Group Crits

Tuesday 1st November 2016

Group Crit

Amber:

Work about process and the human form.

Surface and material experimentation - grout, acrylic, oil, working on plastic sheets

Audience doesn't see the body. Not all you can see. Have to look deeper into it, not an obvious subject just with a glance.

Have to step back and take it in.

Wants to drape the plastic sheets over things, eg chairs - embracing the human form

Could drape the larger plastic sheet over a bath - blues and greens resemble water

When draped you can't see all of the work, have to move around it

The plastic sheets appear medical, clinical, hygiene. Shower curtain - bringing human into it.

Inspired by artists Cecily Brown and Katy Moran for their texture.

Each chair holds a different dialogue - old fashioned chairs, modern chairs, basic chairs

Carla Black - sculpture - thin suspended material

Amber never uses a paint brush - spatulas, palette knife

Very anti-typical art, trying hard not to be art but it is - on the floor, paint with grout, no brushes, not on canvas etc

Try in exhibition space - gives more space to experiment, test out, find questions and problems

Ellie:

Untraditional, experimental, movement, gestural, surfaces, materials

Pollock, Klein, Ryman - deconstructs formal characters of a painting, surface is important

Experiment on glass/mirror

What you see is what you get - Stella

Richter - blurs original

Brushstrokes and drips - mistakes, Lichtenstein

What is inside and outside of my control? Idea of each work being new and unique and experimental, don't ever know the outcome, but the more work I make the more familiar I become with the techniques. More I do, more control I get. Eg Pollock's drip paintings meant to be out of control but done so many pieces he knows exactly how hard to flick the brush, how much paint to put on etc. Doesn't know what its exactly doing to look like but knows what to do to make it as close as he can get to what he wants.

My work was described as raw. Paused in space - installation

Spontaneity

How do you know when to stop? Can over work a painting - maybe try a time limit, eliminates a bit of control

Raeya:

Like mystery - whats in the box? what does the key unlock?

Black and white - hitchcock film stills

Scenes, still life, not traditional though

Paints small and detailed - wants to try work looser maybe try gloss paint

Use of monochrome gets rid of distractions - try not just black and white but colour monochrome

Paintings are familiar/strange at the same time

f

Printmaking, etching

Pattern and texture

Microscopic

Natural elements - everyday elements - things seen as revolting re imagined as beautiful eg mould

Disgust, when zoomed in is beautiful

Things that are unseen/ go unnoticed in everyday life

Michael Landy - weeds

Sam Taylor Wood - film of mould growing

Vanitas

Virus

Wednesday 7th December 2016

Thematic Crit

Theme: Painting

After discussing the text we highlighted important ideas of time and experimentation. This led us to discuss the relationship between paint and time. It can be a very time consuming process, for someone to take one second to look at and not appreciate. 

'Flow state' when time seems to vanish