maggiecast2001 - Tumblr blog

[maggiecast2001]

Influencing artists for the figural project

Jana Euler, Close Rotation (2019)

Forcing the body within architectural confines

The body as a rigid structure

Fleshy liveliness juxtaposing set shape

Agatha Gothe-Snape, Trying to find comfort in an uncomfortable chair

Absence implying presence

Bodies presented in terms of their surroundings

Anne Wallace

Strong highlights and plasticity of human figures

Cartoonish realism

Artists referenced in feedback

Louise Bourgeois, the curved house

Though made from pink marble, the sculpture appears squishy and flexible like rubber (maybe how I'd imagine my painted room would feel, or how I hoped it would appear if I were to expand on it)

Absence of detail illuminates uneasy quality

Peter booth

My work reminded people of a house on fire. This chaos and destruction insinuated by flame is mirrored here, paired with visible brushstrokes and thick application of paint.

[maggiecast2001]

[maggiecast2001]

my work unpacks my ideas of the mind and body, personifying both as separate entities which which cannot understand one another.

I have chosen the child character to represent the mind; both are curious in nature, both impressionable and incredibly malleable. The body can be percieved as the rooms/ house the child character finds themself within.

I think of a room as something one can feel very connected to, like they know every corner and different element of it. Bodies can be the same; we grow within, and are intrinsically connected to, yet they are complex and often something we cannot fully understand. I have always felt a disconnect with my body, like we are in fact two sepatrate beings, struggling to understand one another. Image issues have caused me to feel like a stranger in my own body, like ive entered a room which feels familiar yet alien all at once.

I often think of my body as a room, like a childhood bedroom or another which we spend a lot of our time in. One can look at a room and see themselves in it: I see a lot of myself in my room, but they are only reflections of ourself, not a part of. We are given rooms to personalise from a young age, often by our parents, and I feel that bodies are the same. The earth gave me a body to personalise, to recognise myself in, but it isn't me.

[maggiecast2001]

Painting Quiz

Colour Theory

additive vs. subtractive colour

additive colour

created by mixing primary colours

begin as black and become white as more red, blue, or green light is added.

has different primaries. 

subtractive colour

created by completely or partially absorbing (or subtracting) some light wavelengths and reflecting others

begins as white

result of mixing paint pigments together.

complimentary colours:

neo-impressionism:

inspired by optical theory

painted using tiny adjacent dabs of primary colour to create the effect of light

instead of mixing colours on the palette

Paint Techniques

zinc vs titanium:

Titanium White is an opaque white

Zinc White is a transparent white

impasto:

heavy-bodied 

free of colour pigmentation 

scumbling:

a painting technique which involves applying a thin layer of paint with a dry brush and a loose hand over an existing layer.

fat over lean:

the principle in oil painting of applying paint with a higher oil to pigment ratio over paint with a lower oil to pigment ratio

ensure a stable paint film

the paint with the higher oil content remains more flexible.

[maggiecast2001]

[maggiecast2001]

Personal painting:

This painting needs a pop of red like my other two, maybe in the cheeks or the clothes or behind the head? I can see that it also needs to be darker in some areas. Maybe I will darken the area around the baby more.

[maggiecast2001]

SEMINAR

Contemporary political art

Sexual equality

Racial equality

Climate change

Capitalism

Sentient rights (of all non human things)

Doris Salcedo, Atrabillarious 1996

Embedded into gallery wall

Pig skin sewn into the wall

Pig bladder creates a screen

Deals with conflicts in Columbia and disappearances of individuals

The seventh continent biennale curated by Nicholas Bourriaud

Named after floating mass of garbage in the ocean

Charles Avery, untitled 2017

Explores climate change and impacts on the planet

Glass blown sea creatures presented in everyday plastic display cases

Eloise Hawser, Feathering 2019

Created from waste

Cilia like structures create a vibration to the kinetic sculpture

Jonathan de Andrade, The Fish 2016

Embrace turned into suffocation

Men holding fish in a sensual way, slowly killing them

Uneasy discussion provoked, controversial

Aesthetic encounter between humans and the provocative slaughter of fish

A hunger for aesthetics, book by Michael Kelly

Gerhard Richter, the Baader-Meinhof paintings 1988

Depicts leaders of the Rote Armee Fraktion

Based on disturbing images from life

Blurring technique— oil paint, running brush across the canvas before the paint dries

Destabilising

Makoto Aida, Dog 2008

Characterises the woman as an object

Dandelions as a symbol of heartiness, Japanese spirit

Deals with amputated limbs

Tomoko kashiki, Dandelion

Juan Davila, the arse end of the world 1994

Homosexuality reference

Australian politics

[maggiecast2001]

Laying colours down-- I went with various skin tones to emphasise the nature of the body as a room. My brushstrokes are still very painterly, I will smooth them out later

Refining colours-- smoothing brushstrokes and laying colours down in the props

Understanding perspective-- Carmen (an apparent expert in perspective) helped me with the layout of the room based on points of perspective. I learnt that a lot of my objects didn't line up with one another/ with the space around them, namely the chest of drawers and desk. I also realised that my door was just floating in space, I completely forgot to line it up with the roof. To fix this, Carmen suggested I should either extend the right wall to become a flat wall or darken that whole side of the wall. I decided to go with the latter and found this to be very successful in enhancing the creepiness and warped nature of the work.

Reading up on perspective

[maggiecast2001]

[maggiecast2001]

This composition shows the house without a roof, looking down at the layout of the rooms. I think it looks good so far, but it might be too structural for my taste. I think it might be too boring but it may be too early to tell

[maggiecast2001]

[maggiecast2001]

In todays class I both worked on one of my paintings, as well as receiving advice from Madeline and Newell:

fragmentation of figure, show only small sections of the figure/ leave up to audience interpretation

have two scenes inside the house and one outside. One mapping the layout and others showing different rooms/ parts of the house

Reference images and initial sketch:

[maggiecast2001]

Jacky Redgate SEMINAR

Photographic and sculptural mediums

Two types of practice related research: practice-based and practice-led.

70/80s were about rejection

Works from family archive and dreams. “The image of a dream is a copy of an idea” Freud.

Window dressing (1981)

What we have lost is our home in this world (1982)

Cast of albatross head

Drawn from a dream of albatrosses falling to the ground

Boat for six weeks crossing the equator

Dealing with memories of emigration and the trauma of the experience

Mother England

Contains images of resistance

Archival photographs

Sentimental film

[maggiecast2001]

[maggiecast2001]

MONDAY SEMINAR

Jana Euler

Fragments the body and the figure

Nude climbing the stairs

Passage

Evades mimetic representation

Allegory of an event

Talking about love in four different languages

Painting as an anthropological concept

The painting itself becomes a body

In it

Forces figure into architectonic formation

Eccentric figuration

Leonardo da Vinci, vitruvian-man

Text is mirrored, must be viewed in a specific way

Ideal figure

Marlene Dumas

Collapses the binary

Collapses the circle in da Vinci’s work

Nalini Malan, In search of vanished blood

Cassandra complex

Deals with female suppression

Juxtaposition of scale

Analytic figuration

Charles Le Brun

Zoomorphic projections

Paula Rego, baying

Communicates the assertive and positive nature of the animal inside people

Forcefull

Dominating

Reversing power relationships typically seen in art

Wangechi Mutu, histology…

Collaged pornography

Subversive use

Grotesque faces

Bites back at those who contribute to voyeristic gaze

Thomas schutte

Confronting

Violent but sensitive

The body folding back on itself

Kerry James Marshal, Dark angel

Confronts racial stereotypes

Text

Jennifer González, fearless speech

Ree Morton, the plant that heals may also poison

Rose Nolan, why do we do the things that we do over and over again?

Russian constructivism

[maggiecast2001]

I want to make something which relates to the interior, psychological world of viewers

I want to present the body as a room which can be visited by the unconscious mind

[maggiecast2001]

MONDAY MORNING

History of the nude

Five genres: the nude, abstraction, portraiture, still life, landscape

Balthus, the guitar lesson 1934

The woman as an object

Girl is held and is aligned with the guitar

Submits audiences gaze to sexual voyerism

Prepubescent adolescent girls as subjects

Violence

Tintoretto, Suzannah and the elders 1555

Gazing at self/ reflection

Myth of the vanity and competition of women

Woman joins the spectators

Passive

Not looking at the viewer

Hairlessness associated with submissiveness/ powerlessness

William Bourguereau, Les Oreades (nymphs of the hills) 1902

A wave of women assembled for the gaze of men

Jenny Saville, Plan 1993

Power in perspective

Figure looks down on the viewer

Body is mapped out by cross contour lines/ plan. Signifies the objectification of the body as subject to plans (weight loss, etc)

Branded 1992 and Propped 1992

Large scale

Thick application of paint

Power

Figures look down on the viewer, the figure has authority

Words engraved on the body, usual descriptors of women

“Embodied materiality” paintings look like scraped palettes

Strategy

Pig like figure

Animal/ wild nature of the body

Lisa Yuskavage, Pie face 2008

Takes typical features of pornography and morphs them into something which is abject

Exploring what is already exploited to confront the viewer

Velasquez, The servant girl at Emmaus (the immaculate conception) 1645

Still life posing the slave as the object

Ivan Albright, into the world there came a soul called Ida 1929-30

Cellulite

Sfumato, earthy realism

Andrea Mantegna, Minerva…

Transformation is reversed, tree is made into a truncated daphne c. 1500-02

Idea of the body as a sculptural form, the body comes from the earth

Hybridity

Milena Dragicevic, supplicant 2006-11

What can painting be?

Painting about a painting

Is there a fundamental condition for painting?

A living medium

Viewers are figures

Medium as a body

Any painted image is a figure

Fontana, spatial concept 1967

Painting as a skin

Can be cut, burned

Gurkovska

Webbing and layering

Allusion to vaginas, lips, eyes

Outer layer is painted plastic

Albert Oehlen, another one 1985

Neo-expressionism

Eye is crying

Nicole eisennman, bloody orifices

Weeping painting

Beer garden with ash

Each figure acts as experimentation with hue and painterly processes

Painting 2.0

Textural painting

Olowska, Mycologist

“Painting as a manifesto”

Works with reflections

Magnus Plessen, Atelier 2007

Minimal

Flat

Almost carved into the surface

Large scale

Linear painting

Stone like

Dana Shultz, face eater

Rearranges face

Features cave in

Frantic action in a restricted space

Jim nutt, sally slips bye bye 1974

Pop

American

Text

Meta pictorial elements

Rythms

Body as an entire living being

Susan bee, miss dynamite 2001

Combines media in a layered, graphic manner

Iconography distinct, but not materially distinct