OCA FYW Assignment 3 - Collage

For the collage project I started by playing around with tissue and heavier paper and newspaper print - looking at cut / torn edges , types of glue , tearing once glued etc etc. eventually I decided I wanted a cleaner look and so prepared thinker paper painted with acrylics in various colours as well as some patterned paper from textile magazines. The final products were a series of 3 as follows:-  

The images below show some of the  'building process':-

I then wanted to progress onto collage using oil paints, masking tape, newsprint  and fabric. For this I started with some fairly regular tapeon a board, followed by collage  and then progressed with layers of oil paint both using brush, oil bars and various tools to scratch into the paint. I found this method to be a successful way to build layer upon layer in a controlled manner.

I thoroughly enjoyed this project and am intending to pursue this oil/collage method more. 

OCA FYW Assignment 3 - extended project continued

I finished my work on assignment 2 extended project with the following words:-


"So where am I going with this project? I intend to pursue landscape paintings with a semi abstract feel - getting the feel of a place without being specific about that place. I am going to  try this style in oils and separately in mixed media" 


To start what is my definition of semi abstraction? From the internet:- 


'Of or relating to an art form characterised by stylised but recognisable subject matter'

Masters who achieved what  I am striving for:-

Piet Mondrian :-

And I quote 
"In his work this translates into his initial interest in the quasi random and disorderly quality of nature (the way branches on trees grow, the shape and distribution of clouds), which then changes into his well known paintings that consist of horizontal and vertical lines, the horizontal representing femininity and the worldly, the vertical masculinity and the spiritual. In his neo-plasticism he aimed to create a balance between the horizontal and the vertical, in tune with the laws of the universe, as he saw them, and his theosophical believes!"


Gustav Klimt 

Pine Forest
Gustav Klimt
July 14, 1862 – February 6, 1918


and I quote

"Klimt's forest paintings are done on a square canvas (which suggested a "sense of quiet"), with the tree trunks sharply cut off by the top of the canvas (leaving your imagination to allocate a final height to them). On closer inspection, you'll see that the trees in his later forest paintings are more distinctive or individual than in his earlier paintings. Klimt's passion was the "essence of things behind their mere physical appearance", captured with very fine tonal gradations. Klimt is also known to have used a viewfinder or binoculars to select a part of a landscape to paint"

Nicolas da Stael 

"Nicolas De Staël (1914 – 1955) created works that balanced his concrete perceptions of the outside world with his inner, abstract visions. From the former Soviet Union, De Staël lived in Paris, initially painting still lifes and portraits. His work evolved into abstractions interwoven with realistic elements, created with a palette knife in thick, encrusted blocks of color. A year after De Staël arrived in Paris, he exhibited with artistic legend Wassily Kandinsky. His existence tragically cut short by suicide, De Staël lives on as a profoundly influential post-war European artist"

I took the opportunity of travelling in Ireland to look at painting in the semi abstracted style that I so like. In situ I painted my traditional pochade paintings ( as can be seen in this other section of this assignment) . I also did a lot sketchbook work of which I have scanned some pages below ! 

I sketched everyday for the fortnight - on arriving home I painted the following semi abstract series - none of the paintings is based on a particular place rather on impressions of particular sorts of landscape and terrain ( and incorporate sketches, photos and memories).

I found this whole experience - of getting the feel of a previously unfamiliar place and immersing myself in the colours, textures and changing landscape of the area the lead eventually to a more physical way of painting for the semi abstracted series above. I found myself using on most of the paintings , thicker paint applied using various methods - credit card , palette knife , sticks  and oil bars. The painting became a lot more 'instinctive' and less measured.

FYW Assignment 3 - painting of a single object, landscape or urban scene

I choose to use the opportunity of a trip to Southern Ireland to produce a series of en plein air pochade paintings - these paintings where all done in situ and with the prevailing conditions of that particular day.
These paintings were of landscape entirely new to me and brought a whole new set of challenges - which scenes to paint , where to position myself , the weather, a different palette to my usual Dorset colours, carrying a number of wet panels whilst travelling etc.

One of the lessons I have come away with is that I must write on the board/sketch WHERE I am !

Just to prove I was there !

and the resultant paintings ! 

From Cahermore towards White Ball Head 

                            On the Island of Valencia

                           


From the Point at Baltimore 

Towards Valencia 

Towards Valencia

Ballyskelligs 

Thoughts? I am a fairly experienced pochade/en plein air painter local to where I live but I found trying to be similarly productive in a unfamiliar environment quite challenging. I realise that I am getter not to try and travel too much or too far as the continual 'newness' does not suit me or encourage me to paint the scene. I really felt something seeped into me after the Irish trip and the semi - abstract work just seemed to 'be there' waiting for me to get it on canvas. I am sure this was enabled by the fact that I did not travel around too much but instead concentrated on scenes local to where I was based.