As my Tutor recommended I took one sketch from my sketchbook and worked the idea further out.
My attempt was towards the colour exploration and form. I wanted to combine a parody of digital structures and alive brushstrokes. In this 9 works, I explored the different concepts of colour arrangements, a shape of the lines, a structure of objects, I tried to implement a reverse perspective and I came to the new way of painting - on the UV background. I use a black light because a disappearance of bright colours and exposure of hidden elements bring out the originality of the work. How work should be seen as a colourful or as a digital image? With what type of light original artwork should be seen?
Concept and inspiration.
After experience of Xenos by Akram Khan,
Ultraviolet by Paul Pairet - https://uvbypp.cc/trailer
and Sleep no More by Punchdrunk
I realised that works of art should be presented the same way. The stage presentation will exceed borders and involved all senses of the viewer. A combination with sculpture, paintings, dance, performance, light, smell, taste and music can increase the perception of each work. As people in all historical stages were requesting “Meal'n'Real” so for our time what can be better?
Borders between “lovely” colourful painting and geometrical ultraviolet neon figures are rhetorical borders between the human soul and cold pragmatic calculation. One surface, one light source, one mind which is peering at artwork.
Technical part.
The most successful works I believe is church, “composition’ are the most vivid, 8 figures are very dynamic but the untitled work is a combination of abstract expressionism (a bit in a Kandinsky style) and digital era. When the pigment involves in the sculptural composition - stains of colour tear off the surface and becoming 3D elements.
Stages of work.
All these works were accomplished during two weeks.
1) “Who said there is colour?” The first piece was an expression – fully emotional piece which I repainted (see the post for Nov 20).
2) "No title" The second was more precise – composition, colour combination and shape of a “net” were more under control.
3) “Why Church?” The third work was with an imaginary object. I was thinking about a church and working on colours and feelings of it.
4) “Why Chinese landscape?” Fourth painting was more figurative. Chinese landscape came out of unconscious but the work is done on a canvas so I could not be able to use screws. Yet I had an idea to put nails in the canvas with support underneath in a last moment digital image came to support the Chinese scenery. BaiDu is a searching machine in China.
5) “Why we need a system?” In next work I checked how the composition with a four parts would look like. This work was reworked one.
6) 7) “Why red?” Two small pieces I experimented with size and brightness. Instead of using UV thread, I mixed oil paint with a fluorescent acrylic colour.
8) “Why do you need an organization?” One bigger size work I recreated out of the sketch. Shortly before this practice with geometrical figures, I notice that drawing can be planned with screws on the paper, some fast, expressive figures are more dynamic than the others. Thereby first, 8 geometrical figures appeared on the draft but the colourful abstract background was not connected with this structure of “pyramids”. I decided to keep simple shape but support their forms and create shadows. As a reverse perspective is the most interesting concept for me in terms of reality and purpose of art I put the work in a horizontal position and built a perspective with a vanishing point in the eyes of the viewer. This was a mistake)))) but result suddenly was extremely dynamic and vivid.
9) “Does it help when you let it go?” Out of previous experiences I noticed that oil on top of dry UV acrylic creates a feeling of dimensionality and additional space between layers of colour. That’s why for the last work I prepared the surface in advance. The work was done by oil on a fluorescent background. I also changed painting attitude – didn’t want to settle brush strokes in an organized way, I wanted to be free in expression but still create a kind of connection between screws, thread lines and expressive oil stains. Inspired by Joan Mitchell works I enjoyed working and I did what I love most - the deepness of colour and alive emotion.
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