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.
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.
RA shows the last year have been huge and outstanding with paintings, sculpture, architectural designs, video, from miniscule to massive works. Especially Russian Revolution art work from Russia that felt like it brought it back: and the building was like walking through history.
I always find that when visiting an show I have never seen, or even heard of the artist’s/looked closely at their work before – there is always a piece, and sometimes several pieces that relate to my work quite directly. – where that may be the method of applying paint, the theme of the work, or the idea behind the work – history of the pieces.
For example, lets take Peter Blume’s ‘Eternal City’ (1937): uses fantasy and ‘hallucinitory elements’ themes; as well as the landscape that is depicted – stand-alone-trees, small houses on the high terrain, mountains and the contrast of colour such as the dark caves at the front. Likewise, I use the same concepts in recent pastoral paintings.
From the America after the Fall- painting show, that I saw last week, it can be considered that the Great Depression ploughed the country back with disbelief
What is interesting about Wood’s paintings is that he always seems to include the snippet of the small, quiet country life. Yet, ‘Midnight ride of Paul revere’, ‘American Gothic’ and ‘Death on the ridge road’ all have a mysterious and uncanny feel to them: like the darkness in Midnight ride; the crucifixion cross portrayed in ‘death on the ridge road’, with the forthcoming tornado in the top right, and the lorry and car we see their near-to-crash. Dystopia was a theme in some painting artists during the great depression, and reflected the economic difficulties and some of the famine and poverty of this period. Country life during these times seemed nostalgic and to some of the city living that had been born there, were fascinated with this way of life being portrayed by other Regionalists who included Grant Wood.
As well as the Regionalists, there were Realists, that depicted city-living, such as Edward Hopper and Reginald Marsh.
Young Corn – From the paintings I have been doing recently – such as the ones that were shown in the house exhibition – Grant Wood’s Young Corn and Fall Plowing can be reflected in them too. Paul Nash’s paintings can also be reflected in these – the rounded shapes of the hills, and the horizon that is often perceived at the top of the canvas.
Paintings that I have been working on relate to scenes of a pastoral nature. Although, they are dark because of the darker tones of greens and browns that are used to outline the houses, land and skies.
The skies that I paint in these medium/large paintings consist normally of heavy cloud, dark blue sky in between a sunset. – Sunset, sets an atmosphere of reflection (reflection of the day – end of daylight), romance (people normally refer to seeing the sunset as romantic), calming and beautiful – especially above a hill or near water/the coast as the sunset is more outstanding and brighter/reflections on the water.
So how does this relate to the uncanny of the theme of ‘murder’ and fantasy?