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Paula Rego 1996 PART Of Pendle Witches, Etching and aquatint on paper Image: 5,8 x 29,2 cm

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Paula Rego 1996 PART Of Pendle Witches, Etching and aquatint on paper Image: 452 × 297 mm

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Paula Rego 1996 PART Of Pendle Witches Etching and aquatint on paper Image: 163 × 191 mm

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Following looking at one of Goyas paintings 'Garrote garrotte', I

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Combination 1950s housewife and witch trail torture painting

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Combination 1950s housewife and witch trail torture painting

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Combination 1950s housewife and witch trail torture painting

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Combination 1950s housewife and witch trail torture painting

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Combination 1950s housewife and witch trail torture painting

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Combination 1950s housewife and witch trail torture painting

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Garrote ! Garrot
28 x 21cm
oil on canvas

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Francisco Goya (Goya- The witches and old women album) 

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Francisco Goya (Goya- The witches and old women album) 

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Witches and their incantations
1646
oil on canvas
29.6 x 44.6 cm

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After having visited the exhibition by Louise Bourgeois, I wanted to play with concepts and imagery related to the horrifying ways in which so many women were killed and subjected to torture. I chose to study cilice torture, a type of cruel treatment; These devices could be gradually tightened after being wrapped around various limbs. In this experiment, I have decided to play around with translucent paper with a purple tint that I found laying around the house, as well as various shades of purple pencils. In order to draw attention to how the intricately linked chains created patterned markings on the subject's skin, I decided to create a monochromatic look. So far I think the effect has given it a glowy element. The patterning made me think of Louise Bourgeois' "woven child" exhibition, which I had already visited, from not only one of the caged designs but also the fabric which interlocks and binds its fibres to create raw material. I chose images which it was more obscure in which the different devices were on different limbs. For instance, some of the more zoomed-in images are a lot harder to decipher whereas I have chosen another image where you can see it being wrapped around the neck of a person. I wanted to do this because it leaves some of the drawings more ambiguous. I also had an idea that I would put the purple drawings against a window once I had finished them because the translucent paper would allow the light to show through apart from the bits with pencil on. I decided not to do this, however, because when I tried it the pencil looked extremely patchy and yo couldn't see all the more delicate details I had included. I did struggle a little with some of the drawings which were not as zoomed in because I had to have a very sharp pencil constantly and create lots of very thick layers to build up tone, and I think the texture f the paper did not help this.

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The Appearance of Witchcraft by Charles Zika notes

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The Appearance of Witchcraft by Charles Zika notes

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The Appearance of Witchcraft by Charles Zika

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The Appearance of Witchcraft by Charles Zika

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Hayward Gallery- Louise Bourgeois Response and Reflection

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Hayward Gallery- Louise Bourgeois Response and Reflection

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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For our final workshop day, we started by creating our responses based on all the written and verbal ideas we had generated. I had started a small clay sculpture that I eventually wanted to turn into a rotting corpse collapsing into the ground and becoming nature. It was at this point that I had briefly chosen to look at witch curses as in my eyes they were the most powerful form of revenge women could hold over the rest of society. And so with the clay sculpture, I was referencing an ancient curse in which the skin slowly melts and falls off of one's body. However, I found myself getting stuck and caught up In making it because I couldn't find my usual set of tools to create it. At was at this point Carolina suggested we all come together and work with two others to create a collaborative installation. The focus of this work was to create something organic that came naturally to us using the individual work we had started (this was with a range of mixed media from plants to paper, to paint to juice etc.). I think it was a good break in time to just let ideas flow naturally and it came out well. I think how we designed it visually showed that same flow through the lines and string and tape. I think it was a very successful exercise.

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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Post-humanism through the lens of flora with Carolina Rodrigues Group Work

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The Material Kinship Reader Edited by Kris Dittel and Clementine Edwards notes

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The Material Kinship Reader Edited by Kris Dittel and Clementine Edwards notes

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The Material Kinship Reader Edited by Kris Dittel and Clementine Edwards

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The Material Kinship Reader Edited by Kris Dittel and Clementine Edwards

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Lecture notes; Art and Feminism- Andrew Chesher

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Lecture notes; Art and Feminism- Andrew Chesher

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For these experiments, I worked y using cutouts from the 1950s 'good housewife' magazines I had collected alongside images of traditional witches from historical textbooks and artists such as the like of Goya. This is something I began in my workshop and finished in my own time. For me, I just wanted to play around and experiment with different types of imagery, similar to when I first started creating work at the beginning of the year. I find creating collages starts to get ideas flowing even if they are not directly related. I didn't think these images were super developed and refined, but I dint mind as they were to play around with ideas. For many of these collages, I think they really highlighted the ludicrous nature of these 1950s magazines.

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Witches, Witch-Hunting and Women by Silvia Federici Notes

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Witches, Witch-Hunting and Women by Silvia Federici Notes

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Sadie Coles Gallery-John Currin personal response

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Sadie Coles Gallery-John Currin personal response

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Gold Hippy
2022
oil on linen
137.2 x 91.4 x 3.2 cm

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Gala
2022
oil on linen
127.3 x 101.9 x 3.8 cm

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Silver Hippy
2022
oil on linen
137.2 x 91.4 x 3.2 cm

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For the research workshop today I found it very helpful to my part practice. We started by formulating ideas and questions for ourselves based on our topics of interest. This part was the most valuable because it was here that I realised that it worked well for me to have a much broader overarching question whilst exploring many subtopics and ideas within it. For example, my overarching question was; Through my art how can I explore the relationship between witches and feminist ideals? Whilst my more specific question of what I'm currently looking at is; How can I explore the juxtaposition between the concept of a 15-1800s witch and a stereotypical 1950s good housewife in my art practice? We then discussed ways in which we can reach whether that's through, gallery visits, books, media, artists or even through our own practice.

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Witches, Witch-Hunting and Women by Silvia Federici

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Witches, Witch-Hunting and Women by Silvia Federici

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Post-humanism through the lens of flora with Carolina Rodrigues personal response

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Post-humanism through the lens of flora with Carolina Rodrigues personal response

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Post-humanism through the lens of flora with Carolina Rodrigues

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Post-humanism through the lens of flora with Carolina Rodrigues

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Sadie Coles Gallery-John Currin reflection

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Sadie Coles Gallery-John Currin reflection

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Today I went to the Sadie Coles Gallery to see the work of John Currin, an artist who works mostly with oil painting. I found his paintings interesting due to the nature of the women he is detecting in them; aged, crippled and abnormal bodies are the centre piece of his works. he says "I learned a lot about painting by making these works. I wanted to make something like Moretto da Brescia, but crippled by all my modern vices of phones, porn, fear of aging, impatience etc. I imagine for the centre painting (Gala) that it could have had twenty or thirty homogenizing glazes, each one followed by a little session of "special time" with a little part."

A lot of these figures represent very accurately many traditional artists' depictions of witches, which is interesting to me because of what the artist had said in his statement to the gallery. The women he is depicting are not void of imperfections and adhere to the opposite standard of beauty nowadays, and part of the presentation of a stereotypical witch is a female who does not adhere to the beauty standards of any society; she can be old, ugly, bony, saggy, large, scrawny. The combination of these forms he creates with the beautiful cloth and fabrics adorning them creates a beautiful sensuality about it, again something many witches would be in touch with but is looked at with a discriminating eye, because surely these ugly and not conformity pretty women shouldn't be proud of their looks. I think these forms are extremely elegant and when I start painting I want to keep a reference to this style of painting.

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Post-humanism through the lens of flora with Carolina Rodrigues

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Post-humanism through the lens of flora with Carolina Rodrigues

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I enjoyed the worship I chose and I think a lot of the topics we covered were quite relevant to what I was looking for within my work. On our first day, we started by meeting and having an introduction followed by each of us presenting a plant that we had brought with us. For each of us, the plants we brought would have a story or a special meaning behind them. For instance, my plant was a cutting that I had taken from one of my mother's plants, which in turn had been taken from her mother's plant, which she had taken from somebody else's plant. It was interesting listening to others people's stories about their plants as well as when we were asked to discuss the plants in comparison to each other. A fellow student and I noted how the man-made/altered plants we had were created so that we would think they were pretty tough to use and keep indoors, became we can't fully appreciate organic nature in its rawest form. We then were sent out on a task to go outside of the university and take note of things that we want to change around our environment. I chose to focus on a small garden space outside of the school in which there was a patch of flowers going. The issue I had with this is because it's such an inorganic, manmade and clinical arrangement, especially with how all the plants are operated in it. If I could change it I would have that patch full of wildflowers which are so much better for the environment and also bend a lot nicer into the surrounding grass. In our second session, we spent a lot of time discussing in groups our practice and how it relates to the topic we are looking at in our workshop. Mine linked pretty nicely; through the topic of witches, I am trying to dismantle and understand the demands and constraints a patriarchal and colonial society has placed around them. Again I enjoyed listening to what other people had to say about their projects.

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Post-humanism through the lens of flora with Carolina Rodrigues

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Post-humanism through the lens of flora with Carolina Rodrigues

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Post-humanism through the lens of flora with Carolina Rodrigues

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Post-humanism through the lens of flora with Carolina Rodrigues

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Post-humanism through the lens of flora with Carolina Rodrigues

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Post-humanism through the lens of flora with Carolina Rodrigues

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When we displayed our pice for presentation we wanted to create a visually story in which the centre of the display shows the finished collaborative pieces, whilst the outskirts contained experiments and works from our individual works. I am really happy with the outcome and though we were not able to work together as an entire group I think working in a slightly smaller group made the outcomes a lot more successful. If I had more time I definitely would have gone back to draw more links to concepts and other artists that way we could both have explored our collaborative links more, and perhaps created more pieces. It definitely could have been interesting to view the works in a form of a zine, though more time consuming.

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I was struggling to work with the group as a whole because lots of people were either off sick or coming in at different times, and so myself and one of my other classmates decided to do smaller collab in which we really wanted to fuse two vastly different ideas together. My classmate also took a similar approach to me, where based off of their video, they took an element (hay & straw) and played around with it, making photocopies and sculptural pieces. We started by experimenting with taking the photocopied images of straw, and using similar techniques to the ones I used to create my own experiments, to form patterns and shapes that were warped and recoloured. We both felt like this was really successful and following that we decided I would continue to focus more on the poster element whilst they created a few new elements e.g. a painting. In this way we wouldn't completely lose authenticity of the whole project; you can visually see the pieces which have more of my own spin compared to theirs, whilst still showing a communal effort. I worked by taking dynamic figures and using the same image changing techniques so that I was left with lots of printed images. I cut a load of these out layering them until I was satisfied- I wanted the three final posters to contain chaos whilst still being able to clearly define the figures. For these final posters I also decided I did in fact want to use typography, and I thought another way to tie these back nicely to my classmates work was by picking out three words that I feel describes a scarecrow. The reasoning behind this was because of of the hay figures that lay on display in the baskets on the floor.

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Gallery Visits; Thaddeus Ropac Gallery -  Adrian Ghenie

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Gallery Visits; Thaddeus Ropac Gallery -  Adrian Ghenie

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Gallery Visits; Thaddeus Ropac Gallery -  Adrian Ghenie

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Gallery Visits; Thaddeus Ropac Gallery -  Adrian Ghenie

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Gallery Visits; Sadie Coles Gallery -  Georgia Gardner Gray

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Gallery Visits; Sadie Coles Gallery -  Georgia Gardner Gray

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Gallery Visits; Sadie Coles Gallery -  Georgia Gardner Gray

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Gallery Visits; Sadie Coles Gallery -  Georgia Gardner Gray

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Sadie Coles Gallery -  Georgia Gardner Gray

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Sadie Coles Gallery -  Georgia Gardner Gray

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In this gallery I was able to view a performance piece that accompanied the surrounding paintings, it lasted roughly 45 mins long and even though I missed some of the beginning I was still able to pick up on a few of the themes. The play is set where a wounded soldier in an undetermined future World War has a near-death experience at the beginning of the drama with the name, NDE (Near Death Experience). In an out-of-body experience, he sees himself moving through episodes from his brief life. The profound themes that break up the jubilation are interspersed with the little micro-aggressions of contemporary life. I really enjoyed the paintings that I was able to view after the play even more; I felt a fimiliaralty in some of the works and liked the style of painting in which it lacked hyper-realistic details forcing you to look at the bigger picture.

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Pre-Arrival Task; White Cube; Michael Armitage

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Pre-Arrival Task; White Cube; Michael Armitage

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For this project I wanted to start off by following on from my pre-arrival task, 'the place I am now' video. I wanted to take that same 70's, hippy style psychedelics and tripyness to my poster inspirations. I found a book in UALs' encamps library that contained works from an artist called Victor Moscoso, whilst looking through post war graphic design books. I was mostly drawn to the vivid colour palettes and the duotone designs. I created a few of my own responses using a range of media; oil pastel, paint pen on paper and digital collage to experiment with some different ideas. I felt as if my more successful pieces were the ones that incorporated digital altering and collage, as they resembled the outcome I wanted better. I didn't include any typography in these trails because in many of victor Moscosos' works the lettering is distorted to a point where its so difficult to read, shifting the emphasis on the central figure.

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Pre-Arrival Task; White Cube; Michael Armitage

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Pre-Arrival Task; White Cube; Michael Armitage

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Pre-Arrival Task; White Cube; Seni Awa Camara Sketchbook Response

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Pre-Arrival Task; White Cube; Seni Awa Camara Sketchbook Response

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Pre-Arrival Task; White Cube; Seni Awa Camara

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Pre-Arrival Task; White Cube; Seni Awa Camara

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Pre-Arrival Task; White Cube; Seni Awa Camara

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Pre-Arrival Task; White Cube; Seni Awa Camara

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Pre-Arrival task; Whitechapel Gallery - Exhibition Reflection Form

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Pre-Arrival task; Whitechapel Gallery - Exhibition Reflection Form

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White Cube Gallery - Seni Awa Camara & Michael Armitage

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White Cube Gallery - Seni Awa Camara & Michael Armitage

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I have viewed Michael Armitages' work at smaller galleries in the past and so I really liked looking at more of his work from a different perspective.  I'm predominantly drawn to the vivid colours and decorative line-work in his paintings that combine together to create a wonderful chaos.

Armitage mixes stories based on myth, politics, history, literature, and films that are set in East Africa. His paintings feature a variety of subjects that have been reinvented using a style that has been compared to 'magic realism'. Whether painted in Armitage's London studio or outside in Kenya, his landscape or cityscape landscapes condense timelines by fusing the real and the imaginary. A complex illustrative language where subject and subtext have equal status and thematic power, is created by multiple points of view; ghosts of figures, pigemnted and fluid swathes of vibrant colours.

This exhibition showcases current paintings and works on paper created over the last three years in Nairobi and London. Seyni Awa Camara is a Senegalese artist whose terracotta sculptures Armitage has long admired, their work displayed alongside his own. This is the first significant exhibition of Camara's work in the UK.

Similarly I took a real fascination to these terracotta sculptures; I found the balance of symmetry and irregularity harmonised well with the additional details I discovered upon getting closer. I preferred the prices that incorporated animals and nature together with more human elements, to me it felt quite symbolic of our ties to this earth.

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Pre-Arrival Task; Matt's Gallery- Nathaniel Mellors Sketchbook Response

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Pre-Arrival Task; Matt's Gallery- Nathaniel Mellors Sketchbook Response

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Pre-Arrival Task; Matt's Gallery- Nathaniel Mellors

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Pre-Arrival Task; Matt's Gallery- Nathaniel Mellors

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Mellors uses the study of The Upper Palaeolithic as "a prism for the present," projecting questions of class and ownership of knowledge and culture into his absurdist fictions. He has referred to the Neanderthal as "the ultimate prehistoric other figure," noting that the once-considered finite divide separating humans and Neanderthals has now vanished into nothingness. As a result of the Neanderthal being biologically ingrained in us and being perceived in a much more positive light, demonstrating a satire of class-based sociocultural preconceptions.

In all honesty I struggled grappling some of the themes he tried to highlight in his work, I didn't feel as connected with his work as other artists perhaps because they don't derive an instant understanding. You have to view each piece as you work your way around the gallery to begin to draw everything together conceptually. I was drawn to however, his piece containing an 80's style tracksuit and accompanying hyperrealistic face mask. It really felt as though I was viewing a shell of a human being.

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Pre-Arrival task; Whitechapel Gallery - Louise Bourgeois 

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Pre-Arrival task; Whitechapel Gallery - Louise Bourgeois 

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Pre-Arrival task; Whitechapel Gallery - Bjørn Carlsen Sketchbook Response

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Pre-Arrival task; Whitechapel Gallery - Bjørn Carlsen Sketchbook Response

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I really liked the experience of the collection of works that Bjørn Carlsen put together to create an intimate and meditative space. It was clear that the curator had put time and careful consideration when choosing not only the works, but how they were displayed and interacted with the space around them. The audio he played connected all separate pieces and drew them together, and enjoyed the change of typical white box walls, in exchange for fluid curtains, left a softer feel to the works as well. Without knowing I ended up being drawn to a piece made by Louise Bourgeois, and chose to focus on it for my exhibition reflection form. Sculpture and ceramics is definitely something I'm interesting in, and I feel like I can learn a lot from looking at Louise Bourgeois sculptural works in the future.

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Pre-Arrival task; Whitechapel Gallery - Bjørn Carlsen

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Pre-Arrival task; Whitechapel Gallery - Bjørn Carlsen

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Pre-Arrival task; Georg Wilson - Saatchi Gallery

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Pre-Arrival task; Georg Wilson - Saatchi Gallery

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Pre-Arrival Task; Carolee Schneemann - Barbican Sketchbook Response

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Pre-Arrival Task; Carolee Schneemann - Barbican Sketchbook Response