rosieyatesart

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install of all utopias

The install 

The final instal of my works in Bowland Annexe studios. I am throughly pleased at the combination of different elements within my work. My larger pieces focuses more so on industrial and weathered material, with a sense of creating a continuos space. The trio of collages hint at a more utopian universe, where architecute and abstract shapes become a hybrid new form.  Each line compliments yet contrasts the other- the colours both muted and bright hint at a different world. I chose to use exposed wooden boards for my larger piece as an industrial aesthetic choice, the boards are weathered and tough in contrast to the clena lines of my composition. The wood used to create an ongoing shape that creeps up the wall likens itself to the concrete type pattern i have created using graphite- this piece is stationary in physical form yet the lines and patterns give it an almost movement.

These works are a culmination of my thoughts regarding a utopia, and how this can be achieved through aesthetic decisions within collages. I am heavily inspired by architecture, and this goes hand in hand with the abstract nature of my pieces. Drawings by architect Ludwig Mies van der Rohe emphasied the importance of a linear space with clear cut line use and tactical spacing. I particularly feel that my work gives a sense of an ongoing space, or a space that has its own utopia beyond the paper- (Do ho Suh’s importance of the ongoing space has been descibed in my write up of his passages exhibition)

This idea of a utopic sense has been what i have tried ot achoeve throughout my work, its been a way to make sense of my aesthetic choices and how abstract and representational features (of architecture), when combined create their own hybrid. 

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Utopia 3

thoughts on utopia 3

This series of collages makes up my trio, utopia 3. I have kept with the theme of orange and blue to hint at the brutalist architecure era, and have kept shapes and composition geometric and simple, I still wanted there to be abstract elements to them but with aspect of clear architectual inspiration. Using diffrent grades of pencil i have varied my line use, thinking back at my initial drawings done from the buildings I had observed, this creates a balance but also detailed element to the pieces.

i chose to display these with magnets as the metal silver as mentioned previously adds to the industrial feel of ym work, the idea that they have been constructed in some way.

This trio of collages aim to subtly hint at the hybrid of abstract shapes and layering, with architecture to create a new sense of structural aesthetics- all using a simple techinque fo collaging. i have enjoyed making ymwork more 3d in some of my other pieces however i feel that card is the perfect material for these, it gives a flat finish and allows the textures and colours to thrive, rather than the addition of other materials.

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Utopia 2

The construction, composition and thought process during installing

thoughts on utopia 2

This piece is a culmination of thought processes and materail choices, with it being more of a situational piece to fit the space and surroundings I was working with. For this piece I wanted to be more ambitious with my composition, and focus heavily on layering up these forms of shape, line and colour to create something new, as Vicotor Pasmore descibes in his work as the ‘modern space’. My colour choice is in contrast to my other series of ‘utopian’ collages chosen for the show and exhibition. The muted tones in this I feel allow for the added material of wood and give a sense of a new world, rather than reflecting an era that has already passed. For this piece I have focused on bringing the work off the page, the space leads itself off the board and on to the wall, both an aesthetic and conscious choice. The wood pallets that I have used also mirrored by technique if using graphite to create an architectural surface, both compliment each other. I plan for this to be my largest piece, a piece that hints at another world, a world beyond brutalism and utopia, that continues in to other spaces.

It is this idea of brutalist architecture that has solidified my ideas this term, more so than artists works it is the artistic presence of these buildings. They have given me direction in patterns, shapes and textures that I have used in my compositions, to further the purpose of my pieces.

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Utopia 1

Utopia 1

This was the piece I made for the Peter Scott Gallery. Colours again reflecting the 60′s era and stark composition likening itself to the striking structures of brutalist buildings. The theme of utopia still holds a strong link within my work, the balance of colour, texture and composition is what gives it it’s utopian tendencies, the structural shapes fomed are very abstract but do show a representation of architecture. i chose to display this piece in the peter scott gallery using bulldog clips and pins, reiiterating the ‘consturcted’ aspect of my work, and metal as an industrial materail within brutalist architecture.

‘We must design and build the modern city in accordance with a new plan: it must be like a gigantic shipyard full of noise and movement and the modern house must be like an immense machine.... The house of concrete, iron and glass must rear up on the edge of the street, a tumultous abyss, without sculptured or painted ornament, beautiful with the sole beauty of its lines and its forms, and for the rest stark in its technical simplicity, and as big as necessary requires.’ - Antonia Sant’Elia, La Cita nuova, 1914 (Aesthetics of contmeporary architecure Michel Ragon

This quote resonated with me as an important aspect of my own work. The beauty of line and form is critical in producing a utopian influenced piece- and its ‘technical simplicity’ lends itself to the simple shapes and layering that I use.

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Composition and colour importance

composition and colour importance

Brutalist architecture has not only inspired by choice of patterns and structures, but also colour consideration has been influenced by this. The era of britalist architecture falls between the 1950′s- 70′s, the era of retro! Blue and orange are the perfect contrast colours, and imitate this 60′s era of colour and contrast. The graphite mixed with these colours adds an architectural element to the collage- this complimentary outcome i want to pursue further within my collages.

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the construction process

The construction process

Beginning to think about how I can not only make my work more architecural in itslef, but how i can bring the collage off the paper and use other materails. Previously i have worked with board and felt like this materail brought out the effect and reasoning of my work. Used wooden board (scavenged from an old wardrobe) I feel adds authenticity to the industrail influence of architecture in my work. The board gives a background to the composition and a surface in which the raw materail itself reflects the subject.

My process always begins with composition, considering shapes, textures and colours- these elements must work in harmony in order for there to be a sense of utopia. Here I wanted to consider how my can leave the page and become three dimensional. 

Heavily inspired by the work of both victor pasmore and zaha hadid whom i researched last term, their ideas regarding space and architecture have helped me to characterise my work. Pasmore works in a three dimensional and geometric fashion, the ay in which i have included extra pieces in this compostion. Hadid’s incredible work as an architect cannot go unnoticed, her consideration of form, shape line and structure is something that i aspire towards.

However what continually resonated with me is Do Ho Suh’s creation of an ongoing space in his Passage piece. I saw this piece last term and it instantly stuck with me, the idea of creating a piece with physical presence yet a hint at a continuos space that moves on. This is what I consider when choosing my aesthetic properties of colour, shape, line and form- how can i create a space that shows a harmony of elemnets but suggests a new space?

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A brutalist utopia?

A brutalist utopia?

Thinking about my previous drawing studies and observations of brutalist architecture I wanted to explore this in my particluar interest of collage. Inspired by the muted concrete colours of this particular type of architecture I have chosen colours to reflect this, and created the concrete surface texture using a graphite surface. This combination of colour against the graphite aims to imitate how brutalist architecture can infact be its own utopia.

I endeavor to always create a sense of ongoing space within my compositions, the effect of shapes leaving the surface adds to this impression. (particularly influenced by Zaha hadid’s architectural drawings)

linear aesthetic choices are something that i intend to be a main focus of my work, lines that work in harmony all cumlinate together the idea of a  utopia, a utopia achieved by aesthetic choices.

My creative process when developing these collages does not have an end point, its all a process of trial and error- the composition may work or it may simply not.

ARTIST FOCUS

https://www.moma.org/artists/7166

LUDWIG MIES VAN DER ROHE

This unfinished and little-published rendering of the interior, however, reveals another attitude, more sensual than objective. To the right of the column whose outlines are sketched in the center of the drawing, Mies carefully renders the view from the main space through a glass wall into the courtyard, with its reflecting pool and a sculpture of a reclining figure. Rather than making the glass look fully transparent, he gives the dark green Tinian marble different shadings behind the wall and to the left and right of it, approximating the visual effect of the screen of gray glass. Even the reflection of the sculpture in the pool is studiously considered.https://www.moma.org/collection/works/87528?locale=en

Tugendhat House, Brno, Czech Republic (Section)1928-1930

Artist and architect Ludwig Mies Van der Rohe’s work has particularly resoanted with me due to his ability to capture so perfectly his carefully calculated structures. His drawings hold a strong presence of harmony and balance (features of a utopia that i explore in my own collage) He has an ability to manipulate space using drawing in a sense that gives he drawing movement, as if it was coming to life almost. his strong bauhaus style of work plays likeness to the brutalist architecture that i have been inspired by, a focus on line shape anf form- simplicity. The colours in his final drawing seem to match my previous muted coloured collages looking at strucutres and architecture, the way light hits the building in the rawing can be represented physically through colour blocking and shape moving in my collages.

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brutalist architecture

These are the images I have sourced from a collection of books (Marcel Breuer: new buildings and projects 1960-1970, and work in retrospect 1921-1960, by Tician Papachristou and The aesthetics of contemporary architecture. (Translated by Haakon Chevalier.)

My interest in these pieces doesnt stem from them being buildings but from the interesting shapes and textures that make up their structures and compositions. Themes of geometric variations and bold block shapes are at the forefront of these structures. Elaborate staircases liken themselves to my own composotion of an ‘on going space’ as previously considered alongside the work of artist Do Ho Suh. 

The textures of the physical harsh concrete material is also something I have considered in my own work and compositions, mirroring concrete with tones of graphite and block shapes with blocks of coloured card.

In contrary to opinion of brutalist architecture i personally think they consider a utopian environment, especially in aesthetic senses that have perhaps gone overlooked. Themes of symmetry, precision and linear harmony relfect within the block patterened walls, and monotone use of concrete. I want to progress this further more within my own collage work, and perhaps consider colours and materials that could reflect a ‘brutalist utopia’?

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brutalist drawings

A set of drawings done using inspirations of shapes, textures and forms from brutalist architecture ( using images from Marcel Breuer: new buildings and projects 1960-1970, and work in retrospect 1921-1960, by Tician Papachristou and The aesthetics of contemporary architecture. (Translated by Haakon Chevalier.)

These books intriduced me to the idea of brutalist architecture. This was something I was not previously aware of but the comparisons to this and my own work seem to lay hand in hand- the forms, the structure, the textures are almost mirrored in my work. However brutalist architcture itself was a product of 1950′s-1970′s public bulidings- related to ideas of dystopia in contrast to my  interest of a utopia.

This is i think where the interesting aspect of this combination lies, by introducing colour and almost movement in my work it stems further and further away from the brutalist dystopia to form an aesthetic almost modern brutalist utopia.

https://www.theguardian.com/artanddesign/2016/sep/28/grey-pride-brutalist-architecture-back-in-style

‘The result was that brutalism, in the public mind, became the architecture of a forgotten underclass: windswept plazas, crumbling concrete, ugly dystopian soullessness. Far from being something to aspire to, it was something to escape from.’

These line drawings look at geometric shapes, and abstract compostions derived from brutalist architecture.

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utopia compositions- TERM 3

These pieces were the beginning of a new set of ideas and approaches towards my thinking surrounding utopian architecture. I am thoroughly interested in using the term ‘utopia’ in a more aesthetic sense, creating, manipilating and progressing these utopian worlds on paper. These pieces approach utopia using my fist used pastel colours, i like the muted complementary aspect this gives the pieces, and by adding graphite as an almost ‘concrete’ texture this adds an element of contrast. the shapes and forms used remind me of an architectural period called ‘brutalist architecture’- looking at the forms and shapes from this era i am finding more and more simialrities within my work.

(these works have been donated to the kicktarter so i no longer have in physical form)

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thoughts for progression

Upon reflection of my work I want to delve deeper in to creating new ‘spaces’ within the compositions of my collaged pieces. The use of drawing enables me to create detailed intricate areas, with colour playing less of an important role. By adding small elements of relief sculptute to my work, and expanding the materails further than just paper it has given my work a different feel- perhaps more architectural in themselves. 

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making a utopia

In my most developed piece of work I decided to look at the action of creating my own utopia. For this I devised a composition whereby the shapes leave the page and do not follow a set orde- yet balance and harmony is achieved between both the colour and lines in which I put in place. Do Ho Suh’s continued exploration of this ‘in between’ space influenced the way in which I chose to compose this piece- although architectural in visual and aesthetic senses, this ‘space’ I have created may not be a space at all- but merely a stage in between the destination and now. 

We tend to focus on the destination all the time and forget about the in-between spaces. But without these mundane spaces that nobody really pays attention to (quote from website)

I wanted to create something visually enticing, I used the surface pattern techniques explored in previous samples (textures seen in hockney’s water paintings) these scratchy and graphite sections give a sense of walls, maybe even concrete walls. Layering the pieces with cut out details gives another depth to the piece.

I decided to use extra wooden pieces as a sculptural relief to the work, these create another set of lines that take the compostion off the page and on to the wall, something I want to explore further as I think about the degree show. Not only did this way of presenting come from the influence of Fernanda Gome’s wall pieces, but also Victor Pasmores beautiful wall sculptures. Pasmore makes reference to a ‘modern space’ something I am interested in creating within my own spaces, a visual experience in which the space is questioned as to what it actually is.

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Board and collage

Getting closer to the idea of creating more finalised pieces I wanted to think more so about the textures within my work. I had initally wanted to step in to 3D  sculptural aspects within my collages, however after experimenting and developing my work further I have found that a two dimensional surface enables me to create detail using drawing rather than a relief technique. Whilst in London I also visited an exhibition by artist Fernanda Gomes.

http://www.alisonjacquesgallery.com/artists/72-fernanda-gomes/overview/

As a three dimensional artist looking at her work made me think how i could add a form of relief (not sculpture) to my work. Her simple linear shapes, in which she places very neatly upon the wall have a certain architectural feel to them. I decided to add some wooden lines/ slabs as a relief element to one of my pieces- the addition of a different material over the paper gives another depth to the piece,and the arrangement of the lines is able to follow the sporadic composition. The idea of using board and a natural wood came from Gome’s ability to create something very delicate and visually beautiful from an other wise discarded material. The wood also adds another texture to my work, against the colours and surface pattern it provies a neutral balance.

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Red and orange

A piece using a brigther set of colours, something I have not yet explored in my work! Aesthetically I am drawn to muted pastel tones withinmy work, however this burst of orange and blue gives the collage a different depth- a more ‘retro’ depth perhaps. Inspired by the bright colours of Do Ho Suh’s passages art work, I wanted to combine the graphic type textures with a bold colour. The composition of this piece took notes from Zaha Hadid’s Guggenheim drawings I have previouslly admired, with a reference to geometric shapes and lines that scatter the page this piece still lies within my own interpretation of a balanced ‘utopia’.

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Room With A View

An exhbition I was part of, curated by Up North Arts- situated in the Storey Gallery Lancaster.

For this show I created a series of collaged pieces looking at the theme of Utopia. I’ve been considering this term ‘Utopia’ in a more aesthetic sense, what is my utopia? Utopia is generally considered a state of harmony where man made and natural influences are at one. However the term Utopia in my own work refers to the sense of balance between the colours and the textures. The compostitions lend themseleves to a sense of a different world, a geometric world- similar to Victor Pasmore’s ideas of creating a ‘modern space’.

 Title- Utopia

Materials- Card, graphite, fine liner

 In my work I take inspiration from the lines observed in our surroundings, with a heavy influence on architecture.  I am interested in using line as an aesthetic and abstract tool to depict different surface pattern and marks. My work very much focuses on considered composition choices, and an appreciation for abstract structural shapes.

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layering with graphite shapes

For this sample piece I wanted to consider my previous works looking at how to create a surface pattern. Aesthetically I am drawn to layered geometric shapes, the shapes I have chosen have reference to those I saw at Richard Serra’s exhibiton in the Gagosian gallery.

The colour blocking acts as a divide between the textured surfaces and the white space. I have kept to simple shapes, and created siffering textures using graphite. This combination of mark making techniques and simple colour blocking forms a contrast between each visual element. I enjoy this combination aesthetically, and the the difference in line.

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collage and surface patterns

After considering my last experiments with surface pattern textures, and also the fine liner drawing inspired by Zaha Hadid I have tried to combine these interests to create a piece with more depth and compostion. 

I have focused on the idea of creating a block of pattern that follows a shape, but with no outline. To do this I made a set of stencils, I want to mimic the texture of walls and the lines of a structural building. Copmpsition is a very important part of my work, I enjoy finding balance in my pieces, and use line to achieve this. The elongated nature of the composition gives a sense of never ending scale (similar to Do Ho Suh’s idea that we focus too much of the destination and not the in-between- this composition is that in between with no ending)