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Great to see May considering installation and how content informs the form (and vice versa)

Installation of final paintings

The first three images are for expansive painting. I named it “sad and melt” as I feel the sadness when I look at it. The painting was displayed on the wall with a frame which is more like an additional object made for installation. I stick it at the corner of the bathroom because the little corner has a perfect lighting and the lamp is interesting to put together with the painting as well. First, I tried to place it closely but it was better on the other wall. I used a thick cardboard to stick on the painting. As I wanted to make the painting and frame related as one, I drew the leaves. The relationship of three objects to me is that they offer a warm vibe.

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Interesting approach to reductive abstraction and treating painting as an object - great work May!

Installation of final paintings

My idea of reduced painting is a combination of installation and painting itself. I installed it as a cylinder as I thought it reduced the size of the painting. The installation makes the element seems like it is longer. I wanted to hang it on a wall however it could lead to rip the paper. Here, I used a pringles like snack box to wrap the painting and display it on a small table. 

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Great integration of pattern and color! 

For this work, I decided to start out with a gradient of warmer colours. I’d brought down a few objects I had in my room that I could try working with and decided to use an apple cider powder mixture and an unused sanitary pad so that I could play around with texture. I used the keys for the lock I had in my locker to scratch some patterns into the gradient and poured the apple cider on top of the canvas and dragged some red paint to it to see what it would do to the texture - this made it quite grainy. I then decided to use some black paint to draw some spiral patterns onto the canvas and add in some watered-down blue paint into some of the openings to add some contrast. Overall, I think this worked out okay. 

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Alix’ approach to reduction and expansion is closely tied to our current situation and fear of pandemic. It is great to see the work that responds to our surrounding not only in terms of ideas, but also in the selection of materials and techniques. Great work Alix!

Alix Crowe 2020 Socially Distanced Fabric, glue 1.8 m x 1.2 m

Alix Crowe 2020 Have You Washed Your Hands? Acrylic paint on clingfilm 40 cm x 30 cm

In the coronavirus emergency, our perception of the body has changed to one that is abject and somewhat terrifying. It no longer ends with the skin, but spills out into a 1.5 m radius, and leaves behind residues that settle into our atmosphere. 

The reductive painting (pictured first) explores the body as a reduced mass of infected skin. I was inspired by sculptor Lucy Glendinning’s series Skins (2012), and the haunting images of deflated human figures melting away. In my work, the vague imprints of what may be a face, a hand, fade into the rest of the skin, so that all that is left is the vague impression of something that used to be human. By editing out colour, form and texture, the grotesque quality of my painting lies in its ambiguity and minimalism. 

The expansive painting (pictured second) examines the way the body’s residue stains the atmosphere, constantly adding to each other.  My choice in material was inspired by Bart Hess’s work with latex, specifically in his series Liquified (2011). Cling film was an effective alternative to latex that had the added benefit of transparency, so I could layer pieces over top of each other, creating a divergent, immersive experience. 

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Fantastic way of drawing from what we can see in our immediate (domestic for most) surrounding. Great work Claudia!

This reductionist artwork began at home with the assemblage task in week 7. In this task I arranged several chrome objects  on top of each other in different styles before photographing them in monochrome. Originally I was inspired by Sigmar Polke’s 1982 simplistic work titled ‘Desastres und and ere bare Wunder’ consisting of chemically altered film to create metallic monochrome images of the reactions. I then selected the image of a mocha espresso on top of a garbage can from a birds eye view to be my subject matter as it reminded me of the works of Russian artist Kazamir Malevich’s minimalist paintings of shape’s. I then painted the image to focus on the shapes and create a reductionist work based on my photograph.

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Cardboard can be a great surface to paint on (when one’s selection of materials is limited) - also a great contrast between the way Liam resolved reductive and expansive abstraction

Expansive Abstraction / Reductive Abstraction exercises

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Painterly approach to reductive painting

Work in progress

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Great experimentation with materials as a mean of reduction and expansion in painting 

Reductive Abstraction (bed linen, body fluid)                                              Expansive Abstraction (cum rag, doll head, acrylic paint)

Statement:

Both the expansive and reductive abstraction works consider the individual desolation of those who identify as being a part of the global gay community. This desolation critics religious dogma supporting the marginalisation and destruction of the gay community along with broader social/cultural discourses that retain deep-seated homophobia.

@DART1120Jelena

#DART1120

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experimentation (reductive painting)

For my reductive painting, I am drawing a lot of influence from Anna Kristensen’s works where she obscured everyday objects with canvas. I want to do the same sort of thing with my skin/burrito blanket, and drape over body parts to create a very simplified 

To experiment with this idea, I first created a very rough hand form out of some modelling clay. 

At first, I just tried like draping the fabric over top but I thought it obscured the shape too much, and was just like an unrecognisable lump. 

I then tried melting the fabric so that it moulded to the shape better, first with a hair dryer and then a lighter, but that kind of failed. So then I coated the fabric with wood glue- the only glue I have in the house- moulded it to the hand and left it to dry overnight. 

I think there is something really nice about the subtlety of this handprint- its just recognisable, yet could easily be overlooked as just random drapes in the fabric. 

I do think that some of the markings on the fabric are a bit too much, so I am next going to work on white washing them away so it is a lot more reductive. I also want to try a face imprint using the same method as before. 

I must admit- I am such a maximalist kind of person, so I am finding this reducing and editing down approach super hard! I keep having to stop myself from adding heaps of hands and colours and making things really obvious. Hopefully, a subtle hand print and face print on a skin-like fabric draped from the wall is convergent enough.

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expansive painting update

Now that I have created all my layers of clingfilm, I am exploring ways to document the final piece. I am torn between just photographing the end product of layered hands or videoing a performance style piece where layers are added. I think there is something quite nice about watching all the layers being added, and individual handprints dissolving and combining into one abstract, messy skin print. But I also like the ambiguity of the final result. Not sure! 

I am happy with the lighting and set up of this work- I tried it in front of a white background but the detail was difficult to see. It was important for the work to be lit from behind so that the paint- rather than the reflectivity of cling film, was the focus. 

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Reductive painting 

One of my ideas is patterns which is inspired from the installation of the artist Laura Owens. To create it, I used a thread roll moving across the paper. By looking at the result, I wanted to create reductive painting using the minimal effort, less materials, and smaller size of paper. 

I dabbed the water color paint on paper with paper. The process was fun and interesting. From the  second image, I could also see my fingerprints. I changed the background to black next time as I wanted to reduce the bright colors that I am using. However, the black brings out the colors more and clean. I love the incomplete filling of colors which still gives the sense of the shapes.

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Expansive Abstraction / Reductive Abstraction exercises

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Reductive Painting

This is another practice of my idea of reductive painting. I chose the specific area that I want to focus on. From the last practice, I saw triangles, rectangles and circles. Here, I saw the ovals inside. I took the form and proposition which I found it interesting. I made it simple, cleaner look this time. 

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Expansive Painting

Working on expansive painting is a challenge for me. I aimed for abstraction of my assemblage. My initial step was to start with neat shapes. Here, I disformed it with the idea of grotesque. I had a little control in this painting which I should be more free. I love the colors combination here. 

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Explore these online exhibitions: can you see different ways of installing, and creating relationships between the works, and the gallery space? 

You can find links to these exhibitions on our lecture transcript (word doc) in teams

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https://stationgallery.com.au/exhibitions/clare-milledge-2020 

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Visit Clare Milledge’s online exhibition of the work installed in Station, Sydney! >>>>>>>>.>>>>>>>

https://stationgallery.com.au/exhibitions/clare-milledge-2020#4632