Grey box with weighting |

Materials: acrylic paint with silver pen on canvas.

Reflections: with the piece I left the circle visible throughout the box and then aded the weighting to the box, again it is a very simple 2D image. I am painting all the layers in one go and relying on the composition and change of tones to create space. It isn’t really working. maybe I shall concentrate on using layers literally to create a space.

Grey Box |

Materials used: Acrylic paint and sliver pen on canvas

Reflective thinking: This piece I changed the weighting into the background, I think next time I should have the weighting all over the background and then paint the circle then the box. I think this will create a space within the canvas, like a virtual area, the viewer can enter and follow. I like the simplicity of this piece, when I have previously been building up layers the impact is great but the space I want to create is lost. See image below as an example.



works using paint |


Using the pray paint setting on paint and the paint tin to remove the colour.

Reflective thinking

I was trying to find a way of creating detail in my work but this is not the way to go. I really don’t like this at all. although the function are useful, to be able to remove large sections of colour I think these are something I even agree with the Stuckist is not art. Theres being painterly and then there is this. I shall not be developing this. Maybe real spray paint would bode better for me.

Works using paint |


I used paint on my Toshiba for these pieces. I used the paint tin to full cover the working area and then using the circle drawing tool I drew loads of circles over the top of each other varying the thickness of the line in a composition that I felt mimicked that of raindrops on water makes. Then using the paint tin tool again I would remove the colour from some of the setctions of the enclosed areas to abstract the image. For some of them I used the pixels to measure distances to drawn the lines and then added colour and removed colour appropriately.

reflective thinking

I really like this work. I love the boldness of the colour on a commuter the and exactness of all the functions paint has to offer. I really like how you are able to remove sections of colour and it allows for some interesting composition to be made.I think in the future i could work ingot hess bait more, perhaps paint them by eye ager making them on a computer. I really like how exact the circles are and how you can change the thickness of the line, I also liked how you can make exact spaces though using the pixels of the program. maybe working with illustrator will give me some more things I can work with. I’m eager to get some figurative work in place and perhaps mix these with some images however I want to steer away from collage and cut and paste and i want my work to steer away from general poto-blending arts. I think I shall do some research into vector art and photoshop techniques.

Exhibition set up |

For the last few days I have been setting up my work in preparation of the summer 2015 MA show at Camberwell. This is an opportunity for me to present my creative practice professionally to the other students and visitors of the show.

Initially I wanted to display them in the order they were made, however once I saw the space in camberwell I noticed the wall was not straight and flat. I therefore had to change my plan, I also felt as though the canvases could be used to better fill the space than what was the original order. having decided this I was having difficulty deciding how to hang them, I came up with using hooks to hang each canvas from the one above it to allow for the oddnesses in the wall. However this brought metallic into the display and I felt it made it feel too clinical. Jonathan mentioned using 3mm ply board and attaching the at the back to one another and then using drew hang them on the wall as a large piece attached together. this is what I am doing.

Last night I decided I would not use the hook and to overcome the wonkiness I would make sure the wood i am attaching on the back is in the middle. I was going to make sure the wood covered the whole of the back of the canvases but Jonathan he said it wouldn’t be necessary as they would align themselves with the canvases next to each other giving them support. This is true it does do this, there are however some gaps between the frames because they are not 100% similar. to remedy this I will once I have the gist of the composition I will take them down and add horizontal slats to the back as well as vertical ones. using small screws and a drill I am hanging the canvases so they are flush together. This is because I like the regimented nature to having the canvases framed with no spaces mixed with the randomness uncontrolled nature of the paint.

I have started sticking them together horizontally and vertically. Lionel says keeping them in the grid pattern that I am doing makes them look like ‘pixels’ which is what I wanted. Jonathan says that white space is my friend and that I should try not to fill the area because sometimes it is what isn’t there that matters. He also is very mean on me having some ‘escape’ and having them appear in random places around the room as part of an interactive unwritten unspoken convocation between me, my artwork and the audience. He says this type of thing is possible because I have made 90 odd of these canvases, it wouldn’t of worked with 6 which again is what I wanted.

Yesterday went well. i solved the problem of how to hang the canvases. over the last two days i have had to consider several issues i had not expected while making these and although over the last few months leading up to the setting up of the exhibition i was toying more and more with the idea of having these as almost living things using them as individual units to make something different from the original layout I had decided they were to be displayed as the original. However having now met the wall I think this is the best way to display them and to fully use the space provided well. I decided to use the corner of the space I had to display pixels because we felt it aloud me to create an effect of growing or coming undone. which  think I have done.

I tried using tape to tape each canvas together but the weight of the canvases meant the tape wasn’t strong enough. I was originally going to hang each canvas individually but instead of being regimented ad mathematical using tape measures Jonathan said I should feel the space I have and and do it more by eye. In attaching the canvases together with screws and ply board i have been able to do this and keep the canvases flush next to each other as best I can. monday I shall finish the prototype and mount them onto the wall. I have loosely hung them on the wall with nails to try and find a composition that fits. I am using the basic components of the paintings such as the colour or the direction of the lines to match a random flow between the individual units.

Today I completed most of the hanging for my piece and also hung ‘the abyss of the internet’. i wanted all my work to be intermingled together so that it looked like the pixels piece was moving around the other canvases like people in a crowd. I feel like so far I have achieved this but I will have to wait till tomorrow for the ‘photoshopping’ piece to arrive and hang it in the middle of the wall to see if this is true. I will also need to wait till tomorrow to hang the other half of the corner section as I need to screw these into the wall because the wall is concrete not board like the rest. i really like it has all turned out. the whines of the wall contrasts really well with the blackness of the frames. if I had more time I would make sure they were straighter. some of them are slightly loose and this annoys me. If i was to do it from scratch I could of had this layout in the first place and painted the picture accordingly, however I did not know what the space was going to be like so I had to play it by ear. I really looking forward to completing it tomorrow so I can see what all the elements of my MA look like together.

I like how cheerful it make the space look. I really wanted to against my normal stuff and remove myself from angry depressive art which is so easy for me to slip into. using these colours has meant that my work seems very upbeat and it is great! A-bit cheesy perhaps but they look cheerful. I was going for making something contemporary and upbeat and I think I have accomplished this well. I’m having trouble deciding to sell them together or individually. If I brought them I would have them going all around my house but I don’t think I wanna see them ever again after the exhibition.

On reflection:

On reflection I don’t think I would do this again in the way that I have. I have really enjoyed exploring how to create layers using paint and I feel I have accomplished the detail I wanted to with the techniques I was using. In using block colour and different amounts of paint as i threw it at the canvas an obvious layer transition is apparent which I really like. If I was to do it from scratch I probably wouldn’t of added the green to it! I added the green because originally I wanted the colour scheme to be orange turquoise and beige but as time progressed and the number of canvases increase and a scene of immediacy of the summer show I needed something to cheer me up so I changed the colour! I’m pleased that people will walk in a see cheerful not sick, down and depressed which I can do very easily. The stability of the piece is lacking somewhat as the screws have broken the canvases in some places not at a fault of anything simply because they did and if i was to do it again I would make sure I have firmer boards so the bored didn’t snap as it has done on several occasions and also use maybe smaller screws if I could find some! But with some difficulty I managed to get them all attached and fixed in place safely! If I was to do  it again I would probably arrange it in the original rider but have it so the image was exploded out. The canvases still being able to grow out of the corner but have sections actually being removed and escaping from the main body of canvases. I think this would of been very striking and prevented the easy slip into thinking they look like Tetris pieces which they really do. I have tried to keep a sense of balance though out this whole piece and I feel like I have accomplished this well. If doing it again I might have more planer canvases in the corner section to keep the white more in balance.

I’m at a loss a bit I think because of the scale of this work I think I would find it hard to find a gallery with the space to sell it. because of this I shall do some research into smaller canvases and frames. I really liked creating this work and I think I have found a randomness in the detail and want to make something similar but to realistically sell it I will have to down size. Sitting on the floor of the exhibition space at the moment, watching Sila laboriously pull black thread from a piece of material to connect her trees together with I think the best thing I did was use the grey colour with the yellow pink purple and blue. grey to me has always led instinctively with purple and having the transition has worked well. had it been black I think some subtleness, some connection between the colours and vibrance the yellow and blue have would of been lost as well, black is very overpowering and I think it would of been in this scenario. The canvases with black on them prove this. To look at them is to notice the black and forget about the vibrance of the colours, you simply low they are bright instead of actually considering them as the main area of interest. The black became sharp and overpowering as if it was the black that was the important part of the piece.

If doing this again from scratch I don’t think I would worry about the thickness of the paint, the making of the tic hick layers isolated and took the individual canvases out of context and I think it was unnecessary. In the future I will be this liberal with the paint while actually painting the piece as a whole instead of forcing paint thickness onto it.

I really happy with how much work I have accomplished and been able to show. I have so much work to sort through and analyse and learn from. I am now going to focus on this and continue to reflect on my work on in this blog.

To day I have mounted the final set of canvases onto the concrete wall. I use wall plugs and a drill with screws to hang these, using screws and tape to mark the place in the wall were the screw needed to go. There was a problem with the hight of one of the screws being too low but I used tap as a padding to raise it slightly an now they are inline. The wall also disintegrated for the canvases above the door so I had to change it to two wall plugs and a shorter screw.

I am really happy with how it has turned out. I think changing the direct of the paint as it follows round the corner was the right decision to make I think it helps draw you eye around the room. I also think the wonky canvas in the corner is the right decision because it draws you eye to the hidden canvas near the celling of the room. The best thing I did was use the corner, I know this was the best thing I did because it give the piece regimientedness which is what I wanted, I think it gives the piece an element of a group of things accumulating together.  I know this was the best thing I did because it was what I planned I wanted to do and in overcoming several obstacles I have managed to achieve my goals.

Tomorrow of thursday I shall mount photoshopping and the abyss of the internet on the walls somewhere paint the areas of the wall that are damaged and paint the frames black and clean them up ready for the privet showing.

I have spent the day painting over the scratches on the wall white and the holes in the frames black and generally making the room tidy for the opening. I also have been straightening out some of the frames and hanging ‘photoshopping’ and ‘the abyss of the internet’.

The above images have some explanations of difficulties I have over come and some logic I have used.

Upsizing and reflections of “Envy” |

Reflective thinking


The reason I liked this piece was because I felt it had concept and theoretical substance to it, I felt I had achieved something even if it was finite and wouldn’t change the world through research but simply outlined the complexities of the obviousness’s of ones effect on the outcomes of a mind. Perhaps allowing the sentient of us to consider their actions next time before they act. However I never continued this piece and this was for several reasons. One, I exhibited it in the interim show and was not present so was unable to see any feedback and was unsure as to how it was received. Two, the research paper outlines came out and I got carried away with researching digital technologies, new media, digital art, Stuckism and internet art and my mind developed as such and possibly outgrew this work. Three, fundamentally I have not given up on this piece. I am planning in the future to condense this work and create something that a contemporary art gallery would be please to sell and a contemporary art collector would be please to have and discuss. As I stated above the best thing I did for this piece was use each layer of paint as a metaphor for the creation of synapses in the mind as time passes after an action. This was the best thing I did because not only is it a conscientious attempt to visually represent this concept using paint but also because I think it has a firm hold in the truth and so to consider this work as a message has some holding. I do not however know this was the best thing I did, my choice over my research paper topics required me to converse with the Stuckist and from my research, my discussions with them my readings of there manifesto’s, my viewings of there work, my work would not be taken seriously. Yet my research into the art market indicates that this piece may be the best thing I have done. This piece is low grade due to the low cost of my materials but it is rare and although my placement as a student makes my work voiceless somewhat my ambitions and want to create work that is unique and different and holds frim. I do not know this is the best thing I did which is why I think I was willing to move on from it. I am not forgetting this piece but I am happy to leave it for something I am surer of, something that speaks for itself. This may have been the best thing I did; to move away from evaluation of people issues such as anorexia and self harm in an attempt at personal expression of my A-levels, I like concept art, I think it is great to look at a work of art and not understand it until you are told what it is about, then the whole world comes collapsing in on the one piece of work and from that understanding follows. I have learnt from this and my research art does not necessarily hide what you wanted it to. I have learnt about myself that I like to be expressive and free. When I make art, because of the abstraction of the final thing you can hide behind the piece, I assume the audience does not know what I am talking about.

In the future I shall detach my work for biology, personal expression and my nature and try to create digital art while still painting. My course is fine art digital and this allows me not only to create digital concept art while painting but also Stuckist type art without painting. Both would displease their manifesto. If doing this task again from scratch I would use Photoshop to create this work removing the fetish of the manmade touch while keeping the unobvious meaning behind it. This task has not only made me consider myself not an artists but also my work not art, having done research on what digital art can be, I shall keep to this, using technology as a tool or a medium in the creation of art and make my concepts digitally based. The greatest challenge I found was wanting to continue envy into the seven canvases of the seven deadly sins of different sizes, having done my research I felt that I could create something more topical for my course. In the future to improve on my performance I shall ensure my main aim is to create work with a digital concept and not get swept away with painting and the freedom it gives me. The most boring tedious part of this whole ordeal is agreeing with what the stuckists have to say yet not wanting to be so obvious in what I am wanting to create. I can see the point in not arguing with them because I have nothing to back up my argument, concept art has romance and depth, meaning and freedom and to try to explain this would remove the very disguise itself. In the future I shall consider not using myself as reference for my art.

Untimely this was a rant about how I believe concept art can create a discussion between the audience and the artist that isn’t’ forced. My work will give the person a moment of uniqueness when they notice the piece that is not based on knowledge but on action. They will literally turn around and see a canvas in an area that is out of place.

I do not like how the Stuckist…… they seem to of raped art from romance unless it is figurative and painted. Removing fine artists from personal expression through coagulation and repulsion.

Charles’s rendition of Satcchi and Lawson is no Calvin and Hobbes. Hard headed jaded beings who walk the earth belittling truth yet using it as pies to throw in the faces of the people who they should be understanding and realizing.

Upon reflection |

Apon reflection of see in the space in camberwell I have decided to keep my ideas over how I will display my work loose. Speaking with Jonathan has reminded me of the actual process of what it is to curate over Stalinistacally align each canvas up next to each other one by one. There is no rout that having these in the original form looks and reads in keeping the the original cons pet of what pixels are and how best to make these objects look like pixels however, i can display these in my home as the original, the space in camberwell allows for a more considered approach. I am disappointed, I didn’t consider aligning the canvas up perfectly would be difficult. I don’t mind methodically woking through the area ensuring they are correctly aligned but having them more like objects, I suppose actual functional pixels I can make an image that is more in keeping with how thy have turned out. Ed agrees with this and so do I and probably everybody.

Lecture and Tutorial with Emily Allchurch

Here is a link to the Lecture we had with Emily Allchurch.

Link to lecture        |

She is a digital artists who works with old masterpieces piecing together new digital versions of them out of photographs she has taken. Her work is very painterly even though she uses photography to re-create works such as her latest series Tokyo Story (2011), which pays homage to the Japanese printmaker Utagawa Hiroshige and his last great work One Hundred Famous Views of Edo (1856-58). She also uses drawings from Giovanni Battista Piranesi’s who is a Italian draftsman, printmaker, architect, and art theorist, also called Giambattista Piranesi, using photographs she has taken on her travels to recreate them almost exactly but with modern touches such as servlance cameras.

After the lecture I had a tutorial with her, she gave me some advice.

Here is the link to my WordPress page discussing the issues I wanted to discuss.

Link to WordPress page about the issues I wanted to discuss with Emily Allchurch         |

She came up with ideas such as not framing the canvases, I think I will still frame the canvases because I want to keep to the concept behind my work, “Pixels” using a plane black frame around the canvases/objects makes it look more like pixels than without the frames, framed they look almost like TV screens and I want to keep this as I wanted to create a piece that represented the pixels on a computer out of canvases and paint.

She also gave me some advice on how I should arrange them, she said that perhaps I would mix them up in order and have them dissipate out, varying the spaces between the frames but I don’t think I will do that either because again I want to keep my exhibition of these pieces in the summer show in keeping with my concept of pixels. Pixel are areas of color that form a larger image, if I was to mix the image around the individual units would not be making a larger image and therefore would relate to the concept of pixels as much. I also don’t think I will vary the spaces between the frames because like the make up of the computer image using pixels they are identically spaced.

I have also decided to not complete this work, so that it has areas which do not have any canvases in them and it has formed a weird shape. This is because once they were framed having some missing made the piece look more interesting and as though there was is a clutch on the screen.

The reason I decided to create the overall images as an colorful abstract piece was because having my research proposal on layering and texture using acrylic paint and having spent the terms doing practical research into the best way to maximize these layering techniques I believe this would maximize these qualities most. I am currently planning a piece which is of a duck, I am using colors that don’t fit and I am planning on using sections of paper which are loosely stuck in layers to the canvas to create a surface quality. I am preliminarily painting it in a sketch book but if this goes well I shall enlarge it and make it out of small 15 X15 cm canvases. these will probably be unframed because as it is of an actual image the frame would inter fear with the overall image and having a subject matter and a con set in one piece of work make the analysis of it confusing. The Links between the individual units of the piece I am exhibiting for the MA summer show at Camberwell is vague but they are clear in real life and I like how the joining units grab your attention and it is nice how the frames don’t inter fear with the image too much because there kinda isn’t one.

One thing Emily did say which I found really interesting is how she didn’t want them framed, she said they look very hand made and that the edges look really textural and framing them would detract from this. To remidy this I have framed them without glass as this seems to keep the surface quality of the pieces.

Road of bones – road to Magadan |

"Mask of sorrow" from wiki, 2015

“Mask of sorrow” from wiki, 2015

Stalin order prisoners and political prisoners to build the road of bones, R504 Kolyma Highway which connects Magadan to the town of Nizhny Bestyakh. The Kolyma Highway also known as the road of bones is so called because the skeletons of the forced labourer who dies during its construction create much of its foundations.Using Sevvostlag labour camp workers to build the first part in 1932, construction continued until 1953 using Gulag labour.

The road s considered and treated as a memorial. Russia’s “gold Rush”, different to California’s. in the far east waist land the prospectors were slaves, prisoners which were worked to death in the construction of the road of bone. Once entering Magadan you come face to face with the mask of sorrow a 50 ft state that resembles easter island heads, the monorail over look the city. The giant face constructed by sculptor Ernst Neizvestny, is pocked on one side with lesions that resemble the “lions mask” of leprosy described by the Gulag author Varlan Shalamov. One of its eyes discharges blobby tears. Millions of people died during the construction of this road, the state is littered with the religious symbols of all the people who died.

I really liked this statue. I think it is very moving. It is so strange that the only time it seems all religions come together is when the people are being prosecuted and enslaved.

wikipedia page on the road of bones   |

wikipedia page on the mask of sorrow      |