Exhibition and Audience - Talk by Glen
Look at ‘Trees’ by Anne Shelton, Micheal Parakowhai, Grant Nimmo, Steve Carr
We need deep roots in order to flourish
where do you see things beginning to happen now your works are hung in the space, what is beginning to Flourish?
work can exceed what artists plan and intend where it meets the viewer in a space of display and presentation.
What is the work’s potential in the space of exhibition?
How might the work change/transition/shift/engage with the space of the exhibition/display/presentation and with the viewer?
Peer Group Crit
with Jess, Mike and Michelle - we should ask how can that Artist develop good questions to drive their work forward?
I was asked
Blue 1
What governs your colour choices?
a few composition things to recognise and the abstract background feels more confident.
I could lean into abstraction with the shapes and the figures, trust that the audience will ‘get’ the figure.
I mention the woman artist as a key part of my practice - what does it mean to be a woman artist? Is it a feminist point of view or something that needs further reading? does it need a position?
am I moving away from conscious choices?
note the Colori exhibition Milan 2017
Red/Landscape 1
Could I fill up the painting
could I lean into the abstract energy even more?
Great layered marks and colour, clashing is unrestful
finer lines help to slow the viewer down
Yellow 1
Is the artist using historical references?
lanscapes visible through certain mark making
There seems to be a pictorial space relationship? suggestive of early Mark Rothko? Matt Arbuckle possible past references to look at.
They saw space, shape and object references in painting
Possible Questions to answer during the Assessment with Noel, Meg and Henry
How did I decide on this edit?
I chose the Red landscape 1 as the first work I did for this course, and I feel it has changed a lot during the time I worked on it, as I explored the ideas, I set for myself.
Blue 1 is me developing the idea of a narrative within an abstract style and way of working ie ‘letting things happen’
Yellow 1 is my latest work (2 other wips at the studio complete this particular group about primary colors). I have allowed myself to explore all the things I have learnt so far about the different colors and hues of yellow, the complementary colors and incidental accents that work with it, as well as testing out the edges of the picture plane whilst thinking about similar color field artists I know and works I have stored in my memory.
How do the paintings relate to one another?
They are all explorations of this new way of working and have similar starting points that seem to allow them to become part of a ‘family’ when hung together, as well as the same proportions.
What’s the relationship between the statement and the work?
My statement has been amended since hanging the works, as Imogen Taylor pointed out this morning in her ‘Problems’ Talk she is process driven and wanted to trust in the paint first then research.
I’m a mixture of both these things, as well as abstract and representational - I am happy to follow both ways of working but drawing and collaging more.
How has the work progressed since April
It has become more confident, and I am happier to resolve things with less ‘fussing’ over the paint and bolder gestures or solutions after consideration. I'm trying not to second guess myself as well as only making more confident marks.
What’s next?
By End of August…
I want to do 5 drawings and collages to accompany each (of the 6) paintings. They will be smaller but of the same proportions as 1650 x 1800.
I also will create some small Marquette's and use this information to produce etchings by the end of the year. I also wish to use Lino as a paint support.
I want to use pigment mixed with a synthetic medium (I am researching what this will be), so as to achieve a flow similar to gouache or acrylic.