matthewjonesresearch

[matthewjonesresearch]

A playlist of the work I have uploaded to Youtube this last semester.

[matthewjonesresearch]

Pose Ideas - "The Death of Chatterton" by Henry Wallis

2 Several observers have seen the figure’s pose as echoing that of the dead Christ, taken down from the cross, as depicted in Christian Art. Wallis's atheism might not have precluded his using this image as a model for Chatterton. In The Death of Marat, for example, David used it for a non-religious political purpose in order to portray Marat as a martyr for the Revolution. However, nowhere else in his art does Wallis employ conventional religious imagery nor does there appear to be any use of this particular image in Pre-Raphaelite art up to this date.

19.04.20

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"Linelight" 2020

Long Exposure shot took on a Nikon D5500

Photographed on 21.02.20

Edited on 08.06.20

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"Pulse" 2020

Using long exposure to create the light effect within the background

Photographed on 21.02.20

Edited on 08.06.20

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“Balancing Act” (2020)

Life can often feel like a balancing act that many might lose, balancing relationships, work, lesuire, etc.

Photographed on 24.02.20.

Edited on 06.06.20

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“Despair” (2020)

I wanted the images lighting to appear colder so I used a mixture of blue and green to create this lighting effect.

Photographed on 26.02.20

Edited on 06.06.20

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“Shame” (2020)

This is a photograph I created to try and showcase harbouring emotions of shame I fee towards myself. I often judge myself on how I may be perceived by people other than my siblings and close friends and this builds my stress and anxiety levels whenever I’m in a social situation often making me seem quieter or shy.

The red is meant to symbolise darker feelings as red is seen as a “dangerous” colour often seen in colour psychology as caution.

Photographed on 25.02.20

Edited on 05.06.20

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“Anguish” (2020)

A photograph continuing the use of the chair as a metaphor.

Hung upside down creates a sense of uncomfortabilty.

Photographed on 6.02.20

Edited on 05.06.20

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"Solitary" 2020

Blue and alone that what I feel when vviewing this photograph.

Blue in alot of colour psychology is viewed as sadness especially that of dark blue, this colour I chose to phtoograph muy work in.

Photographed on 27.02.20

Edited on 02.06.20

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“Float” (2020)

Using orange lighting I was able to create this image. I found it diffcult to hold the chair up with fishing wire but using a metal frame found within the photography studios (usually used to hold backdrops up) made it a lot easier, and it was able to be a lot sturdier so I was able to hold it in place for the photograph.

Photographed on 27.02.20

Edited on 02.06.20

[matthewjonesresearch]

Some books I borrowed from the Library this year. These were for some background research of the artists as well as inspiration from their artworks and performances.

[matthewjonesresearch]

An idea for the work “Protection”

This is the follow-up to the potential work “Mold” showing two planks of timber representing the instinct for parents to protect their own.

01.06.20

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Idea for an installation titled “Mold”

Based of ideas surrounding my diagnosis and battle with depression. The constant struggle with fighting against yourself to continue on with the day.

30.05.20

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Idea for a work entitled “Matrimony”

Made from two pieces of timber these will then be balancing together to stand up. Highlighting that to make a successful relationship work both parties need to have an equal say.

30.05.20

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Idea for an installation called “Parenting”

Based on varying perceptions within one family, the two longer (“older”) pieces of timber stand high around three smaller (“younger”) pieces of timber lay fallen over the floor.

This is meant to showcase the increase in mental health diagnosis’ and how between different generations these views may be vastly different.

30.05.20

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Judy Chicago's "Rainbow Picket" and other works.

"Rainbow Pickett" (1965/2004) (Bottom Image) is one of several room-sized or nearly room-sized sculptural installations she created for her first solo gallery show, held at the Rolf Nelson Gallery in Los Angeles in January 1966. Gail Levin’s biography of the artist ("Becoming Judy Chicago," Harmony Books, 2007) describes the work as “a series of six volumnar trapezoids of different lengths and colors, made from monochrome-painted canvas stretched over plywood frames. The six trapezoids leaned against a wall at forty-five-degree angles in decreasing order of size.” As noted by Levin, the piece was named for 1960s soul singer Wilson Pickett, but the reference has frequently been lost through misspellings of its name. The original Rainbow Pickett was shown in New York in 1966 as part of the foundational Minimalist exhibition, “Primary Structures,” at the Jewish Museum; the influential critic Clement Greenberg described it then as one of the best works in the exhibition. It was later destroyed by the artist along with other large sculptures because of its storage costs. It was reconstructed in 2004 for LAMOCA’s retrospective exhibition, “A Minimal Future? Art as Object, 1958-1968,” and became the hallmark image for this exhibition.

"Rainbow Picket" was an eye-catching piece that caught my eye and made me take an interest in conceptual-stuyled artwork. This work inspired me to work in similar ways for me using timber to create installation style-sculptures (e.g. How We Fall). I like how it interacts within the space it is exhibited and I want to try and incorporate this into future works.

26.05.20

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Sol Lewitt

In 1974, American artist Sol LeWitt created one of his major works, a seminal piece on the themes of seriality and variation, the series entitled “Variations of Incomplete Open Cubes”. The work is a collection of 122 frame structures presented together with the corresponding diagrams arranged on a matrix. Each sculpture is the projection of a three-dimensional cube with some of the edges removed in a way that the structure stays three-dimensional and the edges stay all connected. The minimum number of edges kept is three and the maximum is eleven. The viewer is able to mentally reconstruct the complete form of the cube from the remaining parts.

Given the rules, the exercise starts from the simple question: “how many variations can be created by systematically subtracting parts from an open cube?” LeWitt took the basic and universal known form of the cube and starts to analyze and disembody it, depriving the work of art of any subjective judgment and artistic researches involving composition or expression in order to make the work respond purely to an idea, following his famous 1967 statement “The idea becomes a machine that makes the art”.

The work was carried out by the artist through a long process which involved different media: at first, the cubes were sketched and labelled alphabetically and numerically. He then made models for each one of them and made sure no configuration was repeated once the structure is rotated, the cubes were then built in painted wood and in aluminium.

I stated last semester about wanting to work more conceptually within my practice, and I feel that researching Sol Lewitt has helped alot with my practice, as I have been able to less with standard portraiture and more with objects and symbolisim

24.05.20