Sunday, 18 April 2010
GI Festival 2010 Part 1
FINN Collective @ The Glue Factory,
Heather Cook at Ten Til Ten ( Mary Mary Gallery )
Heather Cook at Ten Til Ten ( Mary Mary Gallery )
Saturday, 17 April 2010
Monday, 12 April 2010
Jacqueline cullen: the beauty of the flaw
Hand carved pendant, Whitby jet 24k gold inlay, 18k gold
Jacqueline Cullen is inspired by dramatic acts of nature that fracture our landscape. Whitby jet, a rare prehistoric black fossilized wood, allows the London jewelry artist to explore and celebrate jagged edges, deep fissures and uneven crevices. Cullen hand carves small section of wood lined with 24k gold, “leaving delicate threads of gold running through the finished objects tracing the breaks and joins.” An elegant reminder that there is often profound beauty in the flaw.
"I am inspired by dramatic acts of nature, a placid sky ripped open by a violent storm, a volcano erupting, a cliff edge left jagged from erosion."
Jacqueline Cullen is inspired by dramatic acts of nature that fracture our landscape. Whitby jet, a rare prehistoric black fossilized wood, allows the London jewelry artist to explore and celebrate jagged edges, deep fissures and uneven crevices. Cullen hand carves small section of wood lined with 24k gold, “leaving delicate threads of gold running through the finished objects tracing the breaks and joins.” An elegant reminder that there is often profound beauty in the flaw.
"I am inspired by dramatic acts of nature, a placid sky ripped open by a violent storm, a volcano erupting, a cliff edge left jagged from erosion."
Friday, 9 April 2010
Wednesday, 7 April 2010
Monday, 5 April 2010
Vincent Willem Van Gogh
The Potato Eaters (1885)
After days, if not years, of bewilderment and frustration of not knowing where I was going to take my work and what sort of artist I am and would like to be, a overwhelming sense of inspiration came over me whilst watching a BBC programme on the influential and tragic troubled soul of Vincent Willem Van Gogh on Monday night.
Looking through my blog I have been trying to figure out and show the reader and myself where I am in the work that I research. What is it about all these pieces that I find interesting and in some cases overwhelmingly beautiful. Looking at them and looking at the work I ahve done myself I notice thhat there is a strong definition in the light and the dark. Contrasts between the two are stunning. The human body and its natural coutures create the most stunning of contrasts and shadows.
Taking Van Gogh early work, The Potato Eaters for example; it shows a amazingly subtle flowing lines with in the figures themselves and the shadows that are cast on the faces from the burning oil lamp on the table are soft but also still striking.
I am intrigued by Van Gogh's use of dull colour reflecting the state of the life that the potato pickers must have had and according to the BBC programme, the colour palette he has chosen also reflects the mood of the weather in the Netherlands at this time, where Van Gogh stayed at the time of painting this.
Something that I find intriguing is how Van Gogh started collecting images of the Black & White Newspaper prints of the time. Late 1800's.
He found these to be an integral tool for ".... artist of the this time." presumably for the study of the human form and also the images of the social scenes that obviously influenced him in later life.
Van Gogh drew something every single day. I need to attempt to do this if I am ever to improve my drawing and understanding of the Human figure.
"..warmth and love into the drawings.Drawing is the root of everything."
Jean Francois- Millet inspired Van Gogh greatly.
The Gleaners
1857
Jean Francois Millet (1814-1875 French)
He copied Millet's work over and over again. I have avoided copying peoples work as I have always been told that this was not a good thing. Maybe I should try it rather than just looking at it, it might benefit my work?!
Van Gogh - Sorrow (1883)
I love this wee drawing of Van Gogh's. He has said that it is a reflection of the feeling has inside and believes that he could not draw something that he has not felt himself.
Maybe that is what I am trying to do, do work that reflects how I feel. Is that an obvious statement or a naive thing to say?
A lot of my work has not concentrated on colour but as Van Gogh maybe I should look at colour and how I can create the strong contrast of light and dark through the use of colour. De Lempicka's paintings are also an example of this.
The influence of Japanese art on Van Gogh is interesting as I have also had a slight lean towards it in the past.
I find how there are diagonal and vertical lines that are croped along side the fluidity of the human figure.
I also like the strong colours that are used in Japanese art of the 1800's that clearly influebced Van Gogh's work.
After days, if not years, of bewilderment and frustration of not knowing where I was going to take my work and what sort of artist I am and would like to be, a overwhelming sense of inspiration came over me whilst watching a BBC programme on the influential and tragic troubled soul of Vincent Willem Van Gogh on Monday night.
Looking through my blog I have been trying to figure out and show the reader and myself where I am in the work that I research. What is it about all these pieces that I find interesting and in some cases overwhelmingly beautiful. Looking at them and looking at the work I ahve done myself I notice thhat there is a strong definition in the light and the dark. Contrasts between the two are stunning. The human body and its natural coutures create the most stunning of contrasts and shadows.
Taking Van Gogh early work, The Potato Eaters for example; it shows a amazingly subtle flowing lines with in the figures themselves and the shadows that are cast on the faces from the burning oil lamp on the table are soft but also still striking.
I am intrigued by Van Gogh's use of dull colour reflecting the state of the life that the potato pickers must have had and according to the BBC programme, the colour palette he has chosen also reflects the mood of the weather in the Netherlands at this time, where Van Gogh stayed at the time of painting this.
Something that I find intriguing is how Van Gogh started collecting images of the Black & White Newspaper prints of the time. Late 1800's.
He found these to be an integral tool for ".... artist of the this time." presumably for the study of the human form and also the images of the social scenes that obviously influenced him in later life.
Van Gogh drew something every single day. I need to attempt to do this if I am ever to improve my drawing and understanding of the Human figure.
"..warmth and love into the drawings.Drawing is the root of everything."
Jean Francois- Millet inspired Van Gogh greatly.
The Gleaners
1857
Jean Francois Millet (1814-1875 French)
He copied Millet's work over and over again. I have avoided copying peoples work as I have always been told that this was not a good thing. Maybe I should try it rather than just looking at it, it might benefit my work?!
Van Gogh - Sorrow (1883)
I love this wee drawing of Van Gogh's. He has said that it is a reflection of the feeling has inside and believes that he could not draw something that he has not felt himself.
Maybe that is what I am trying to do, do work that reflects how I feel. Is that an obvious statement or a naive thing to say?
A lot of my work has not concentrated on colour but as Van Gogh maybe I should look at colour and how I can create the strong contrast of light and dark through the use of colour. De Lempicka's paintings are also an example of this.
The influence of Japanese art on Van Gogh is interesting as I have also had a slight lean towards it in the past.
I find how there are diagonal and vertical lines that are croped along side the fluidity of the human figure.
I also like the strong colours that are used in Japanese art of the 1800's that clearly influebced Van Gogh's work.
Saturday, 3 April 2010
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