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Uncivilization 2009 by Paul Kingsnorth and Dougald Hine

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Michael Landy - Consumerist relationship with nature

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Michael Landy - Consumerist relationship with nature

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Landy's work both resembles a map, expresses his reaction to a consumerist society, I thought about times I have seen plants replaced in boxes and ultra manicured Topiary hedges.

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I specifically focused on the first two chapters, 'Kits and Building Blocks' and Creative Process

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This work is made from leaves which are collected regularly in Victoria (my local area in London). Reshaping the leaves came from the skillof Topiary

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"The impact of immigration on British culture" - Tate Modern
These books have names printed on the spines of those who both opposed immigration and 2nd generation immigrants who, more significantly, contributed to British culture.

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I am triggered to question my cultural foundations.

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Projections of fern leaves onto the ground in a park, ironically the naturally fallen leaves had been swept up, leaving an ultra manicured facade of nature.

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In exploring materials in my workshop, stimulated by the season, I will interrogate the idea of play surrounding leaves. Exploring why they are considered a nuisance in London.

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For me, leaves give off a warm and comforting aroma, audibly satisfying and physically whimsical. They have an airy, rigid and yet fragility, mirroring at least the way I perceive the world.

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Leaves when they fall create a carpet and like string are delicate.

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Topiary flower boxes

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Although the group are interacting with the leaves, I feel there is no element of play because the action of kicking the leaves was suggested.

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Here I am thinking about senses, trying to infuse a neutral oil with the scent of leaves, removing the interaction with the leaves because i felt it wasn't successful.

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Aiming to create a dye or pigment, I boiled the leaves in water, revealing weather the colour or scent can transfer to the water.

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I am using the stimulus of topiary to reform the leaves to explore loss of natural beauty in the polished exterior expected from london.

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For me nature is sanitised here, in a way that makes it more palatable for the city dweller, building from that idea I submerged leaves in water and bleach to see how the surface would respond. The waxy texture on the leaf I think contributed to the irregular pattern.

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Here I painted the St Dunstan in the East Church Garden, using the water concentration and oil mixture made from leaves. I am painting this church because it is a location in London that is somewhat less manicured, where nature is allowed to grow irregular and overshadow the buildings.

Ironically the piece is also painted from nature, focusing here on only the man made, removing the natural forms from the composition.

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My tutor suggested I use a thicker paper to minimise the deforming. I have considered the curling of the paper is like leaves when they dry and shrivel.

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Swatches using leaf infused oil and Water

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Swatches using leaf infused oil and Water

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This is the front cover of a free Zine available at the exhibition. I will make a Zine for my independent practice

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A work by David Shrigley

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This piece explored visible mends

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I considered the ratio of trees to buildings in the city. This is a screenshot of my local area in Victoria, using lines, I want to connect the trees on the map in photoshop.

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After connecting the trees, I removed the base layer, exposing the markings that remained. Thinking about the process, reminiscent of Dot to Dot games I played as a kid, this theme of play is cyclical in my practice and exploration of leaves.

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Walking around the BP grounds, noticing the oddly uniform placement of trees in the driveway, my eye was caught by these sun flowers. The sunflowers again are uniform, demonstrated by their unanimous droop in addition to all facing the same way, yet the heads and shapes of each crook is different.

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The differences between the trees in London and Oxfordshire is immense, particularly in Blenheim, where gnarled trees have branches weaving in almost unsettling directions. By contrast to the clipped trees on London who's natural forms are trained into submission.

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Using a similar method I took a screenshot of Hyde park and dotted over each tree. Removing the background a map was revealed, interestingly it exhibits the roads in the negative space, outlining the uniform placement of the trees.

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Digital collage, combining photography and lines

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The dots are not accurate to the real quantity of trees in the area, other than driveways or obvious individual trees. Additionally, it is hard to see the entire map of the trees in this image, so before the piece is completed, I have no way of knowing what the end result will look like.

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This is the map of trees in Blenheim palace, I copied the piece, changed the colours and experimented with Anaglyph Glasses or old 3D glasses from when I was younger. This was to explore how I can find links to play and the idea of traditional kids games.

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Introducing repetition in my work, exploring the process of play in the making of my work. Introducing leaves, and lighting them from the side to create a shaddow, contributing to the layers in the collage.

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I mixed my leaf oil with lino ink. This interrupted the transferring of the ink onto my lino cutting and removed my ability to control how the pice looked. Additionally, the leaf would continue to break and fracture in attaching it to this piece, reasserting the rigid fragility of nature.

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Exploring the uniformity of corn and thinking about nature as imperfect.

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Exploring gnarled subjects in nature to contradict my experience of the aesthetic demands in London.

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Digital collage : Employing vivd colours and repetition

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Digital collage : Employing vivd colours and repetition

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I am thinking about how I can introduce play into my work, either in the process or by making it interactive for the viewer.

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Considering how I can view a medium, as Guston considers paint as "living".

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I want to interrogate the significance of bagging leaves and interrupting the natural life cycle of a leaf.

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Curtis creates imagined maps. For me, her works are playful and contradict the certainty that maps provide, as though the artist is rejecting what we know.
Initially I am overwhelmed by the bright colours and busy lines, theres a concentration of text and labels with only the bold ones standing out, the pice for me looks like lots of small roots crossing over and interweaving. Curtis has the same level of complexity to Borland in the erratic details yet all together has an organisation.

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Thinking about organic forms, Borland explores the life cycle of Flax and the process of nurturing the plant. Her work suggests a calm atmosphere, triggered by natural forms and the lack of control over her subject. Flax demands care and commands the viewers attention.

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I connected the dots randomly and filled them in with green hues. Inspired by abstract and expressionist artists, the likes of Phillip Guston, I considered how this method effected my practice and contributes to the theme of play.

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I want to explore more than just painting with leaf water and see if I am able to make a crayon for the viewers to use, interactive pathways I feel can express play.

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The wax barely took on any of the pigments from the ground leaves, concluding I will have to approach this differently. Perhaps boiling them again and reducing the mixture to a concentrate and evaporating it into a powder.

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This method consists of leaving chalk in the water to see if it will take on the colour. This is after 5 hours in the leaf mixture.

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I separated some of the water and let it become a concentrate. The colour of the water is significantly darker than the previous mix.

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After allowing the liquid to evaporate overnight, leaving behind a flaking sort of crust which i was able to grind into a powder. Initially, thinking of mixing this with acrylic clear gel exploring how it would translate to paint I reconsidered, now I will press it into the surface of clay.

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Linking the remaining pieces of leaves (from my oil experiment) on string to create a chain of sorts. I will not continue with this.

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Displaying my works - exploring displaying my works inspired by collaging

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Displaying my works - exploring displaying my works inspired by collaging

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The bottom left lino is framed and handmade by me using recycled cardboard, I chose to use this because of its biodegradable quality and naturally the colour is consistent - Aesthetically I think the frame suites my work yet this was an unintentional progression.

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Bag among leaves.

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'American Beauty' - Thomas Newman (from the 'plastic bag scene')

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This is a still from a video I recorded of caretakers in Chelsea Collage cleaning up leaves (of corse i understand they are doing it for health and safety)

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First hand research documenting the removal of leaves.