Art and conscious mind. This was around the theories and ideologies about the mind – and one’s consciousness – in the body or outside of the body? These had influences on my work in subject – because I was relating my presentation about DAMASIO’s theories – along with the ideas around ghosts and spirits, the non-living person and what happens to the consciousness when a person dies…. this has associations to the paintings – darkness and hauntings.
How did it link in with the field modules?
Furthermore, the constellation and the field module which was ‘art the conscious mind’ related to one another; and gave me wider depth of the subjects. An example of this is that (from constellation), “it was more about understanding God, other than just believing in him” (lecture, 20/10/16). And (from field, art and conscious mind) which led me to think about ‘two-self’s’ (from Damasio) and the theory of ‘extensionism’ and mindfulness, and enquiries on the lines of: “how do we illustrate the non-visual?”…The field module explored issues such as ‘Do I feel more self aware?’ and was a lot about SELF AWARENESS. Similarly, the constellation series questioned the self and the self became more independent during the Mannerist period; people wanted more sense and logic, instead of feelings of just religious faith: The 16th Century used intellect and power. Here, during this period of art and intellectual depth, the artists and professors such as Michelangelo and Rosso Fiorentino may have been experiencing this deeper sense of self-awareness.
At first, I made these surrealist landscapes/abstract paintings, which could be seen as a collection of paint or a sky or unusual, blurred landscape.
These are a few photographs of trying to display the paintings in the right way..
The paintings have been displayed in a sparsed manner, where there is the framed painting in the centre of the wall to bring attention to the wall itself.
Because the landscapes are curved, like Grant Wood’s and Paul Nash’s, I thought that displaying the work like this worked better than uniformly = they would not reflect the landscape paintings so this wall brings out how you have to come closer to the paintings to see what they really are.
The lightness in all of the paintings shown on the wall also relate to the display, the light wall inbetween them.
I loved these paintings from the Slade undergraduate show.
Especially this one on the top right. The dark colours/dark reds in this illusionary landscape, as well as these floating figures in a light, unfinished sky that looks like a person riding a horse, and figures and angels flying through the air. This had direct similarities to my own paintings and drawings; the influences of Renassiance art work my using creatures and figures, the use of light vs. darkness, and this imaginary environment this particular painter has made.
- This painting is a selection of different paintings I have been doing. It is an unfinished piece, but It is debatable to say that the rest of the paintings have an unfinished quality to them.
- I liked the use of borders I was using for 2 of the previous paintings I had done beforehand. It also makes it look antique and perhaps been found in a scroll or old house.
- The borders also make the paintings feel as a narrative to each one and if any of the four paintings here relate or tell stories to one or another. This may reflect the ideas I have around stage sets.
The tree sketch was drawn from the Southerndown Trip last Tuesday.
I had not drawn in a while, so I was interested in sitting down and spending a long time on this tree. I liked this tree because it had dark caves in between the branches. There is mostly, always a tree that stands out in every landscape painting before this sketch, so maybe I was drawn to it because of that.
I left the sketch alone, and wanted to see if I could paint from it.
I thought about installation here and in the future e.g. next year, making stage sets and murals/ which would be the paintings – and other smaller paintings that would be props – like the tree here.
After the Welcome House exhibition, it was time to start painting and working at home/in the house because we left the studios for the year. I felt I could get into the painting more and I did lots of work at home because it was quiet and convenient. However, I would have liked to have worked larger scale, and this would be difficult to carry out at the house – whereas the studios I could work much bigger and messier.
The day after 22nd May, I felt there was a big weight and there was a lot of sad news close to home (considering the Manchester attacks on 22nd May). This made me feel determined and motivated to create art and perhaps more peaceful environments that I was going to paint that specific day; my method of painting changed slightly, it was lighter and less dark – yet still mysterious. The painting I am relating to especially is —— with stoned pillars that could reflect an ancient landscape from the Roman or Greek period. These pillars could suggest the gates to an afterlife: the viewer is standing in the present day, and beyond is the afterlife.