Field – subject inspirations from the field projects

Public spaces – understood more about developing a public art work such as making design sheets; displaying and talking doing a presentations- confidence about my work and talking about work; using and developing skills on Photoshop, the use of CAD equipment and making sample models; being considerate about other’s beliefs/the public’s opinion especially in the church; considering architectural issues and designs of the building. The work was site specific so I had to be aware of what the cathedral was and how it linked into what my work was going to be of: for example; what materials would I use and how would this reflect or effect the site itself? This field project therefore made me be more thoughtful about materials I use. As an example –  how does using teared up paper relate to the subject and context of the work. 20161123_175718I was allowed to explore with other materials such as silk and dyes – allowing and exploring the way colours can be layered.

The project has given me some skills on how to use my art outside of the university, and how to transfer my art skills in another environment and for a future career.

The last field project in February was 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.

Ideas around meditation and the mind also were a part of this field module from this certain project, along with unknown forces unknown to the mind – such as aliens and ghosts or demons; such as Madge Gill and Guo Fengi; these ideas can be transported and seen in some Hieronymus Bosch paintings. These outside forces can be seen in some of my paintings; about the after life and the dark, cavey and sparse landscapes that could be hell or heaven-like environments .

Therefore, both of the field projects have seen some influence on my subject paintings and the ideas of them. One of these being from the Cathedral at Llandaff relating to meditation and religious themes, the afterlife and a spiritutal place. Perhaps my paintings relate to a spiritual place.

The second point being that being taken from Art and the concious mind, that related to philosophy and psychology, as well as unknown forces and the mind which we are unaware of.


Exhibiting work at the Welcome House …reflection

20170429_113837Because this was a temporary, fast exhibition, there allowed a sense of it feeling derelict – there links in with my paintings I decided to show.

20170429_113846The decisions behind these paintings were decided on the day. I brought along a selection of paintings, that I was going to display as a set.

The paintings deficit a house, or several buildings that are old buildings. Perhaps with thatch roofs. These houses, and the land painted between them, try and provoke the mysteriousness, fantasy and the dark such as haunted, murderous, scary, fearful. This felt as if the paintings reflected the environment of the house; the house itself was a derelict/unused former hostel so it already had the cold, un-familiar feeling to it.

How does this reflect my ideas in my dissertation?
Satire – Eminem’s music (in which the dissertation was hip hop vs. Renaissance Art) has a lot of dark themes, include topics such as dysfunctional families, gore/horrorcore, death, illness, violence, deformities – however there is an exaggeration here and he uses humour , “what she tripped, fell landed on his dick?” – sarcasm (Guilty Conscious) – e.g. added sounds like burping, high pitched screams, dogs barking (e.g. Kill you, The Real Slim Shady) – also the beat/instrumentals are mid-high pitch as if it could be used in a nursery rhyme. In the videos, for example, let’s take Role Model and White America, he dresses up as the priest (dressing up being fun and playful) and the WA video, uses animation/cartoon to, ironically, talk about major political issues in America after 9/11. This use of satire comes in to my paintings.

Listen to Eminem’s ‘3 a.m.’ taken from Relapse album 2008.


From America after the Fall show:

Image result for a new nightmare peter blume
P. BLUME – Eternal City 


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

Grant Wood paintings, from RA

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Midnight ride of Paul Revere

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.

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Young corn

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.



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Fall plowing


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Death on the ridge road
Image result for grant wood american gothic
American Gothic

Pastoral scenes

  • 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?

America after the fall – RA – 24/05

Celebrating a range of paintings that were made from 30’s to the 40s.

Some of the paintings that stood out to me, and that relate to my paintings and the contexts and ideas from the exhibition are:

  • Reginald Marsh – 20 cent Movie
  • Reginald Marsh – fourteenth street
  • Edward Hopper – New York Movie
  • ” ” – Gas Station
  • Grant Wood – Midnight ride of Paul Revere
  •  GW – Young Corn
  • GW – Fall Plowing
  • GW – Death of the Ridge Road
  • Thomas H. Benton – Hay Stack
  • Joe Jones – American Justice
  • Arthur Dove – Tree Trunks
  • Peter Blume – Eternal City

– The paintings listed above all relate to the historic political and social movements in America during The Great Depression, that influenced the decrease in employment in America, and people of Rural areas migrated to cities… leading to deserted country lands, and even smaller communities in these parts of American land. The new president, who was Roosevelt, made a new plan to help the country gain their economic strength – which did become a success, and the depression ended before the second world War…

Roosevelt made a plan that involved American artists that were to make art to cover public areas and private buildings.

In the next few posts, there will be images of the paintings above and explanations to why they relate to my work and ideas around how to expand my own paintings in the near future…

Gillian Ayres – painter – Cardiff museum exhibition

  • Spacious exhibition, with yellow and orange bean bags. Educational yet fun – the audience are given a backward chronological order of Ayres’s life in her art works.
    By going backwards in time, the person is able to understand the artist’s inspirations and influences of her career.
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  • From the exhibition/show, which continues until early September this year, people can find out her career paths and background history: She studied at Camberwell arts in London, to then graduate and began teaching at universities like Winchester school of Art where she then retired as a teacher in 1981.
  • She has shown a lot of her work in galleries across the world – New York to Norway.
  • “My paintings are about shape and colour, not telling stories” – Gillian Aryes.
  • Aryes talks about her work including ‘The Sublime”
  • Her work can be seen as colourful and bold yet delicate – and because of the abstract aspect to the paintings,
  • She went to live in Wales, much quieter than her former home in London. Her work in Wales were her most successful years of painting. She had more space to continue her large scale paintings – with her and her son that tried to live off their own-grown vegetables and animal live stock. It was a very different life to London and her teaching at the art schools. She felt as if she could finally let go and be an individual, genuine artist – unlike the university and college regulations that restricted her..