SKETCHES..Exploratory

• Assembling ideas on A4 papers using pen and coloured pencils.. (this is actually my grouping of different ideas/possibilities before the 3 canvas works.) Here I was searching for different structures of how the canvas paintings might look at in the end...

Exploratory project : an aside experiment.

 Exploring accidental effects.. Rough works (sketch) at different stages...

 

 

 

Reflections:

Unfinished work which shared the same ideas that I worked on for my Making day..

 

 

Exploratory snapshots...

These are the box files that have converted into sculptures. They have been worked out inside out so that the viewer can have different viewpoints while moving around..

 Reflections:
I feel very close to the box files experiment as I feel that this work has a strong narrative element visually and I wanted to share this through some photographs of the work. However, I feel that these photographs give us only a glimpse of the real experience...  

Exploratory Project.



These acrylic works on canvas (3 A1 size) were executed at the end stage of my Exploratory Project for the simple reason that I wanted to get away from the collage technique and see what can happen if I was to use only paint.. I tried to remain faithful to the ideas that I was investigating, however, this time I was working only with one technique. I had worked on smaller formats previously (mostly on A4) with coloured pencils which worked as sketches and these canvas works opened up a new dimension of what can be done if one had sustainable research at hand. these works were executed without much pains and I was very satisfied with the colour effect.

 

 

This was the first painting executed. After completing it, I reflected that it was complementary to the other works and all were making for a whole. I tried uniting it with the box files sculptures that I had worked on previously and they fitted perfectly. I then decided to explore more by working on more canvas. This was a trial and error process and canvases were bought accordingly...

 

THE SECOND AND THIRD WORK EXECUTED..

 

Reflections:

Visually I am quite satisfied with my Exploratory Project as I feel that what my objectives have been met. I wanted an artwork which would question about composition-making and space /display. I wanted to explore about different viewpoints and how the viewer can be fully involved in a journey where one can attracted by one detail or the other at each time. However, the question remains: By adding all the elements together, what I am now calling a finished work, is it really a finished piece?... 

 

 

 

 

 

Mapping The Territory

 

My Map shares the same concerns as that of my Exploratory Project for I believe that it is important to remain truthful to the ideas that I am investigating right now. Here is the finished map.

 

 Different parts of the work...

 

 

 

The Map started with the word "ME" and everything else evolved from around this central issue..

 I started with the idea of doing a real patchwork with basic embroidery techniques.. The word "Me" was done totally by embroidery, however I also came to realise that it would be too labour intensive to continue with this technique so I just continued with paper and collage.. However, the sewing technique was employed here and there as in the process word.. 

 

 

 

 

Other words which were closer to me began to surface itself.. They were about issues and concerns of my immediate thoughts and actions...

 

 

 

Discovering the new ME.. Concerns: colours, mark-making, repetition and rhythm, non-objective, collage(Decollage, construction and deconstruction), layered, abstract, the notion of being in control (rational/irrational), decision-making, little parts that produces multiple experiences to the viewer, all the pieces touch or overlap, everything is connected, no beginning and no end in a clear way...

 

 

 

 

 

For me, process is silent communication with the material at the time of making; discovering forms and structures that are being revealed to give new significance and uncovering new structures of thinking. This whole process is excitedly narrative in the abstract sense.

 

My works are starting to mean more subconsciously; I am interested in levels of meanings/reading and abstraction rightly makes sense. I am actually working on improvisation, reacting in the moment and in response to the immediate environment and emotions, encouraging creative behaviour through spontaneous ideas with little or no preparation. There are evocations that are difficult to articulate or pin down. Rather, they are suggestions as contrast to affirmations which I consider to be like a dead end. The element of mystery is fascinating.

 

 

Collage/Decollage/fragmentation/overlapping.
The notion of Composition Making is being looked at from a new perspective.Decollage, in art, is the opposite of collage; instead of an image being built up of all or parts of existing images, it is created by cutting, tearing away or otherwise removing, pieces of an original image. The French word "décollage" translates into English literally as "take-off" or "to become unglued“ or "to become unstuck".

“What I like is about it is I don’t know what I’m doing. I make things complicated for myself and chaotic, so I feel unsettled, and then the challenge is to make something structured and complete emerge from that.” Jessica Stockholder

 

Relationship 2D/3D: The edge between art and life/real and illusion…Reinventing compositions as composition is everywhere.

I want to experiment with thin and thick, straight and wavy lines dots, etc. I want to create new images from images that I have already explored before. My work is a journey of drawing and collage. I want to see how the images change and fuse into something else.

 

 

 

 

Influences...

 

"I want people to be real with art, to be conscious and present with the object in order to experience it. Sometimes when I am looking at a painting I might space out and start thinking about something entirely unrelated. When the painting wakes me back up I see more of what’s there before me, and it puts me back into the present. This kind of experience is becoming increasingly important to me as these other aspects of virtualization, marketing, and branding explode. Maybe I’m starting to think that artworks need to unfold slowly over time in real space to contest the instantaneous distribution and circulation of images with which we’ve become so familiar.” Rachel Harrison.

Rachel Harrison's perception is strongly appropriate as a definition about what I think about art .. She has deeply influenced me..

 

And the artist MARK BRADFORD...

 

He calls  himself a painter, but he rarely uses paint. Paper is his media.
He works without prepared drawings. He layers papers, then tears away and sands away his surfaces, building up and tearing down. Bradford’s  process is collage/decollage –  it is constructive and also deconstructive.
He says he creates maps of the imagination.

 

 

SARAH SZE.

 

 

 

"In both drawing and sculpture I’m interested in the depiction of gravity and weightlessness as both an operative and a disorienting force. I’m thinking about floating, sinking, rising, drifting, and the resulting fragility, disorientation, and instability."

 

 

 

MY PRESENT ART FORM IS A REFLECTION OF WHAT I AM AS A PERSON. 

 

 

REFLECTIONS:

Constructing this map when I was full on my Exploratory Project was a very interesting experiment. First of all, I was able to order my thoughts as to my primary and even secondary concerns. I could make out my priorities and direct myself towards what I wanted to do and move on to the essentials. I also remarked that being embarked in a full activity, I could not dissociate myself from what I was doing to something different, that is, my map has a lot of common with what I was exploring at that time. I can even have a glimpse of what the future holds for me...