5 senses workshops SEE - the eyes are listening...

SEE

We use this sense probably the most and are rapidly becoming conditioned to see in particular ways through exposure to instant culture throughout the media. 

On a more mundane level we all need to see to live a daily life and just noticing details or looking at our surroundings in a different way can be inspiring. 

This week's workshop was about seeing through the eyes of an artist, how and what we see and how we translate that into marks. 

I visited The eyes are listening at Hastings Museum recently and loved the large paintings of Tom Hammick.

In terms of creating artwork I am very interested in the right brain left brain function. After reading Betty Davis' book, Drawing on the right side of the brain, I am sure there are ways of strengthening our use of the right brain thus being able to harness its global skills and lack of critical awareness  allowing creativity to grow. 

So to get students started and to switch off the left brain function we drew an upside down drawing, This is an exercise to copy a drawing by Picasso of Igor Stravinsky. By doing this the brain reads the lines and marks as just that, it no longer recognises them as eyes, arms, a collar etc so the right brain is in control and this allows the student to make a drawing without preconceived knowledge and spacial judgement . The result is a better drawing. Still not necessarily perfectly (if there is ever such a thing) accurate but conveying a more real sense of the original subject. 

           

                 

Time changing greatly affects what we see so students drew from view finders on the windows to record what they could see at different intervals during the workshop - overlaying the images made on tracing paper. 

                

                

I had asked students to bring in white objects to draw so we could just focus on the forms without too much distraction while they made 3 specific drawings, 1st to make a drawing using usual observation, 2nd to make a drawing looking at the subjects and not the paper, trusting the eye and the hand to connect to create an image, 3rd to make a drawing entirely from memory of the subjects, by removing them. 

 

                               

  

I hope doing these drawings in this way highlighted how we store up image in our brain, and when we draw we can either use the images accumulated subconsciously by just living or we can re learn new lines, angles and marks by looking carefully and memorising by repetition these new images. Increasing our own artists resource of our mind. 

Students then continued to draw the white still life using slit shaped view finders. 

                          

   

5 senses workshop SMELL

Smell 

This workshop was a fantastic feast of memories, associations and stories all tumbling out. Identifying moments in our childhood, rights of passage and first perfumes. A rich tapestry of stories of relationships, of when and when perfumes were bought and used ranging from Yves St Laurant, Poison, Chanel no 19 to Jo Malone and the smell of fresh cut grass. 

Miriam was practising losing herself in process and produced some lovely experimental work. 

I tried to keep up with doing some work myself but with so much reminiscing and memories emerging instead we enjoyed a really open and varied discussion including Wolfgang Laib's pollen fields, Anish Kapoor's wax train in the Royal Academy, dead foxes and lemon scented cleaning fluids.... 




Anish Kapoor's Wax train  and Wolfgang Laib's pollen from hazelnut. see the link below to watch his video. 

https://www.youtube.com/watch?v=e-_92MYcANk 

What was really pleasing and motivating was the connections that students were making through articulating their memories and how this was inspiring confidence and the desire to apply these new thoughts and feelings to ongoing work. We all left the morning buzzing about setting new projects in place. I found myself really encouraging students to begin to set themselves their own chosen parameters to work within and to create a body of work following on from these experimental workshops. 



cloves



soap

ash lines

stepping stones

Its hard to articulate why I make work; I do it instinctively - so there's something in the FEEL of doing it. I think while I am preparing the surface, in recent pieces that's painting board,with gesso (or even a step before that, mixing gesso from chalk powder). Then sanding it back looking and feeling for a lead into how the piece is going to progress all the time semi-concious of recent drawing trips and body memory of repeated drawings and movements, I develop a relationship with the surface. 

This also feeds directly into performance/movement drawing - feeling a rhythm and being aware or knowing what will come next by letting the body move only in the moment. Some decisions are concious and these are fed by accumulated knowledge or preference.

I leave a space for interpretation; I make a suggestion - I can't say exactly what the images are as they are an amalgamation of choices and influences throughout the process of building up marks. Influences such as music, mood, location, experience, temperature, a line that repeats, a curve that fits.

So I paint then sand back. The surface and I are now familiar with each other - we have built a relationship. Sometimes the surface dictates a line and I follow its lead, or I make the first move and the surface responds. what follows is the struggle which concerns the image coming forth the desire to control and restrict it. This tension is what makes work sing. 

To manage this dialogue I work on 2 or 3 pieces at a time, allowing unworkable elements to co-exist with more successful ones I like the sense of progression there is always something to move from and onto; like stepping stones I leap across one to the other. 

Jerwood drawing prize

I entered along with over 2000 others for a place alongside 70 in the London show of the longest running drawing prize just daring to hope I might be accepted.

I was!

This is the drawing. 1x1.5m in graphite and charcoal called Longman.

I did have another one of a different section of the same hillside ....but I tore it up in anger. Was that wise I now ask myself?

In the Studio - work in progress.

I have spent a long time living with and looking at this first piece, as often happens it has been influenced by the progress I made with the second piece. The second piece was an outworking of the ideas from the first. Almost like the subconscious as opposed to the former conscious. The construction process is interdependent and has now developed another spur in a third piece. This is perhaps the abstract subconscious !?

The work is evolving from abstract landscape towards self portrait. Retaining identity from within the landscape there is now a new space beyond this where my internal psychological terrain is becoming a visual language. I am represented by shapes and forms and their relationships, colours are significant.

The narrative
Piece 1 Disconnect.
This piece is all about division, separateness, segmented parts of a whole within a context, the context is the land and the incoming tide spreading over the space between. The triangles are blocking, cramming and perhaps suffocating the connection of a wider sense of calm brought in from the larger free moving forms appearing from the right. In order for connection and flow there must be destruction.

Piece 2 Disconnect 2
This piece has a strong naive presence, holding back, repressing or simply containing fragility depending how you look at it. Protected or held back. Bold or vulnerable.

Piece 3
This is simply a self portrait I am not even sure I can articulate why other than to say it's language is visual so words don't seem to work. It's more about getting an abstract sense of me and how I see myself at this point in time. If it helps I identify strongly with the black triangle though I wonder if both the White square and the Black triangle are two aspects of me, their placement is significant the White square moving in from the right.