Submission; Written work supporting Practical submission.

How I have Grown as an Artist.

IMG_1560

Enamel Paint, Wool and String on canvas. 2017

The works that I have chosen to display, explain my progression while working though the course work of ‘The practice of painting’. The first 3 boards explain my struggle with formalism, the restrictions of the course work and how the exercises are a process of directing the student towards a development of ideas through using a variety of techniques, researching contextual material in the form of a range of media. I was not able to connect with these projects. My flaw was that when I came to start work on the assignment, I started the whole process of developing an idea, I did not move forward with the ideas I had already touched on in practice during the projects. This is an indication of my inability, my stubbornness to conform to the structures of the course work.  I realised a need to be more fluid in developing my own ideas as I became more confident in analysing my creative process.

I wish I had been more self-authoritative, confident and rebellious and followed my own way of developing ideas earlier on, But by obeying and conforming to the coursework, I learnt that this way of working and learning suffocated me. I wish I had used the course work as guidance and not been so controlled by it.

My new tutor (whom was assigned during part 4 of the course) delivered me to the conclusion of using the exercises as a suggestion not a compulsory expectation. I was able to adjust and work autonomously, so I decided to exploit this change of direction within the submission as this a clear indication of the process of growing as an artist. Boards 1, 2 and 3 are very controlled and the colours used are restricted. Boards 4, 5, 6 and 7, explain a direction towards a fluid and colourful expression with combining other materials and a range of techniques researched from a variety of Artists and Sources.

The reason why I have selected these submitted paintings is to visually communicate the different ‘ways of working’. This could be to, relay on the course work to deliver an idea to develop, or take the course work as a helping hand, a starting point, a suggestion towards an idea and taking ownership of exploring a notion of chance. Anni Albers [1899-1994] is to have a major show at the Tate Modern in 2018; she is perhaps the best known textile artist of the 20th century. ‘…a free way of approaching a material seems worth keeping in mind as far as the work of beginners is concerned. Courage is an important factor in any creative effort. It can be most active when knowledge in too early a stage does not narrow the vision’. (Pomery, 2017) Her Husband Josef Albers [a founder of the Bauhaus] was a painting instructor to Robert Rauschenberg while teaching at Black Mountain College in 1948. Albers preliminary courses enforced strict discipline that encouraged students to follow ‘hands-on experimentation’ (Gottesman, 2017). This apparently influenced Robert Rauschenberg and fifteen years later admitted, (Kimmelman, 2008)“I’m still learning what he taught me.” In my final tutors report (Winter, 2017), she suggested that I should question the reasons why I am drawn to certain Artists and question myself so to show control and appropriate justification, even if I don’t know the answer. I question – How unintentional are these interconnecting artists/ sources, which have encouraged my own progression towards combining mediums? Were they intentional, was my viewing censored and was I directed towards linking these sources due to the spectacle available to me at the time?

Bibliography.

Gottesman, S., 2017. How to Be an Artist, According to Josef Albers.. [Online]
Available at: https://www.artsy.net/article/artsy-editorial-artist-josef-albers
[Accessed Friday September 2017].

Kimmelman, M., 2008. Robert Rauschenberg, Titan of American art, dies at 82. New York Times.

Pobric, P., 2017. Show set to let textile artist and printmaker Anni Albers shine. [Online]
Available at: http://theartnewspaper.com/news/shows-set-to-let-textile-artist-and-printmaker-anni-albers-shine/
[Accessed Friday April 2017].

Pomery, V., 2017. Preface. In: K. Wright, ed. Entangled, Threads and Making. Margate: Turner Contemporary, p. 5.

Winter, M., 2017. Tutor report reflection P5,L1,POP. [Online]
Available at: https://wordpress.com/posts/melindawpainting1.wordpress.com
[Accessed Thursday September 2017].

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s