Apples 1984, Richter

Apples 1984, Gerhard Richter 

As well as exploring other specialisms, I am continuing painting and exploring the vast range of work of Gerhard Richter. His photo-like portraits can be considered abstract due to the clouded, indefinite appearance, however I wanted to explore this further. I used this painting as a starting point to produce quick printing ink sketches to first explore how apples may appear as a subject matter. I find the compositional elements quite striking and the way Richter isolates the subject matter. As this was an element I enjoyed I wanted to explore this further in my studies by making the apples stand out more, for this reason as the studies went on I made the background darker. To create abstract ambiguity I smudged the wet ink with a dry brush which I find highly effective.

Using Plaster

As I was looking at surface qualities in my sketchbook, a tutor suggested I begin to explore surface qualities on a larger scale in a new medium. Plaster was suggested due to the thick texture and variety of surfaces that can be created with the medium. This is again, another new medium to me where I am able to learn new techniques and explore a different format of working. From my experience in working with printing inks I have always enjoyed the thick nature of the medium and have now seen likening attributes in the plaster which I am finding most effective. When working with the plaster I soon began to understand the rate at which I must apply the layers, this encouraged me to think and act quicker; however I feel I have been able to achieve the range of surface qualities I wanted. 

I then wanted to photograph the layering of plaster in various lighting directions to understand the various areas of focus and to examine the folds and shapes the light picks up. To consider the compositional elements, I also chose to rotate the box as I photographed it, this way I can gain a thorough understanding of how I may want to position the box in any future experiments. 

Roller experiment

I used a roller to apply acrylic paint onto a collage and found it to be effective as it leaves a rustic faded effect as the paint gradually fades. Although I enjoyed using the roller I found that working from a seascape did not offer as many variations in tone as working from the close ups of the rocks as shells did; I shall therefore continue to work from the natural objects instead. 

By heavily diluting the printing inks with turpentine I wanted to allow the colours to naturally  merge; by being selective in the areas I cut out I wanted to present the specific areas of interaction. I enjoy the subdued appearance although would prefer to create more of a contrast in tone and surface quality with the next series. 

With this smaller series I used the diffused orange background to display the subtle tone changes. Working in this way, where no paintbrush is used I feel is out of my comfort zone, but the natural qualities revealed from the process allows me to more competently understand the medium, as I observe the interaction and diffusion of tone.    

Simon Fujiwara Exhibition

Whilst in Cornwall I attended a Simon Fujiwara exhibition at Tate St.Ives. Although admittedly I found the work to be hard to first comprehend; upon reflection I feel I gained a lot from the exhibition as it encouraged me to think further about the work to find meaning.
By finding something rather puzzling at first I feel as though this has enabled me to broadened my outlook in my artist research instead of only looking to painters for inspiration.
Simon Fujiwara's work is largely autobiographical installations where he combines fact and fiction. By blurring the line between fact and fiction he could create a misconception in the viewers mind; I believe this is particularly relevant to me as by zooming into photographs to only see colour, the viewer is experiencing a misconception as they do not see the full picture.


http://www.tate.org.uk/whats-on/tate-st-ives/exhibition/simon-fujiwara-1982