My parallel project is all about colour, synesthesia and how to translate it into the material. The presence of this phenomenon was a discovery for me, but it explained a lot in my life. Now the question is, what do I want to say with my art? Do you really need to say something? If every artist knew what he was doing, there would be no discovery and development.
Through practice and tests, I realized that it is important to do something emotional for the viewer. And the very process of work and creation is sometimes even more exciting than the result. Because the finished work is like a child who will one day leave you and only memories of the time you have lived together will remain.
I noticed that the shape can greatly interfere with the colour, while the texture will support it.
Sculptural compositions also disseminate the use of colour, and the narrative begins already, not the perception.
A great example for me is Richard Serra, where great material work becomes a statement, carries an independent weight. At the same time, his works are about a person and his experience gained in the process of experiencing an art object.
Speaking about the chosen material, I can say that it was just chance that brought me to paper. I tried to replace it with plastic, or something else, but the feeling goes away and it becomes unpleasant to work with the material. I see the limitless potential of paper. Therefore, I try to form different styles of surface manipulation.
But more often I return to what I once worked out. It is natural to me and some kind of floral. It emphasizes my femininity and gentleness. I think this is a good basis for colour perception. If the texture is repulsive, then how can the colour be perceived. Rothko also did not change the texture of his canvases very much. The main focus is on colour.
(test with wax)
As to equipment, I use all paints, sprays and powders to get the colour I want. There are plans to try cement for outdoor work and gypsum for massiveness. For large surfaces, I have a spray bottle for acrylic paints.
I try not to limit my methods of work and to explore synesthesia and colour without borders. The fact is that working with paper gives that play of light and the complexity of colour ratios that are most closely related to my feelings. Nevertheless, I constantly test, for example, digital colours, ultraviolet or working with projections ...
I try to describe in detail all the subtle issues of the process of creating and making decisions. I record a lot of videos that reflect my experience of the creation process.
I found it difficult to separate the parallel project and the work for the course. Creating something unrelated to the topic of interest does not motivate me. And nevertheless, testing my theme through the proposed tasks was fruitful. Various practices helped me to understand what I was not interested in. For example, using atypical materials like urine or coffee, or discussing mass consumption or feminism.
I've researched many artists, but as a comment from my tutor, I need to pay more attention to unpacking their ideas.
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