In general this part of the course was extremely long and is a stamina builder! I felt that at times the brief hindered a more creative approach (or was a reason to break the rules?).
In following the brief as closely as possible I was nevertheless able to appreciate different aspects of the landscape/cityscape genre.
I am a huge fan of the works of both Constable and Turner, but have also been enlightened by the works of George Shaw, John Virtue and Robert Birmelin. Corot and Courbet are also artists that I admire – their style is distinctive and their sketching exquisite.
I still have a lot to learn and practice but I hope that in this part of the course I have at least made a good start. I particularly liked drawing in the centre of the town and found some very unappealing views to use as my interesting subjects: abandoned fields/ buildings and crossroads. I like seeing movement and the addition of people in a busy street attracts me. I would like to explore this further in my studies during Part 4.
I have taken the opportunity whenever possible to experiment further with different media and surfaces upon which to draw. During a recent trip to the USA I was able to stock up on materials not readily available in Chile.
During this part of the course I have also read several books on art – notably Margaret Davidsons Contemporary Drawing, Fortuna by William Kentridge and About Looking by John Berger in addition to watching copious art videos on YouTube.
My sketchbooks are fuller than before but I need to develop them further into being part of my workflow – not just pages to fill when I have time – I have found this difficult when following the ‘brief’.
Reflection based on assessment criteria:
Demonstration of technical and visual skills:
I need to sketch more outside and ‘on the go’ as it is something that I enjoy and it has helped me greatly during Part 3 – It is clear that reliance on photos is not a good practice and that you can miss a great deal by not sketching and taking notes on location. My sketches were varied and demonstrate a continued improvement in my visual skills. I demonstrated visual awareness in my sketchbook with different eye-level positions and perspective techniques. My reliance on line was also noticeable and I will continue to improve this aspect of my work. I have had the opportunity to obtain interesting materials and experiment with them during the exercises and final drawings – example: Duralar (similar to mylar) for dry media and Duralar film for wet media.
Quality of outcome:
Whilst I can present my ideas and work in a coherent manner – for example my learning log (blog) – the log needs to be more regular and a part of my workflow identifying influences and thoughts, ideas and sketchbook pages.
During Part 3 I have identified weaknesses in my work and have tried to improve my approach or for instance look for a better more interesting composition. This has I hope been reflected in my final drawings.
Demonstration of creativity:
I have used personal preferencias and perhaps a personal voice in choosing certain locations/subject matter for my work during the exercises in Part 3. I have a preference for more rapid expressive work than use of fine detail, although to date I have been able to demonstate a reasonable ability in both camps.
I have read a great deal during the last three months and studied many Youtube videos – William Kentridge, Kiki Smith, Gerhard Richter, Julie Mehrethu, John Virtue, George Shaw, Robert Birmelin among other contemporary artists. This is starting to feed into my work and I already have a growing library of ideas and thoughts for work in Part 4/5.
The charcoal work on paper/video/bookprint of William Kentridge has already influenced my work – see studies for Stadium/crossroad in Project 5 – also large cloud study on gessoed brown paper.
My study of Margaret Davidsons book has also been inspiring and a fountain of ideas both technical and creative – Example: Robert Birmelin and Agnes Martin.
Other influences and work to use as a reference in Part 4 include Guillermo Wiedemann’s Retrato fondo rojo (Portrait with red background) 1950 – Oil on Cardboard which I saw in Bogota and the coloured pencil drawings of nudes by Fernando Botero – for example Venus, 1932 Coloured pencil on paper.
Finally I am extremely interested in the stadium works of Julie Mehrethu and have linked her work to that of Gerhard Richter’s abstract drawings both of which have interesting representations of space – their use of varied mark making and line to create depth is incredible and may form the basis of my work for Part 5 – perhaps using interior spaces (malls and shopping areas) as a subject matter.