2017-2018
Summer Art Project
Over the summer we were given the ‘Things that Matter’ Brief. We were asked to develop a personal response to a current event or issue that interests you. The issue had to be current and had to be something you were invested or passionate about. I chose to complete this project on the Notting Hill Carnival. I wanted to convey the colour, joy and character of the people. After much consideration I decided to concentrate mainly on the image below, however incorporating many different colours and vibrancy that can be seen at the carnival. Below is the image and a pencil sketch I completed of it.
From there I moved on to the final piece. I had to think about which colours I would incorporate and where. Below is what I came up with.
This charcoal piece is large scale and is definitely in theme of my old portraits. However I really wanted to portray not only the colour but also the character of the woman, however retaining her anonymity at the same time. If a stranger looked at the portrait the subject would be unrecognisable.
In terms of artist influences for this piece, I looked at Victoria Lomasko, Marina Naprushkina and Richard Mosse. All of these activist artists looking mainly at the subject of people and conveying their energy and message. They look at being overlooked in society, social invisibility, alienation and all of this linked into human relationships in terms of the disassociated observer. This particular part of the disassociated observer definitely interested me when looking at my old work. Images of these artist work can be found under Artist Influences.
Studio Work
This term I again wanted to concentrate on portraiture but I also became intrigued by obsession as well as all the other things that I had looked at in my past work. Over the summer I had time to look into many new art influences. I started looking more at film and in particular the characters that featured in them. I became obsessed with Pulp Fiction and in particular the Character that was played by Uma Therman. I completed a sketch on this. I became obsessed with the intensity of this film though and this brought me onto another Uma Therman film; Kill Bill. Again the power of this film and the style in which it was portrayed gave me the idea of obsession in my work. I also looked at the netflix series, I Love Dick, which I found extremely powerful to watch. There was also an art theme to it in terms of the characters who played in it were different forms of artists. Although, it was the main female lead, played by Kathryn Hahn, that was most interesting to me. Her psyche took on a form, also propelled by obsession, that really looked deep into what this meant to her and how this took control of her artwork. This came across in a number of letters that unfolded her stories and meanings. I completed a sketch of her character.
Other theoretical influences that I became interested this term were:
M. E. Thomas’ Confessions of a Sociopath – This book has hugely influenced my thinking. The insight into the life of a sociopath was fascinating. Although sometimes hard to read the way she explained how she was a sociopath and how this made her act and fit into society was extremely intriguing. This helped me understand obsession from this point of view.
The Mirror Stage by Jacques Lacan is a concept of psychoanalytic theory. It is based on the belief that children recognise themselves in the the mirror (the turning of oneself into an object). In the essay: ‘The Subversion of the subject and the Dialectic of Desire’ Lacan talks about the relation between imaginary/real and body/ego. He describes the process of identification and the ideas surrounding omnipotence and influences. These ideas were very relevant to my work as I was looking into ways of representing the body through psychoanalysis and critical theory.
I also looked at the ideas surrounding Post Humanism. This literally means ‘after humanism’ or ‘beyond humanism’ which means a person or entity that exists in a state beyond being human. The concept addresses questions of ethics and justice, language and trans-species communication, social systems, and the intellectual aspirations of interdisciplinary. It criticises humanity and questions what it means to be human. It aims to redefine social structures.
Furthermore, after researching these theoretical reasoning I completed the sketches below. These sketches took on a starting point as to where my pieces might lead and I realised that I really was totally interested by characters who have a strong will or obsession to something. This is what I wanted to portray in my portraits.
Images of these artist influences can all be seen under Artist Influences.
Over the term I mainly stuck to drawing, however for my summer piece that went up in The Things That Matter Exhibition, also included a painting, which I believe to really add to the drawing.
Here are some of the sketches I complete over the term:
(above: my small scale pulp fiction sketch of Uma Therman’s character, in pencil)
(above: my medium scale I Love Dick sketch of Kathryn Hahn’s character, in pencil)
(above: small scale sketch of a character, in coloured charcoal)
(above: small medium scale sketch of a character, in coloured charcoal)
(above: small scale sketch of my dad, in pencil)
This final sketch is what lead my work to my final piece for The Things That Matter project. This project exhibited in the SPACE gallery in London. I decided to completed two piece of my dad. The decision to do two partly coincided with my concentration of obsession, also the piece felt incomplete with just a drawing on the wall, but finally I also wanted to go back to painting for a short period to see whether or not it was still an interest of mine. So party due to experimentation. I chose the subject of my dad as he is a character I personally know very well and I wanted to also look a the subject of a man as I had not done that in a while. I think it also comes into play that my dad had been asking for a portrait for a while. This definitely explains the positioning of the subject and what I chose to put in it. Here are the portraits:
Smaller details of each side:
Both sides are intended to be each slightly different from one another. This is because the left sid his meant to be showing perhaps side of yourself that you maybe don’t want to see, wheres the other side is intended to be slightly more idealised in style. I think its fair to comment that the portraits comment on the male role in society, even perhaps how I perceive my dad, or think he wants to be perceived. The left I would say maybe comments more on my thoughts, with the right aiming to please my dad. In the end when my dad saw them together at the exhibition he liked the two together, but less so separately. This reaction confirmed what I though as well. However there was a play on reality as this is the image I used to draw and paint this portraits below:
As you can see I have even altered the original image. Therefore, each shot is never the same. I think this plays into obsession due to me wanting to look at the same subject, but in different ways. I believe it also makes the viewer look at his character in two different ways but also drawing similarities from the two at the same time. This definitely came across when listening to people’s views of my pieces when at the exhibition.
Formative Artist Statement (solely based on the work completed in the Autumn Term):
Continuing from last year I again decided that I would focus on portraiture due to my on-going intrigue of the subject. I wanted to mainly focus on the drawing side of portraiture, however without totally ruling out painting. I found that I could control the outcome more of what I wanted, with drawing, over what I could achieve with paint. The aim was still to exude the figures personality through their stoicism, anonymity and isolation but this term I also wanted to look more into the theory of obsession.
I wanted to maintain the creepy atmosphere about the figures with similar focus on the concentration of the eyes. However, perhaps less so compared to portraits in the past. Although still believing that the soul is in a person’s eye, I didn’t enlarge them as much. However, they still emanated that similar haunting aura, similar to that of all my past portraits. I wanted to look more into many different sizes of portraits though, but still concentrating on the large-scale summary pieces. In my portraits I wish to achieve the representation of mistrust, self-reflection and emotive reactions. This type of work interested me further due to the discoveries you find out about people’s inner psyches. This is my intention for the pieces, whilst also evoking different and provocative reactions from the viewer.
Previously, I have aimed for the audience to see themselves in my pieces due to the anonymity, and I still wanted to retain this quality to a certain extent. However, I wanted to have more direction in my work in terms of influences and what I wanted to portray to the audience. I wanted to show who I am as an artist and what my work is about more. I also have concentrated on my sister, Isobel, as my main subject in the past but decided to broaden my horizons in that aspect. I have looked at certain film references that I have become obsessed with over the summer as well as other artistry.
The pieces I have completed over the course of this term have I believe have had a more direct sense of purpose, however with room to improve and grow upon my ideas. I based the drawings and painting upon old influences, but also new. I began to look at film influences that I personally have become obsessed with, due to a certain aesthetic or character profile that intrigued me. These influences involve the film Pulp Fiction, Netflix series; I Love Dick, Notting Hill Carnival and M. E Thomas’ book Confessions of a Sociopath, amongst others. Although very different, these all of depict some form of obsession or portrayal of compulsion towards something. In terms of artist influences some of the people that I looked at include the obsessive work of Yayoi Kusama and Cj Hendry, and the bold stature of Ron’s Mueck work.
My aims in my work helped me conclude that I still wanted to concentrate mainly on the human form, but whilst again seeking the conceptual idea behind the solitary being. I again concentrated on similar materials whilst capturing the immaculate and smooth, but harsh, effect on the figures. Overall, the theoretical and physical influences have further drawn together and defined my art.
2016-2017
Summer Art Project
Over the summer I began on my project by looking at the ten artists that were given to us. These were Joelle Tuerlinckx, Hito Steyerl, Jon Rafman, Thea Djordjadze, Goshka Macuga, Sharon Hayes, Ellen Gallagher, Kerry James Marshall, Rosemary Trockel and Heather Phillips. I completed pages of research on each artist as a starting point:
After the research and much deliberation I decided on Kerry James Marshall. I began by walking around the streets of London and photographing random people in the street. The idea was to catch them off guard in their natural day to day habitat, from angles that they wouldn’t notice. Here are some of the pictures taken of this day:
I then completed rough sketches from the images taken:
This made me concerned with how I would like to make my main piece on the project. I decided much like Kerry James Marshall does, I would create a painting. I was interested in the way he focuses mainly on the people and how they fit into the spaces around them, in his works. My thought process is shown below:
I then completed the sketch I had in mind on the canvas. I wanted to do it large scale to have an more heightened effect on the viewer. I came up with the receptionist desk idea by chance when watching a music video and spotted a still that really intrigued me when looking at people in spaces. Here is the still:
The authenticity but yet modernity of the colours and symmetry of the still caught my attention. I began looking at images of different reception desks and taking small influences from them to create my own version as shown below:
This large scale painting depicts a woman leaning languidly against a reception desk. When simply looking at the background, everything seems to fit nicely together. The colours, I chose, were specifically to collaborate with one another in a uncomplicated manner. This meant that the viewers eye was not drawn to the background, but instead, the woman who is meant to be there, however something seems out of place about her. The clue for this is the red bra seemingly hidden under the generic black t-shirt. Moreover, her fiery red hair and lipstick emphasise her quirky side which is further shown by the fact she is smoking when in the top left there is a ‘No Smoking Area’ sign. Her professional habitat and job is contradicted by these subtle hints are rebellion. The piece can therefore be seen as looking into this character and recognising her different personality, or more generally as the concept of rule breaking. Overall, I channelled what Kerry James Marshall does by looking at this woman in her space and how she adapts to this reception desk.
Studio Work
I began my studio work by completing brainstorming where I would like to take my artist practice. I have always been hugely influenced by painting and I really felt this was the right route to take in studio. I began looking at different painters and found myself far more intrigued by portraitists and the depiction of the inner psyche of the human being. My main influences that inspired me can be viewed under Artist Influences. I therefore decided I would begin with experimenting with random sketches of figures. Imitating certain styles and painting in my own way in order to decipher where I might like to develop my artwork to. Below are those pieces:
(above: a collection of charcoal life drawing pieces and ink paintings experimenting with the basics and intimate details of the human form)
(above:oil painting based around a self portrait of myself. Experimentation in style was my aim for this piece and to capture the essence of my character)
(above: A piece based on Ellen De Meijer, whose work can be seen in Artist Influences)
(above: piece refining my style.
My work depicts a human girl in a dark background being held back by a hand emerging from the blackness. Her expression is stoic and she is rendered unfased to the other person physically pulling her back. The work is a painting completed approximately in life size scale. It is done in acrylic and oil paint. The painting is slightly stylised but whilst retaining a realistic depiction of the human form.
Originally I knew that I wanted to concentrate on portraiture for this piece. I took a few pictures looking at different poses that I could look at. In conclusion I decided that I would have the girl in the foreground, leaning slightly forwards. Therefore, the piece would be concentrating on the finer details of her image, but still in this stylised manner.
The aim in the piece was to convey two things. One, a depiction of the human form and second the social constraints related to the hand pulling her back. The main idea was the main figure to represent the general person in society. The hand being the depiction of the things in life that hold you back. The viewer is, therefore, encouraged to look within themselves to project their own personal constraint onto the piece. This is further emphasised by the anonymity of the piece.)
Artist Statement
Originally I knew that I wanted to concentrate on portraiture. In my works I became intrigued by oil and acrylic paintings of human beings situated in certain places. The portraits aim to exude their personality but also a sense of sereneness to the figures. Their eyes are somewhat enlarged and are rendered unfased, thus creating a haunting atmosphere. The figures are usually centred on the canvas or, if not, they are drawn attention to in some manner or form.
In my pieces I seek for the audience to look at the figure and see themselves in it. Therefore the figures are very anonymous looking and have no obvious individual features to them other than the large eyes. I believe the soul is in a person’s eye, so that is perhaps why I unwittingly, but deliberately, enlarge them. I further aim to portray the mistrust in human being and how this isolates them, even from themselves, sometimes. The pieces therefore become self-reflective and emotionally reactive for the viewer. This is due to them being encouraged to project their life into the anonymous portraiture.
This type of work interests me due to the discoveries you may find out about others and their reaction to the piece. This would hopefully be my intention for the piece, whilst perhaps also bringing a feeling of solace to the viewer.
The pieces I have completed over this recent term have varied in style from the start. However, after considering artist influences such as Ellen De Meijer, Caravaggio, Christian Schad, Rene Magritte and, of course, my own personal style preferences this refined my thinking for my artworks.
The aim in my art is to convey two things. One, a depiction of the human form and second the conceptual idea behind it. After looking at these artist influences I knew where I wanted to go with my own artist practice. I decided I much preferred a smoother, idealised style. I believe this bring out the childlike quality of even the adults. This directly relates to the innocence of childhood, which greatly influences my works. The contrast between portraying this immaculate natured being and the harshness of current affairs and the difficult parts of life is what I would describe as my main aim in my work
This all can be seen in my paintings and drawings over the studio year. In the earlier sketches I concentrated on the two parts of human form and concept separately. As I moved on though I combined the two and this is also what I will channel into my final large canvas I will complete. Much like in my summer work the concentration of the figures in a space will be a large focal point. Overall, the theoretical and physical influences I have drawn together have really defined what my art has become.
Winter Art Project
For our winter art project we were told:
‘You have been paired up with another student in Part Two. Each pair are invited to look at each other’s blog over the Christmas break and make a work in response to the other student’s work. The aim is that you look at their work, artist influences, process etc and make an interpretation of their ideas and their artwork using any media you want. Your work should be an imaginative re-interpretation of your fellow students work and ideas. Reflect on how the other student worked’
I was paired with Ecen Sinay. Her blog is: https://ecemsinay.wordpress.com
Initially this was tricky to begin with as it was clear our work was very different in the sense of material and the subject matter we looked at. However, there were some links in the mutual intrigue in people as a subject matter and the focus on their character and the story behind them. I picked out ideas of hers and artist influences that interested me:
Ecem’s Ideas:
‘I wanted to intensify a mundane moment to show how the feeling of a space or objects shifts with emotions or simply being present. I filmed my flatmates watching TV in our daily life and projected the videos on to our white coffee table with objects on it. The coffee table, being in the centre of our common space, brought the whole piece together and I was able to recreate a representation of a mundane moment I allowed the viewers to witness, making them the voyeurs. I intended to create an experience of being in my house without necessarily inviting the viewers into it’
Above are images of her work where there is a projection onto an object that the projection image is centred around. The projection is a video of the mundane things that happen or commence around this mundane object that they are projected onto.
When mentioning having a soundtrack over the projection for supporting her installation, she brings up:
Ecem also brought up other but these two particularly spoke to me as they showed a particular story and I believed would have heightened the emotional side of the piece more. This is what I wanted to evoke in my piece as well as bringing out a certain comical side.
Ideas for development:
- Consumerism – like a never-ending cycle
- Soundtrack changes mood
- Merging stories
- Heighten mundane objects (mundane video of oxford high street. Huge amount of people and huge amount of shops. People get lost in the crowd. People become like the other. No one stand out – mundane. Put it against the most incredible sales pitch from Mad men which includes both consumerism and memories)
- Add background to the mundane characters on oxford street
- People become more interesting as you wonder what makes their nostalgia. Value is heightened due to a certain time and space. All connected by emotions and nostalgia
- Everyday moment become a lot more than it is simply due to the soundrack changing the mood.
I decided that I would stick to the medium of video and the concept of the mundane and consumerism. I went to Westfield shopping centre in Shepherd Bush in London as this is an extremely busy shopping place, especially at christmas, which is when this was filmed. My idea behind this is that so many people have come to this one place to get lost amongst many other people. The anonymity of each person, when filming them all together as a whole, is emphasises in my filming. However I decided to play a Mad Men soundtrack over it in order to bring out each persons individual story and the reasons as to why they might be there. This Mad Men clip is one of my favourite scenes in TV ever as when you loose yourself in the words they really stick with you and whatever mundane things you may see, seem to come alive. This constant I found extremely intriguing. This is the Mad men scene:
Summer Mail Art Project
Mail art originated from the Fluxus movement. It is all about a network of artists, composers and designers creating art to send to each other through mail. I wanted to create a mail art piece based on this. Therefore, when the envelope is opened there is a network made of string pulled together. It is entwined around the word ‘found’. This hints at the many artists grouping together and finding themselves and each others art, through this network. In contrast the outside of the envelope portrays the word ‘lost’ in data. This is meant to show the difference of galleries being disconnected, like dots, from this network. I kept the design monochrome and simple so as the point of the piece, came across firmly.
Propaganda Print art
This piece is about the general idea of promoting the idea of the word ‘no’ in society and in our culture today. It is a simplified poster in which we can clearly see the word no in bright cobalt blue and with a stop hand.
Art Manifesto
Description of a work the does not yet exist
When you look at this artwork visualise oil on canvas painting. It depicts the combination of the concepts humans and time. The two morph together in the idea of time linking with man. Look at the style of ideals of human form. For example Leonardo Da Vinci’s The Vitruvian Man and Michelangelo’s Creation of Adam and David. Therefore time envelops the human, becomes it and controls it. The only real limit on a human is time itself. We become a time bomb. The artwork itself takes time. The whole piece in effect becomes a clock. Colour of the piece is earthy tones hinting at the core of what the art is about. Natural colours, such as blue, green and yellow can also be used in moderation. Renaissance in style with influence from surrealism; mainly Dali. This is a large piece where the human figure is about three-quarters of life-size. This piece combines a physical object with the metaphorical theme of time.
Text based artwork
I completed my piece on my own description above. You can view the images of relevant art work under the artist influences tab.
Sketches completed for piece
1) Fast torso sketch 2) Copy of arm: Michelangelo’s Creation of Adam 3)detailed torso sketch
Text based artwork statement
My piece explores the relationship between time and mankind. The basis of the piece is the idea that the only real constraint on a human is time. It concentrates on a surrealist style, mainly influenced by artists such as Salvador Dali, Renee Magritte and Remedios Varo. However, the surrealist domination of the piece is also leveraged by sixteenth century art. For example, Michelangelo’s David and The Creation of Adam had a huge impact, particularly in the musculature. Moreover, Leonardo da Vinci’s The Vitruvius Man embodied the main composition and gesture of the man. The outstretched arms and frontal pose highlight this. The implication of this date back to the ‘ideal’ of what a man should be. This is clearly influenced by religion and painting in the Renaissance period. However, few artists at this time concentrated on concepts such as time. Therefore, I looked at Varo’s Creation of the Birds. This very much took a place in my work, shown by the heart on the exterior of the torso. It is enclosed within a portal, which links back to old clockwork doors. Furthermore, the background is depicted as a void that encloses the subject. There are roman numerals in a circular shape, which again hints at clock and also ancient Rome. This is similar to Magritte’s piece Human Condition. The idea was to make the piece isolating, such that the viewer is captivated by the fragility of man and the control time has on our body and heart.
Emma Gibbs 