with the paint and marks I create.
This is one of my first attempts at progressing my work forward. I attached a few pieces of A1 paper together so I gave myself a larger scale to work on. Robin had to give me a kick start to start working again, as I had not been focused on my work too much over the last week. However, once I was back into my work and excited about it I started to enjoy working again.
To create these outcomes, I collected mud, grass twigs and other material from outside. As my work is being based on random mark making and texture, using the natural media allowed me to experiment and play around trying to explore these elements, and how I could use them within my work. To being with I applied soil, grass and twigs on certain intervals on the paper. I then rolled the paper up into a tubed shape. I started to pour various colours of watered down paint and ink into the tube so it would mix with the materials inside. With my first piece I never folded the paper up at the bottom, so the water could run out of the bottom. On my next piece I did fold the bottom up, so I could tip the paper upside down allowing the media to move within.
Once I had finished, I reopened the paper tubes, to assess the outcomes, which I was quite surprised at. The marks left behind created a unusual, organic, colourful result. I loved the marks left behind where the natural media had mixed with the paints and inks.
(click image to enlarge).
These are the beginning stages of my four large canvas's. I knew from the start of my project that my final outcomes would be on canvas. To start my canvas's I referred back to my preliminary studies, however I did not want to try and replicate them, I wanted to use them to influence my next stage.
To begin my canvases I created a natural/colourful background using soil and grass along with wood staining media and watered down paint. I did not over think the application, I just went with my instinct. I worked on my four canvases simultaneously, so I could start building them up together. This was my first time I have really worked on so many canvases together, but I really enjoyed it. Sometimes looking at one piece for a long period of time can make me loose sight of what is working and what is not, so being able to mix between the four of them allowed me to step back and think about the work.
(I'm only human, 2014)
My first canvas I left as this because I really liked the overall outcome, with the marks and action like movement created across it. The natural media and inks worked together, creating something unusual. Working on a large scale allowed me to apply the mud expressively and then pouring the inks over the top added depth to the canvas by adding darker and lighter sections. The simplicity of this canvas also stood out to me, as the marks left behind from the soil stood out.
Once I had allowed the background to dry on my 3 remaining canvases I started to build them up, using more paint, soil and inks. To apply the media, I used splashing, dragging and dripping techniques similar to those of Richter and Pollock. I used card,my hands and wood to drag the inks and paints, keeping to my natural media. Working with warm and cool colours was something I wanted to focus on, for fire/water/land along with a complimentary and analogous scheme.I wanted the colours to support and emphasize the textures made on the canvas. Within building my work up I wanted the colours to mix together and run over the textured soil, as this left various details behind. I loved creating and experimenting with my work, because I knew it did not have to look representative of anything, it has been based on random mark making, colour and my own physical involvement.
Progressing my work further, I started to use thicker paint so my marks would become more defined and bold. To make my paint thicker I used PVA glue. Applying the thick paint was great, layering it over and dripping it down over the texture and marks already made allowed the painting to really become a bold painting of shape, colour, texture and depth and pictorial space. Creating my paintings I wanted them to be thick and layered, so the over painting lets the paint underneath come through, each layer being different colours, marks and textures.
These are my four canvases all at different stages. I know I will defiantly be over painting the red, blue and red canvases shortly so I wanted to capture them at different stages, so I can refer back to them for guidance in the future. Seeing my canvases makes me feel proud, and I am hoping once I have finished they will be up to exhibition standard for up at cross streets. Over painting my previous canvas's using different techniques. There are certain sections in each canvas which are starting to stand out to me, I just need to find a way to bring them together in my final outcomes. I am can't wait to start my finals. I have had certain input from Robin to help me progress my work, which is something I want to improve on. I am still learning to analyse my work and find if it needs more work on or not, but I am thinking it will come with time and experience.
(I see fire, 2014)
My first canvas I worked over was my blue one, where I started to add simple shapes, to add depth and control. I could feel myself starting to lose control of the media, and I needed robin to encourage me to add the shapes. Breaking the paint up with the shapes allows the painting to gain control and structure again without it being to organised and restricted. Looking at the shapes it reminded me of aborigines art, which included wide range of media including painting on leaves, wood carving, rock carving, sculpture, ceremonial clothing and sand painting. A lot of the paintings used repetitive shapes and bold earthly colours such as oranges, browns, reds, and blues. This links back to the use of natural mediums. I used a bright red/orange to fill in my circular shape, which really contrasted boldly against the blues and greens of the background. Filling the shape made it really stand out and draw your attention towards it. I love the brightness and dominance of the shape.
(Desolation, 2014)
Feeling slightly more confident about over painting with bold shapes, I started to re-work my red canvas using a dark blue tone of paint to contrast against the oranges and reds. As well as using bold outlines of shapes I started to fill in the middle section leaving parts of where I thought the marks created where most interesting. I also added solid blocks of colour.
(Somewhere only we know, 2014)
For my middle canvas I used a simple one touch technique covering any white spaces. I took influence from Patrick Herons one touch painting technique to create a boldness and deepness. The dark blue colour really stood out from the canvas creating a depth and pictorial space, as if you could walk into the canvas. I learnt from this painting, that even small blocked shapes again adds control. Without the more definite shapes I believe the the canvases would not work, as there would be no major focal point, and the canvas would maybe look unfinished. I have realised adding the shapes has added more control and definition to my canvas, and this is something I want to keep experimenting and progressing forward.
I began my 5 Th canvas as I felt happy with my previous ones. However, after a break from them I will re-analyse them to see if I can improve them further. For now, I want to try and experiment with my new techniques I have practised and learned on my last pieces. This is my first layer, I want to work with oranges, yellows and blues within this painting. Once it has dried I will begin to over paint and play around with it. I am not taking my work to seriously because I feel if I loose that freedom my work will become boring and restricted, Its the playing around that has lead me to creating what I believe to be successful pieces.
Over the past few weeks me and Jane have been emailing each other about times and dates etc. about the exhibition. Working with Jane has been great and I am thankful for the opportunity they have given us. I am determined to pull off a successful show and to make not only myself proud, but my family, friends, tutors and the artists at CSA. Organising the exhibition has had it's difficulties, but I am hoping that when the preview night comes it will be successful.
I have also been in contact with Steven throughout the process of this exhibition, listening to his advice and guidance. It has been great to meet other artists in the studio, especially who's work I love, Both Steven's and David Stanley's. Both of them have been very supportive explaining their work, exhibits they have done and techniques they us to myself and others. Seeing them working in their own spaces makes me want to do the same. Being able to take myself off into my own little place where I can focus and play around with my work. Whilst doing the exhibition being around the other artists has really inspired me to keep at it. I have realised how important it is for me to be around people who are enthusiastic about art and wanting to push things further. Recently in college, because the atmosphere has been ''off', I have found it hard to stay positive. However, in a way this has made me focus more on my work, because I have just wanted to produce the best work I can and put on a good show. It will be sad when we have to take the show down.
Over-painting my background to my fifth canvas is extremely exciting as I cant wait to experiment with it, bringing together techniques from my previous canvases. I started to add bolder shapes and colours because I wanted my canvas to be energetic and exciting, so the views could get a sense of movement and action. I wanted the viewers to be able to see the physicality of the application of media within the texture and marks I created. I used warm and cool colours to try and emphasise the pictorial space and depth involved. Once I had finished working one the background for the time being, I decided to add a circular shape, again to add depth. I used a dark blue colour so it would contrast against the warmth of the oranges and reds. Therefore, standing out.
Because of the process and experimentation I have been through on my previous canvases I wanted to include them into my final two canvases so I could hopefully exhibit them at the gallery. This included the bold shapes and geometric shapes. Although the shapes are solid and smooth, I believe they create a flow around the canvas. I also included smaller sections of one touch painting, similar to Patrick heron. The layering of the smaller rectangle shapes and the larger ones added a feel of control and sophistication. I filled my circle shape with soil I had gotten from outside to link back to my starting point of using natural media. There was already small traces of media included in the background from the first layer, but I wanted this to be dominant and really draw your attention. I also used smaller sections and less defined areas to place some more soil, again creating a flow. Filing the shape in was a good choice, as I believe it really adds a sense of wonder and curiosity. This is an image of my final outcome, which I believe is a well painted, successful final outcome. I know for a fact I want to exhibit this one up at CSA. I would also like to make a start on a final canvas which will complement and work with this one, like a series.
For my final canvas I wanted to tone the colours down slightly so canvases would not clash. I wanted them to work together, as I may hopefully be able to exhibit them both. I used the same process as my previous canvas, gradually building colour and marks on top of each other. At the start of the canvas I felt it was not working, because of the composition, but I stuck it out and I believe I pulled it through. It was difficult at that stage to carry on, already knowing that my previous canvas was successful but I did not want to quit half way through, and I am now glad I didn't. Differing from my last canvas, with this one I wanted to create a bold, solid rectangular shape To then work around it creating an even layout. Although the shape is based on the left hand side of the canvas, I do not believe it is 'Lob-sided' or uneven. I used repeated, thinner rectangular shapes similar to the style of patrick Heron to even it out. Standing back form the canvas allowed me to think about where the next marks should go.
(All of me, 2014) & (It's time to being, 2014)
Here are my two final canvases next to each other. I believe they work together as the colours compliment each other. One is warm and vibrant while the other is cool and calm. The compositional layout of both canvases work well with each other to create a balance but also a dynamic contrast. The warm colours of the left canvas are complimentary to the blue hues on the right canvas. My main style of work is abstract and I believe that this is my strong point. Within these canvases are my thoughts and feelings throughout this past few 'bad'' weeks, but I believe having a bit of anger and sadness inside has propelled me into my work on a deeper level, being able to use the marks to express my emotions. I also like to allow the paint to drip in a smiliar style to Twombly as to leave the paint to create a movement. I also enjoy working over these drips with a more controlled brush mark as you can see the contrast and layering between them. Even though the viewer may not be able to notice my emotions in these pieces I can. I believe each individual person who views these canvases will perceive something different. Now I have finished these canvases they have become quite personal, as I have put my feelings into them. While creating my canvases I have used several artists for inspiration, either it being their colour or technique.(artist influences)
Once we had all finished work, it was time to move our work up to CSA. Once all our work was safely in the gallery, as a group we curated where peoples work should be placed. Each decision we made, we made as a collective, to ensure people where happy with their positions and that the show had a flow from work to work. Once work had started to be hung it really started to take shape. I believe I learnt a lot of tips from our previous exhibition we did at college for our mark making project such as organisations and time keeping. However, I still found it hard to work in a small group were the slightest doubt/negativeness can effect the group dynamics.
CSA very kindly bought Vinyl letting for the gallery window, with our exhibition name & dates.We also took a few group photographs for advertisement purposes to promote the show in the news paper and on online networks.
I also managed to sneak a few photographs of myself with Steven & Steve & Dave. All are amazing artists and very helpful & friendly people to talk to. Steven has been a great help to me giving me advice and information. We also have quite similar interests and I love his work, so listening to him explain his techniques and methods is great. I hope to keep in contact with the artists from CSA in the future, and maybe one day exhibit there again. I would like to thank them for presenting us with this opportunity.
Title, summary and price of work.
Somewhere only we know (2014)
By Charlotte Stockley
(Acrylic and Natural media on Canvas)
My project has been based on exploring the qualities of texture and mark making using paint and natural media. I love the physicality, lines, shapes and compositions of textures such as bark, leaves and rocks along with the ever changing colours of the environment. I wanted to challenge myself to take these natural, random marks and push them into a new direction, combining both paint, ink, and earth.
My contextual
references throughout my journey have been Wols; for his randomness and
layering of colour, Antoni Tapies; for his abstractedness and media involvement
to create texture and thickness, along with Jackson Pollock; for his expressive, gestural and explosive
application of paint, and finally Morris Louis; for his colour and simplicity.
My main focus
through my whole project has been to play, experiment and explore with
different media using a range techniques. Gradually, over the process of preliminary
studies, research and six canvases, the techniques and colours started to
create colourful, bold and refined outcomes, each showcasing a variety of
marks, pictorial space, texture and colour.
For more
information about my work, please visit: www.Charlottestockleyfineartist.blogspot.co.uk
£300 (open for negotiations)
By Charlotte Stockley
(Acrylic and Natural media on Canvas)
£300 (open for
negotiations)
It’s time to
begin (2014)
By Charlotte Stockley
(Acrylic and Natural media on Canvas)
£300 (open for
negotiations)
I took a panoramic shot of the almost finished exhibition. Which I think looks amazing. I am really proud of how the exhibition came out, especially with all the other distractions interfering. As a group we pulled together to create a show which we should all be proud off. If I am to leave Wigan after this first year, I can go knowing I gave it everything and was part of producing a great show.
Opening night
The preview night was great. Seeing family, friends, and people I didn't know looking at the work and enjoying themselves was great. My aim throughout the FMP project was to create good work and curate a great exhibition so people could view the talent that the group has. We also had a comment book, so people could leave their own opinions and thoughts on the show. At the end of the night we read through them and we got really positive feedback. Overall I think we pulled of a great show, and hopefully did ourselves, family and tutors proud. I am grateful to CSA for giving us this opportunity to exhibit at their gallery, It has also been a very practical and professional experience to go through. It has been super to work alongside Steven and the other artists in hanging and organising the show. If this is to be my last show with Wigan college, I am glad it has been successful, even with the problems throughout. Working alongside robin and john (tutors) has been really enjoyable, and I believe I have gained more confidence and independance in my work.
Contextual research
The artists I have looked at throughout my project are: Jackson Pollock, Gerhard Richter, Morris Louis, Gillian Ayres, Patrick Heron
and Antoni Tapies. Each of these artists has been a major influence towards my
work, either it being their colour, texture, scale or techniques.
Jackson Pollock
- Knowing, my personal style is working expressively I have wanted to improve, learn and create pieces showing various techniques. To do this, I have taken inspiration from various artists, the first being Jackson Pollock. Over the past few years Pollock has been a major influence in my work, inspiring me to work boldly and confidently, even though at times it has been challenging. His expressive, action-packed paintings have encouraged me to try new techniques such as layering, pouring paint directly onto the canvas and dripping the paint, along with using gestural arm movements, allowing the paint to capture and record my actions. Standing above my work or using my hands to physically apply the media, allows me to become one with my work. ‘Rather than fixing his canvas to an easel, most of his canvases were either set on the floor, or laid against a wall’. Placing a series of canvases on the floor meant I could move around and apply the paint and various mediums freely from all angles. Working and experimenting on several surfaces gave me the freedom to explore different colours and marks at the same time, therefore each canvas began to hold certain successful marks, colours, textures and techniques. The depth and pictorial space created in Pollock’s work created from the energetic, thick, bold colour is something I wanted to play with and explore in my own style. Using techniques similar to Pollock I mix paint in a tub before pouring it straight onto the canvas before using card, wood or sticks to drag the paint across the canvas. Using these tools allows me to spread the paint expressively over the material. There are various directions I then build upon this technique either repeating the same process, layering paint over paint which lets areas of the first layer show through, or I can use a more controlled and restricted technique such as one touch painting. Combining both expressive and controlled techniques is something I have learned over the process of this journey.
Gerhard Richter
- Looking
into physical application of paint, I started to look into Gerhard Richter’s
work, being automatically drawn into looking at his large-scale, colour based,
expressive pieces. Interested in how Richter applies the paint I watched
several short YouTube clips and a DVD captivated by the process. It is also intriguing
looking at the comparison between his accurate figurative work and gestural
canvases. It is fascinating how an artist can switch so easily and successful between two contrasting
styles.
Antoni Tapies
- Antoni Tapies was introduced to me by a tutor where I then started looking through his work and finding his unusual style and mixed media work very interesting. Throughout my project my work has been based on mark making with traditional media such as paints and inks and non-traditional media such as grass, stones, soils and sticks. Looking into how Tapies incorporates media into his own work has been influential and interesting to look at. Although my style and Tapies style are widely different I still appreciated the texture, organic and sometimes dark feelings I felt from his work. I would like to see Tapies work up close so I could really get a feel for the texture involved in his work.
Gillian Ayres
- Coming to the later stages of my project I began to look at artists Gillian Ayres, Patrick Heron and CY Twombly. The first piece of Ayres work I came across was in Liverpool, where I saw ‘Aeolus’ and I was instantly stopped in my tracks. These large scale and expressive canvases are what I love, and something I want to work towards during my remaining two years. ‘’Aeolus, a name shared by three mythical characters, was the ruler of the winds in Greek mythology’’ Wikipedia. (2014). Aeolus. Available: http://en.wikipedia.org/wiki/Aeolus. Last accessed 15th May 2014. This can relate to the gestural, dragging thick application of paint, almost as if a powerful wind has manoeuvred the paint itself. Looking closely I could see where Ayres had dragged thick paint over thick paint, mixing the density and boldness of colour, creating an emotive action and physicality. However, Where I like to keep my paintings un-representational, in Aeolus there are slight indications and hints of identifiable objects such as flowers, hedges and fences. Although Ayres uses incredibly thick and expressive application of paint there is still a sense of control and skill to manipulate the paint, especially noticeable in the indications of objects. To get my paint to a thicker consistency I added PVA, by doing this the paint becomes more dense and the shapes created are more prominent. However, since becoming fascinated with Ayres work it has not only been ‘Aeolus’ which has inspired me. Other paintings such as ‘Maritsa’ and ‘Hestang’ have been a source of influence due to their colour scheme and solid shape. When creating my paintings I would use my hands to drag wet thickened paint over another layer of wet paint, allowing them to blend and react to one another, building up the depth of the canvas.
Patrick Heron
- In contrast to Ayres work I also began to look at Patrick Heron and how he uses controlled marks and shapes along with flat solid colour, to create a dominant, vibrant canvas. One piece of work that particular drew my attention was ‘Azalea Garden’, due to its colour, technique and depth. Looking at this piece I could see how he had used a mixture of cool and warm hues, along with complimentary and analogous colours, to generate a sense of flow, growth and movement, although the marks created are controlled and sophisticated. The build-up of shapes and colour become the main focal points but the use of white paint allows the overall composition to breath and have a sense of ‘’space’’. Referring back to this technique of one touch painting, I began to incorporate it into my own work, using it to build up the pictorial space and depth within my paintings. Using cool and warm colours along with lighter and darker shades, combined with geometric shapes, formed a flow and movement around the canvas, each block shape leading onto another. Contrary, Heron also uses large, block shapes to aid a similar effect of creating depth. The solid shapes placed upon each other and varying tones creates a depth in a more simplistic style. I wanted to incorporate this method in a dissimilar and individual way, which I did by creating a solid outlined shape of colour before filling it in with soil. By doing this I was creating a dominance and boldness but also referring back to my starting point of integrating natural media with inks and paints. Using the soil inside the shape added texture to work alongside the marks I had created with the paint.
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