On the one hand, I have the feeling that I did nothing during this part of the course, but on the other hand, it turns out that I thought about and worked on a lot of things.
First, I experimented with form and colour. By changing the form, I seem to be starting to talk about something else, and not focus on the theme of colour and its emotional component.
She/Her, 2022, recycled newspapers, cardboard, paints, plaster, spray colours on plywood, 64 x 64 x 42 cm.
In She/Her, for example, the feminine character is strongly emphasized through the association of breasts. In general, the association indicates the physical identification of a person through the form, and the visual game of perceiving the work from different angles (direct view and view from the side) gives rise to additional interpretations. But such work does not resonate with me in the same way as, for example, Alienation of affections.
Alienation of affections, 2022, recycled newspapers, acrylic, plaster on canvas, 128 x 110 x 13 cm.
The colour scheme is similar, but the material and shades have deeper effects. Here is the involvement in the story and the relationship of violet, pink and white, which in my opinion leaves a greater field for independent interpretation and perception. Such work requires the intellectual involvement of the viewer on a sensual level. There is an aftertaste from the perception of the visual image.
Through the red, 2022, recycled newspapers, acrylic, plaster on canvas, 57 x 69 x 9 cm.
in a process
I experimented with the form of the structure. Perhaps this type of "line" can be continued, only I need to control the unity of colour.
There was also an unsuccessful experiment.
Foreign colours, 2022, recycled newspapers, cardboard, acrylic, plaster on plywood, 88 x 88 x 12 cm.
The combination of colours turned out to be discontinuous and not clean. The balance of violet and blue are inharmonious. But since it is no longer possible to lighten the colour of the first paint layer, the work is spoiled. Or I can paint it black. Here, for the first time, I encountered the limitedness of spray cans. But using a spray gun where I could mix the tone and colour myself would require a dedicated work area for spraying. Therefore, I need to look for other ways to create a complex colour in the current conditions.
I tried an old idea with figurative images, but I didn't even understand how the process of work became something completely opposed to the preconceived concept.
in a process
Influenced by the colours of autumn,
I started using similar colours in the current work. And instead of a figurative portrait, I got a small copy of autumn on the wall. Multi-coloured leaves turned into coloured leaves of paper.
Withering, 2022, recycled newspapers, acrylic, plaster on plywood, 95 x 95 x 5 cm.
An intricated play on words and meanings: The tree is shedding leaves while alive. When it dies (or we kill it), wood is obtained, and from it we make paper. Further, the paper received a new life. And this life depicts a copy of the living process of a tree. A bit too narrative but pretty and soothing.
A nutty experience was working with colour in volume. The technical limitation of my studio conducted me, but the result, in my opinion, was successful.
in a process:
Untitled, 2022, recycled wood, newspapers; acrylic, nylon thread, plaster, metal hooks, 240 x 65 x 60 cm.
I can't say that I was thrilled to make these balls. Fixing paper on a round surface is not so easy, and the beauty of the form of these "curls" disappears.
JAN KALÁB | GALERIA MOVIMENTO 26/03/22 Rio de Janeiro FOTO: Rafael Salim [online] At: https://dasartes.com.br/agenda/jan-kalab-galeria-movimento/ (Accessed 01.11.2022)
But I saw similar work by the artist Jan Kalab and I wanted to see what would happen to my technique. My colour if compared with Kalab remains deeper due to these recesses and elevations. The shadows and contrast changes are simply mesmerizing. At one of the exhibitions in my city, I spied on the method of attaching to the ceiling. But in my case, everything turned out to be more complicated - my empty ceiling is just painted cardboard and fixing something there is a great success. I could not technically hang a wider surface, otherwise, I would have made the whole composition not so elongated so that the overall feeling of the colour would be more intense.
Another experiment was inspired by the sculptures of Franz West. I was interested in the colour of his funny form. The artist also works with papier-mâché, so I thought I should explore this approach through repetition.
SOLO SHOW. Franz West - Last Decades 2021CAC Centro de Arte Contemporáneo Málaga [online] At: https://artfacts.net/exhibition/franz-west-last-decades/957587 (Accessed 01.11.2022)
Narrow, 2022, recycled wood, paper, cardboard; paint, screws, glue, plaster, sand, 84 x 80 x 55 cm.
I have got a narrative piece - Some animal in the circus is jumping through the ring. The texture is amazing, I added sand to the paint and applied the colours pasty. Therefore, the combination of textures captures the imagination, but the general feeling of the sculpture is an overload of meaning and mediums. I had a premonition that I needed to remove this ring, but as soon as I realized that it was an animal, an idea appeared which broke everything. Well, nothing happened - it was a study. Now I understand to always listen to my inner voice - it feels better; not to mix everything at once; not to work with a deliberately conceived idea.
Another test was to explore other forms of my material. I wanted to try to repeat this approach of the artist Marianne Huotari. She works with ceramics and there is a detailed and long, monotonous work.
“Ananasakäämä.” Photo by Anna Autio. All images © Marianne Huotari, shared with permission [online] At: https://www.thisiscolossal.com/2022/07/marianne-huotari-ceramic-ryijy/ (Accessed 02.11.2022)
What a good start. I can repeat this work. BUT! It's terribly boring and it kills me to do these little details. Therefore, no.
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How to understand if your art is perceived or has sense?
A Sound Of Thunder, 2021, wood, paper, screws, paint, metal mesh, polyurethane foam, plastic, 49 х 27 х 55 cm.
With the work "Sound of Thunder" I was shortlisted in the sculpture category in the Visual Art Open.
My works have also been published in the book SYNAESTHESIA: CROSS-SENSORY ASPECTS OF COGNITIVE ACTIVITY IN SCIENCE AND ART.
look here: https://psyjournals.ru/nonserialpublications/synaesthesia2021/synaesthesia2021.pdf
And at the Art Market Budapest, no one dared to invest in my art.
And what is all this for? For experts and specialists who are trained in reading contemporary art or for ordinary people who simply enjoy art and want to surround themselves with it.
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