Stewart Geddes was the tutor I was assigned to for Task Three. Prior to the meeting several days before,I had sent him several links to what I was making.
This meeting was very enriching in the sense that I got first-hand commentary from someone who was looking at my work from another perspective...
Lots of useful hints and comments as what could be changed or added. Steward was very encouraging in his comments and liked my ideas in general.
I also liked his interpretation of myself as being "immersed" when I talked about my emotions in relation to my work.
I discussed my ideas on mark-making and my preferences for some mark-making artists as the Australian aboriginal artist Lena Nyadbi, Alex Alien, Morag Macdonalds and most especially Heike Weber.
I also talked about my painting being close to being meditative and positive and especially personal.
One important idea that came about while discussing things was the fact that I said that this work was like something trying to get out of my system. It's like I just want to work on and on and then I can finally move on to something else. This makes sense. This is why I feel a strong urge to finish it. I also feel like it is important to go on working without stopping. I feel like a flow.
We
discussed about suitable materials as why I was using acrylic and
canvas and Stewart suggested if I could experiment with some other
materials and collage/installation.
We
also talked about my essay and Stewart suggested to research on Henry
Matisse and most importantly Joan Miro, the French Psychoanalyst Jacques
Lacan and the British artist Howard Hodgkin http://www.howard-hodgkin.com/paintings
Stewart gave me several useful artists as references: the Brazilian artist Beatriz Milhaze.
Artist's bio:Beatriz Milhazes’ is well known for her vibrantly colorful, kaleidoscopic collages, prints, paintings and installations which draw on both Latin American and European traditions. Milhazes’ rigorously structured compositions are punctuated by a recurring set of arabesque motifs inspired by Brazilian culture, ceramics, lacework, carnival decoration, music, and Colonial baroque architecture. As Milhazes explains, “I am seeking geometrical structures, but with freedom of form and imagery taken from different worlds.” The artist has also cited opera, classical and Brazilian popular music as having informed the upbeat energy of her stripes, lines, circular forms, and rays. The careful balance of harmony and dissonance in her work, combined with her Technicolor palette, are evident of the strong influence by such 20th century masters as Tarsila do Amaral, Oswald de Andrade, Matisse, Kandinksy and Delaunay. Milhazes has stated “I need to have all these elements and put them together. They are in some sort of a conflict that will never really end up anywhere. There are not peaceful surfaces. There should be some struggle on the surface and then create some activities for your eyes” (Interview with Beatriz Milhazes, RES Art World/World Art, No. 2 May 2008). As the Fondation Cartier further explains, Milhazes’ “use of intensely vibrant colors, such as fuchsia, gold or orange, endows her canvases with an explosive energy that many have compared to the breathtaking rhythm of fireworks.”
The artist Raqib Shaw
http://www.sothebys.com/en/news-video/blogs/all-blogs/on-india/2013/12/raqib-shaw-paradise-lost.html
And finally the Artist Hew Locke
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