The first term of constellation consisted of looking into paintings and art works by 16th Century artists where they were questioning reality itself.
During these times, (the 16th Century), the church was powerful where God was the authority of everything. The power of the church included politics and social movements. This is important to my dissertation proposal at the moment, because one of the main concepts between ‘Hip-hop and Renaissance art’ are the meaning and functions of the church; hip-hop being related to the church because of ‘the black public sphere’ and here, Renassiance and Mannerist period culture had full control from the church during this period.
My interest in Renaissance painting has developed my interest further by this study; Michaelangelo’s influentional practice for the Mannerist style in the 16th Century, which was a few decades after the Renaissance period. “characteristics such as distortation of proportion and space” such as :Sacred geometry and the 5 different platonic solids was a theory developed from Plato. A platonic solid is a 3D space, the most common of these being the TETRAHEDRON, OCTAHEDRON, HEXAHEDRON and DODECAHEDRON. These certain shapes relate to a specific element, based on it’s vertices. This meant I was able to use this in my own paintings and drawings later on. For example in ‘art and conscious mind’ about ‘meditation’ and mindfulness, to illustrate something that isn’t there – I can start using platonic solids and sacred geometry to visually mark down an emotion. Such as, feelings of anger and sadness.
To explain further,and I enjoyed leanring about Mannerist style art work and the history because I feel that my work always goes back to historical events (church, religion, music, ancient works, mythology, evolution of the body, World War events). Questions such as ‘What is the difference between faith and religion?’ were intriguing to me. I would like to go to Italy – Florence and Rome in the summer months to try and explore this question further. How did the people in Rome/Florence see religion in this very Holy place in Europe (For Christianity and Catholicism)? Therefore, the enquiries that have been brought up in the Mannerist discussions, have led me to think deeper about some things I probably would have dismissed as unimportant in contemporary art work.
During the constellation lectures and seminars, one of the sessions really stood out to me, which was where the class anaylsed ‘St. John the Baptist’ by Leonardo Da Vinci. (Which can be seen on the left). We discussed that St. John was being represented by Da Vinci, of a ‘creepy’ character, and at the same time St. John was being represented as sarcastic or crude and also feminine. This perhaps stood out to me as a lesson due to that my paintings have become of a more ‘darker’ sense; that include feelings of mystery (as Da Vinci proposes here of St. John – dark shadowns and colours, decieving eyes and an un-sure smirk).However, my paintings do not include figures of humans: there is actually a dissapearance of figures in all of the series of paintings I have been painting in the recent months. Nonetheless, the pieces of work here are still mysterious because there is a lack of humans.
Unlike Da Vinci’s St. John painting here, where there is direct contact to the viewer, due to St John’s eyes and finger (and also the viewer is to think: what is he hiding behind his arm and the darkness that he does not want us to see?), my work does not have any direct contact human-to-human. (my paintings below). A viewer may be left to think – where is the human? And perhaps is worried because there is no human contact; the house/buildings that are often secluded on their own in a landscape, who are in the houses? And I have named one of the paintings ‘Murder villages in sweden’.
After discussing and discovering themes of the Mannerist period, there then began teachings about the Art and design movement, arts and crafts movement, the art noveau period and art deco and modernist art work.
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.
To continue…going back to the previous field project before Christmas ‘Space, and public place’ links in with what the constellation sessions were about, because the space I chose for my public art (which was site specific) was in Llandaff cathedral. These two topics intertwine here because they both discuss the images of the church.
In conclusion, there have been many different avenues to my work from the constellation lecture and I plan to carry on my work with deeper self-awareness, and looking back into Renaissance and Mannerist art-work and the periods they were painted – in line with my dissertation proposal.