One to one tutorial with Benet Spenser (Artist)
25 April 2019
Benet Spenser modern interior series painting exhibition “ Collision Drive “ on the walls of Wimbledon college of arts gallery space shows the interior/exterior interaction on the very flat colour application on the three same size canvases.
In his lecture Spencer talks about how his works has taken significant subjects from the architecture theme which firstly indicate and call the viewers attention to the painting process itself.
He talks about the development of his work has taken interiors inspired by urban spaces, airports constructed upon using collages as references.
Painting is a language . and Spencer tries to link this linguistic and architecture around the process of making.
His methods are not so complicated but yet involves multiple layers of paint = flat areas of colours and its endearing to watch how the flatness of the paint sticks to the surface.
I believe when he said that the painting process is so essential that “I discover my images while making the image”. Even while in the process the conceptualization and expression of the painting shifts.
Now focusing on my art practice that is being using lot of interior inspirations and use of patterns and architecture our conversation focused on talking about my two works, one the green room and second the blue cover. Spenser found both the paintings diverse in terms of how it has been painted( plus the process). He said anonymity and ambiguities is felt when he carefully sees the painting. In my work green it is evident that it talks something about domestic spaces. Whereas the blue cover seems unreal, something which is not known but still makes sense to the viewer. I agree to the point that I need to maintain the atmosphere of the painting, to maintain the colour scales, colour schemes which can be achieved by reducing my colour palette to a selected choices of colours although having its various tones. What is also interesting is to see the sense of cultural identity the work is borrowing using geometry with traditional and modern Indian patterns.
Note: maintain a colour making process diary using calculations and percentages of colours used or mixed with each other or just recording the number of colour, tones used in the painting. This also helps to produce the same colours in future. He also suggested me few artists names to look at:
Frank Nishche ( German artist)
Martin Kobe ( German artist)
Francesca Di Matteo (USA)
Toby Zeigler ( UK)
Thomas Scheibitz ( German artist)
Victor Vasarely ( Op art)
Tutorial with Lois Rowe
12 March 2019
How does the features of “ the home” appropriates into non spaces?
This is a valid question that I have been asking to myself while evaluating my work.
Lois spend 5 mins to see my paintings where she mentions about the term non- spaces, It is a term coined by anthropologist Marc Auge in her book “ Non – Places + Super modernity. We discussed the origin of patterns that I have drawn on the canvas from the botanical plants photographs I have collected on my visit to the Kew gardens in December winters. I think the overall atmosphere of the painting “ the green room” brings nostalgia, fantasy world, holiday resorts or the great Indian living rooms of 90’s when people started decorating their guest rooms as the best looking space in the whole house. I am aware of the fact that the paintings speaks about a space which is in between the real and the unreal, Lois also mentions the same. She calls it as an authentic experience as if the place is never been visited in past but she also calls it as an unstructured experience because it is true that the place is isolated from the outside world and the place I have designed in my work has never existed on earth, it is constructed line by line through memory, past experience and imagination.
I like how a space is constructed, this process of making a painting makes me perceive like a designer or an architect besides an artist. I become my own observer and tries to accumulate my own desired space in my mind and then on the surface where I would like to go once.
Artist Suggestion: Amanda Beech
Mandy Jandrell – Blue water
Book “ the controlled space”
In the Tutorial with Geraint on 4 December 2018 , I was experimenting with few mediums like using wood panel, full chalk priming, and different subjects, which I suppose it to be productive at that time - furnishing a particular style to develop body of works throughout. Although I had a very specific query to decide on to get my research and framework into a determined boundary that shall be taken into more precise study on the course. To that I feel narrowing down the topic of research shall result in better understanding and it is normal part of the research process that could be modified further into a defined topic.
Tutorial with Mark Fairnington
16 October 2018
Having a one to one conversation through an informal talk and opportunities to ask questions on studio practice extends to be useful and had provided me guidelines from the beginning of the course. This is my primary way of reflecting and analyzing process of my own body of works. My current practice involved subject matter of modern, conventional spaces interconnected through architecture influence, space identification and talking about ways human interact with build structures. The tutorial man aspect was on asking more questions in understanding of our practice at the beginning of the course . what I really struggling with was work management as often the process of my work demands additional time commitment along processing a good research evaluation. In turn, Mark emphasis on expanding studio practice by working on two works simultaneously. Such exercise may potentially power influences between works.
Further he recommended with similar artists references who are engaged with the subject interiors and architectures like Leipzig Painters from Germany where dozens of home-grown artists are currently riding high in the contemporary scene.one such artists emerged through this school is Susann Kuhn who shows interesting figurative narration in connection between landscape, figures and architecture abstract surrounds truly inspired by German art and history. Other artist recommended is - Julie Mehretu gestural paintings referencing materiality in painting methods that are built up through layers of acrylic paint on canvas overlaid with mark-making using pencil, pen, ink and thick streams of paint using abstracted images of cities, histories, wars and geographies. Also quoting one historic artist Carlo Crivelli ‘The Annunciation, with Saint Emidius’ at National Gallery London I found it as one of the best example because the painting itself is architecturally rich, containing a variety of buildings arranged on either side of a paved street that stretches deep into pictorial space and a wide range of figures populate this street and interact with its buildings. Later, while discussing a crucial question about me following in the direction of painting through a narration of human and figures which I recognized at that point necessary to help articulate and convey my art practice. Then I felt that the figure painting today, goes hand in hand with abstract art, and even few examples showcase the merge of the two approaches into one and many also devoid figures all together in paintings moreover it is seen that The art educational system in this contemporary era allows us to make choices throughout our educational years, and from the very beginning.
Contextual Practice Tutorial
13 November 2018 with Lois Rowe
I Have discovered this tutorial absolute informative with Lois thinking about how writing critically and reflecting upon my studio practice and ongoing research could be constructively developed further. I noticed that she has observed my works very skillfully succeeding, finding them intriguing by pointing to small brush details appearing in the work on close consideration. At this state of point I had structured a pavement by determining key components configuring my works; Complete interest in interpretation of interiors, use of unique and different colour pallete for each painting.
Discussing interiors I am constantly thinking to explore and study how spaces begin to gradually make the environment affect via its ideologies in different ways some harmonizes some alienate then some are aesthetically fine. Similarly associating the concept of Chinese Feng Shui items that people use for creating good quality environment feeling, air and light in homes even in commercial designs too. My paintings had always included intricately elaborated subject matter of patterns alike miniature art of Rajasthan India. Explaining the same how I am inspired by my life encounters with cultural and also to western grounding- to which what Lois noticed but I had not thought to that time about colonialism, looking at relationship of art history the orient and the west shared. She suggested me few books;
Orientalism by Edward Said
Chromophobia by David Bachelor
Interaction of Colour by Josef Albers
Added the important feedback I had been receiving in group critiques and peer conversation of my work evoke the question of reality and desire. I believe these comments helped explicate my work execution, consequently my work underpins between this interesting mysterious and complex state of familiarity and fabrication (invented) scenes.
Continuing same practice