Retrospective Response & Reflection on Assignment 1
Demonstration of technical and visual skills, quality of outcome, demonstration of creativity
You may like to research the work of Terry Frost and Richard Diebenkorn, particularly for their use of colour, composition and work that is both abstract but rooted in figuration.
I can remember looking at these artists’ work in relation to this feedback, and may have made notes in my sketchbook. I need to re-visit them for this purpose.
Sir Terry Frost – As soon as I saw the images, they came alive in my memory again. Beautiful vivid colours and designs. As Terry Frost was one of the Newlyn artists in Cornwall, there is a strong sense of the sea, boats, and dramatic skies. His compositions have movement and action with a lively feel.
Richard Diebenkorn – This was an interesting suggestion as I had been to the 2015 RA Exhibition of his work. I hadn’t immediately thought of him as an influence for printmaking, which is now a strange thing to say, as these are all images, just created in different ways. This made me pull things together rather than compartmentalise according to media. I had enjoyed the exhibition, a little extract of my write up:
“I have to admit, I am true to my roots, in that I particularly loved the representative work, the life drawings, the figures, they all had so much energy, I enjoyed the workings over and over. I thought the still life in interiors were great (maybe because that is where I’m up to in my course – the negative shapes that built the structure and the patterns that weren’t ignored but celebrated as an excuse for more colour). I was drawn to the “Ashtray and Doors” 1962, such a simple, almost throw away subject but it was beautiful and had narrative (no smoking ban in those days!).
In my humble opinion, I came away thinking that Richard Diebenkorn was a master in composition and colour, my example would be “Cityscape #1” 1963. It has pattern, light and shapes that are recognisable yet don’t have to be – it makes sense to me, the flattened perspective works and still somehow manages to represent distance. The seemingly cross over work, abstract-representative-abstract, is accepted by my brain, I’m getting a few steps closer! Looking at those of the Ocean Park series that were displayed, I did struggle, I warm to curves rather than angles and straight lines. However, I was drawn to the Ocean Park #27 painting for some time – there was more to it than geometric shapes, I liked the under painting and reworked lines and shapes – I felt absorbed but am not sure why.”
“You are exploring multiple subject matters in the prints displayed, it will be worth reflecting on what really inspires you to make-work so you can begin to develop your artist identify. Try to push an image further and further with experimentation and possibly into abstraction. If you have access to a photocopier blow and image up 200% and continue to do this with each new image until its completely unrecognisable. It will give you an opportunity to develop something quickly.
You may be interested in the work of Pat Steir and Prunella Clough both for how they develop ideas into work
I started off looking at Pat Steir’s work and added to my Pinterest board of Contemporary Printmakers at the time of my feedback report. I have revisited and found a few videos that touch on her creation process. https://www.revolvy.com/topic/Pat+Steir&stype=videos
The above video is a little long winded an explanation but it explains the balance or partnership between experimentation and process.
Having just looked at the printmaking of Prunella Clough – I think I may have missed researching this artist and printmaker at the time – I have been inspired to continue with my climate change them (Assignment 4). Many of Prunella’s prints make me think of overhead or birdseye views that I may explore, with layers of colour and texture.
I have created a Pinterest board for Contemporary Printmakers.
Learning Logs or Blogs/Critical Essays
“Your log is an excellent example of your organisation. Your process and challenges are clearly charted. You reflect well on artists that have underpinned process. This log could be developed to include greater reflection on your ideas and context of images.”
My Learning Log has been developing with me and I am including more of my thought processes within it, rather than just relying on my sketchbook notes.
“Pointers for the next assignment
- Continue to use your sketchbook as an integral part of your process.
- Continue your log but try to add more reflection on themes and context of subject matter
- Reflect more fully on the wider context of your work and what you are making work about.
- Think about developing your subject matter”
My sketchbook is my “go to” tool for brainstorming, developing, and experimenting with ideas.
As mentioned above, my Learning Log has become not just a record for the processes, outcomes and assignments but I am beginning to build in more reflection on what and why I decide to make my work about. I am bringing “me” into the process.
My subject matter is becoming more personal and therefore I have many routes I could take, if I don’t follow some at a particular time, I can always revisit and push it further.
All in all, I am very happy with this first Tutor Report and have many things to consider for the next part of the course.