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I will be use pages from an old book as well as magazine pages to restart the collage.  I will be using pictures from the book which have been repainted  or drawn in inks, gouche or oils to give texture.  The pictures used for the collage are of drawings by Picasso and Schlemmer.

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20min sketch ..

Reducing my time to 20mins means I have to focus less on detail. The angle of the photograph can also distort

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i will be working through  'Experimental Drawing'  by Robert Kaupelis, to  develop my drawing skills.  I have noticed that, my angles are out, I am less confident then I used to be and feel as if I need to develop skills and confidence in drawing.  I also feel as if I need to develop my skills in observation and focus.  I believe that to develop as an artist, I must be able to draw. 

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i will be working through  'Experimental Drawing'  by Robert Kaupelis, to  develop my drawing skills.  I have noticed that, my angles are out, I am less confident then I used to be and feel as if I need to develop skills and confidence in drawing.  I also feel as if I need to develop my skills in observation and focus.  I believe that to develop as an artist, I must be able to draw. 

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Geraldine Swayne is an English artist, (1965 -)  based in east London . Swayne studied Fine Art at Newcastle University (1985-89).  Geraldine works in miniature in enamel on metal. Her work mainly focuses on portraits.

I found her work bizarre if not disturbing. The images at times appear warped and distorted in addition reflect some form of sexual gratification or warped sexual behaviour.  I am slightly unclear why her work has been incorporated since I almost feel it is vulgar and emphasises an almost pornographic view of women and young girls.  The fact that her drawings are in miniature and in enamel adds to the ‘freak’ element of her work.  The painting which depicts a child being smacked on her bottom, reminds me of ‘pornographic’ postcards of the 1920’s.

I am unclear what Geraldine is attempting to do with some of her work but for me it’s disturbing and lacks context, thus making it an object of gratification,  passive whilst allowing the viewer to glimpse into a scene with no story or purpose other than voyeurism

To me her initial fluid sketches look like nightmarish depictions, which at some point she brings to life in future paintings, I find them distorted. Heads are enlarged as if they are faces appearing in a nightmare, girls bodies are almost merged into the background.

Swayne is a film maker which perhaps impacts on her subject matter, her work can often give off sense of movement as if a particular scene within a film has been captured, the still is then painted thus reflecting a disturbing out of context image, I just find her work disturbing almost the same sense when I compare her work to Paula Rego, a scenes captured momentarily as if we are awaiting the full story.

I find her work to disturbing..though I recognise the film like quality to her work, she is not someone I would quote from. I also do not want her work on my laptop. It would be good to know why the OCA felt this artist was included in the curriculum.

Faced with Louise Bourgeois, Tracy Emin and Geraldine Swayne I really had to consider whether this was the right course . I spent a great deal of last year discussing with other students whether I should continue.

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Blind Drawing: To draw the hand 25x without looking at the paper

By using my hand as the object, there was more intimacy and familiarity with the object . The first drawing appears childish and it is clear I  did not focus and rushed underestimating the time needed to look at my hand in detail. (Blue drawing)

Pencil drawing this was about number 12 so mid way, clearly focus is developing and the finished piece looks more like my hand.

Red pen drawings, the last of the 20 drawings. I can see that by doing a small exercise, I was able to create greater detail and more accuracy. I was surprised at how quickly focus and concentration can develop.  The menopause has made both made concentration and focus challenging.

Using different mediums also impacted on the ease of the exercise, holding the blue crayon felt very child like, whilst the red pen felt more adult. I wonder how this also impacted on the ability to blind draw or draw for that matter.

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As i progressed with this collage I thought was  it terrible.  I  felt that I should have focused on a few objects rather than the room corner.  I used water colour which I didn't like.  I was asked to use pieces of scraps from my own old drawings, but couldn't see how this would work.  I found an old book of drawings which I felt I could use for a different  collage, perhaps more abstract in nature.

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As i progressed with this collage I thought was  it terrible.  I  felt that I should have focused on a few objects rather than the room corner.  I used water colour which I didn't like.  I was asked to use pieces of scraps from my own old drawings, but couldn't see how this would work.  I found an old book of drawings which I felt I could use for a different  collage, perhaps more abstract in nature.

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I find collage difficult,  On reflection I never thought enough about what I was doing and what I wanted the end product to look like.  I have decided to create another collage and spend time considering what I want the end product to say.  Rather than to just do a prescribed art exercise.
The piano - I thought using old music sheets worked well and will build on this. The Djembe - I think also worked well and so too the radiator with a cut up music score. Since I am far from happy I will make another attempt. I used toilet paper as wall paper, which in a sense gave me the texture I wanted but it was too fragile to add a shadow colour. The stool seat gave a sense of texture, however I was overall unhappy with the work and realised it just wasn't working. Th lone book on the piano perhaps is the only object that I liked.

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This workshop discussed the work of Odutola. Initially asked to blind draw the figure. The workshop then looked at how Odutola created stories through art and her use of charcoal and pastel.

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The Walk..pencil drawing

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15 very quick drawings in watered down matt emulsion paint.

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Fluid Art

White Emulsion and Pink Chalk
This work reflects one of 15 drawings. This was the 3rd drawing in the set,  created using white emulsion paint and pink chalk on black paper.

15 drawings were created in rapid succession at about 1.30am.

The watered down white emulsion created a thin watery paint which enabled drawings to  reflect fleeting  thoughts and ideas, which can be added to or developed later.  The paint splattered and dripped down several papers. This created a feeling of relatedness between drawings and also gave a feeling continuum.   The medium, watered down emulsion paint on black paper allowed for a continuous flow of thoughts and images, almost giving a ghost like or ethereal feeling to most images.

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Charcoal

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I was exploring what ironing and the word iron signified for me.  I chose to do pencil drawings..but will look at developing some further work from these sketches.
What was  interesting about doing this work was that some of the articles I have drawn reflect images in the quick 15 drawings, these being the clothes line, the witch's scold, possibly the shackles.
I run empowerment workshops for women, time is alloted to drawing or create a small piece of reflective art work. This is to explore feelings without words..sometimes colour without objects or objects are used.  This felt like a private session..I realised I don't do this enough for myself. Louise Bourgeois focused on exploring her feelings of 'powerlessness/women/female' space and used her art as a form of 'therapeutic' story telling. In many ways I see Louise's work as an internal conversation but one that did not impact on the world around her.  It didn't challenge the oppression just recognised it. Whilst doing these sketches I wasn't thinking about Bourgeois or my previous 15 drawings ..however I can see similarities..

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Sketches in Pastel

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Dynamic Gesture: Wax and Water colour paint

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Dynamic Gesture: Wax and Water colour paint

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This was attempt to create a sense of dynamic Gesture on a smaller scale using a candle and water colours. I felt this process worked well, however the work was created in a sketch pad..so I was limited by the paper quality with regards how much water colour was used and how many layer of wax.  I had to wait till the work dried before working on top.  I enjoyed this quick sketch and felt able to create broad stokes without worry. I believe this was probably because I could not see clearly where my strokes were on the white paper, I had to rely on movements.

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Sketches of two objects

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Exploring the idea of transformation and creating  'mystery'  I looked at others artists and whilst exploring different media..looked at how their work gave  ma a sense of 'mystery or invention'  Oskar Schlemmer's Study for The Triadic Ballet (1921-3), gave me a backdrop that contrasted to the round shapes of the object. The question made me consider why do I think a work of art  has a sense of 'mystery' and how do I achieve this 'visionary illlusion'.  Blake and Henry Moore both perhaps fall into the category of romanticism , their work does not give me a sense of 'mystery' however the work touches more on inner spiritual or emotional transformations.

The Bauhaus Movement  lends itself to simplistic geometric shapes whilst Toyin Ojih Odutola  uses texture and form and size to create the idea of power and futuristic landscapes.
I have used chalk and charcoal on plain black paper.
Creating tonal values was difficult as the white chalk and white charcoal had little grip on the smooth paper.     If I was to develop this idea further, I would like to use glass and mirrors and  I would consider using silver or metal in some form of geometric sculpture.  Instead I used silver foil and tissue paper to further explore the idea of shape, form and mystery. This small piece of work (paper/& foil and graphite) enabled me to consider transforming the object into 3D.

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Franz Kline is an American is associated with Abstract Expressionism. Kline was born in a small mining town in Pensilvania (USA). He had a challenging childhood, his father died when he was 7 and when his mother remarried, he was sent to Girard College an academy for fatherless boys. Kline likened the academy to an orphanage. Kline went on to study art at Boston University. He spent time in England after his studies and returned to New York where he worked as a designer.

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I chose this drawing to insert a collage element. As yet I have not found what I wanted..However I decided to create a collage face mask.

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This piece is based on Odutola's Mating Ritual, 2019.
In order to create and transform the object I used charcoal , chalk and oil paint on part gessoed paper.

I found that the gesso left me with quite prominent brush lines, which at first I found difficult especially with blending.  However I was able to create greater depth of colour and texture.  The lines made it difficult to be detailed.  I kept the top of the paper plain and used oil paint as background for 3/4 of the paper.  I wanted to see the affect of chalk applied directly  to gesso paper and how could be applied to oil paint.  I liked the use of oil and charcoal, however I found it difficult keeping the oil paint clean as the dust from the chalk seemed to make it lighter.  I found that this work gave me a rather sad feeling of destruction rather than the positivity within the work based on Schlemmer.   I definately like using chalk and oils, however I didnt like the brush marks on the paper.  I also like to blend with my fingers and I had to use a brush or just leave areas as I could not blend in on the indentations. The objects were not drawn on oil, as I wanted to create the ideas of depth.'   Based on the work of other artists I tend to believe that in order to create a sense of mystery it is the landscape that helps with the 'illusion'.  It was interesting to use another artists style to create a context for my own work. However for me the object is still two objects glued together.
Oil pastels/ charcoal and water colour paint.

wo

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Invention & Mystery

Sketch..using oil pastels, turps and charcoal.
This was an attempt at using oil pastels. I don't get on with oil pastels..I used 3 different brands of oil pastel..and found I enjoyed working with one  particular brand. It moved well with turps and could be layered and blended well.  At present I am not keen on using colour. The colour did not change the fact that the objects are merely two objects put together. The introduction of colour perhaps made me think more about the lines..and contours which were added last..

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The Fist..

Again using colouring pencils to work on skin colour

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	John Berger; Jim Savage :	Berger  on Drawing,  Aghabullogue, Co. Cork : Occasional Press, 2008.  (2nd Edition)

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	John Berger; Jim Savage :	Berger  on Drawing,  Aghabullogue, Co. Cork : Occasional Press, 2008.  (2nd Edition)

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https://www.youtube.com/watch?v=Vt9B76wu0b0

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The Feet In Water

Childrens Pencil Crayons..Using Children's pencils reminded me of the difficult of using pencils which lack pigment.
However enjoyed just drawing and colouring and the smell of school pencils.

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Pencil Crayons

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Hannah Hoch Works on Paper.

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Collage in blue and white:

My first attempt of a mask in collage..I struggled with creating the idea of folds and creating depth.  I will be adding ink to create shadow and  give a little more detail.
I felt that the glue was making my work get messy. I wondered if I had the right tools.
Using a small A5 sketch book, allowed me to better focus. I realised I needed to explore Collage artists to look at how they create their work.

I then sat down and reviewed the process..I decided to use a acrylic medium as a glue. I then relooked at the actual material I was using and felt decided to add strength I would gesso where necessary the paper materials I will be using.

This will allow me to draw and add colour where necessary without worrying about the fragility of the materials.

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Njideka Akunyoli

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The textures are of wood ..however the woods are different. I wasn't happy with my first attempt at collage..hence selecting objects that mean something to me..I thing will help to work with collage.  I wasnt sure about the piano key board as the back ground  would be too much information and would not work if I could not create a degree of depth with the collage., however aware that I can draw on the collage to give depth or highlight specific areas.

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I realise that although I had grown up with tartan particularly, the Black Watch and Hunting Stewart. I never really looked at it. I worked in various colours of tissue paper to create the idea of tartan.

I became frustrated with mistakes with regards to copying weave of tartan from a scarf. Some of this had to to with lack of pre-planning. I did do a small swatch, using tissue paper to develop the idea of softness of colour and pattern. I feel it does reflect tartan and softness.

Unlike the room corner which actually meant nothing to me, having selected objects that mean something or have a story has made the work more interesting and challenging.

Obviously at this stage the figure, the instrument and the Red Heliconia, Montserrat's national flower are incomplete...however this piece with regards to collage enables me to combine differing textures with a sense of personal identity.

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The Red Heliconia has a rubbery look, which I was hoping to capture with the red. I have decided the stalk of the plant will be leaves. I am still contemplating how I create the texture and colour of the cello.
I feel that this is quite a planned piece and as I work through the collage. I feel that I would like to recreate this just using colour with no defining shapes..

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Exploration..to incorporate into Piano Collage.

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Developing skills by sketching 1min, 2min and 4min drawings.

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Portrait -Charcoal  (20mins)

I focused on the directions of the tutor, who uses a different method to draw portraits. rather than focus on the actual portrait hence..a rather poor sketch.  I included this to remind myself that practice makes perfect.

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The Skull: Oil

For the last year working on canvas makes me feel queasy..so I had nearly stopped painting..I thought maybe the oils were affecting me..but realises that the grain of the canvas just makes my stomach turn.  So I am doing small pieces of work on smaller canvas boards to combat the issue.  The Raw Umber Collective is an online Art Class.

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Sonic Boom

https://www.youtube.com/watch?v=tNjZbhM2PjE&t=100s

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I enjoy crosswords and quizzes..I also like the uniformed look of word puzzles.
I wanted to create a dynamic interaction but I dont have the skill with regards to digital drawing.

I used acrylic and ink in addition I used  word meanings from a old dictionary to act as a form of coding running on top of the quizzes..

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Covid brought in the need for the face mask.  Initially a blue and white medical mask that helped to prevent the spread of a flu like virus.  

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Covid brought in the need for the face mask.  Initially a blue and white medical mask that helped to prevent the spread of a flu like virus.  

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Using various media within in the Exploring Drawing Module.,  I will use the mask to explore the  long silence that  over life.

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I used sellotape to transfer the image of a clock. I then found an image of a rabbit and added it to the transfer.

I enjoyed this small collage, though I wasn't to happy with how glossy the image came out. I felt a collage didn't need to have a lot of materials to create a striking picture.

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https://www.youtube.com/watch?v=eT9mjaU1pao

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Exploring the idea of fluidity using pastel and water. I wanted to create a subtle drawing of objects appear as if out of the steam of the iron.

I initially wanted to use the iron itself..however I can't afford to put ink into the water well of the iron.  I like the softness of pastels and their ability to blend seamlessly. I used charcoal  and chalk to create highlights and soften the image.

So this first attempt enabled me to explore go on to pouring, dripping and removing differing mediums.

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BERGER, J., & DIBB, M. (1972). Ways of seeing. [London], BBC Enterprises.

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BERGER, J., & DIBB, M. (1972). Ways of seeing. [London], BBC Enterprises.

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What Collages Do: Four Lessons and a Timeline

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https://courtauld.ac.uk/whats-on/what-collages-do/

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Speaker: Yuval Etgar (Curator and Art Historian)

The introduction of collage to modern art shortly after the turn of the twentieth century revolutionised both the material and conceptual conditions for art making henceforth. But while collage initially emerged as a way to break the rules of traditional painting and monolithic sculpture, the term itself soon became the subject of debate and controversy, raising questions about its role as mediator between popular visual culture and high art. And indeed, by the mid 1970s, collage had transformed from a defined artistic practice to a sweeping visual dialect that extends across disciplines; doing so at the risk of undermining its potency as an artistic strategy.

This lecture sets out to explore several of the physical, ideological and historical extremities of collage through the prism of four artworks by Max Ernst, René Magritte, John Stezaker and Sherrie Levine. Operating in two pivotal moments in the history of collage (Ernst and Magritte in the 1920s, Levine and Stezaker in the 1970s) each one of these artists attempted to redefine the limits of collage by replacing material and technical questions such as 'what collages should look like?', or 'what they are made of?', with a strategic approach centred on what collages do?

Yuval Etgar is an art historian and curator, specialising in the history and theory of collage and image appropriation. He is currently acting as Director of Research and Exhibitions at Luxembourg + Co., London and New York, and Adjunct Curator at the Bauhaus Foundation, Tel Aviv. He holds a PhD in History and Theory of Contemporary Art from The Ruskin School of Art, Saint Edmund Hall, the University of Oxford, and an MA in Curatorial Studies from the Royal College of Art, London. Among his publications, Etgar is the author of John Stezaker: At the Edge of Pictures(Buchhandlung Walther und Franz Koenig, 2020), and editor of the anthology The Ends of Collage (Luxembourg & Dayan, 2017).
Organised by Dr Pia Gottschaller (The Courtauld)

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What Collages Do: Four Lessons and a Timeline

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Speaker: Yuval Etgar (Curator and Art Historian) The introduction of collage to modern art shortly after the turn of the twentieth century revolutionised both the material and conceptual conditions for art making henceforth.

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I tried to collage in colour the lemons. This didn't quite turn out as I planned. Finding yellows or colours I needed at the time was difficult. the drawing was out of proportion - again I think sometimes I don't think through processes. I also felt until I watched the Courtauld Video 'What Collages Do', my collages lacked real purpose.

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A line of balloons..each slightly higher than the next.  Silent in the still.  I put a teaspoon of rice, quinoa and salt..into the balloons. The abandons stretched from the door to the living room.. I

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Taking two objects and binding together to create elements of mystery.
O

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Black Sharpie on Kitchen Tin Foil

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White Gel Pen, Alcohol Ink and Black Sharpie on kitchen tin foil.

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Paper plum tray..White Gel Pen, Charcoal, Conte 

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Black Sharpie and Alcohol Ink

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Layered drawing on cling film layers...Ink, acrylic 

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It starts with the body, the physical nature of our existence...from the body we manifest or imagine our world. Our shared histories...collective experiences.
I started this assignment with the idea of exploring the iron and its meaning in my world.  I reflected on the the work of Blake and considered how I could incorporate the use of line  into my  work.  I then thought of Thornton Dial and his use of line to create clarity and structure within his story. Unlike Louise Bourgeois who reflects on her inner thoughts., her work having more of a dreamlike essence.   I would like the  final piece to evolve into some form of assemblage .

I took charcoal  and started to draw the outline of a woman . I used the bottom sketch, as I felt that  the block , made me considered how it represented differing  things, the cornerstone., the destiny stone (The Stone of Scone).  I also practice lithomancy, so for me stones can tell many stories.
I found a picture of the Stone of Scone and sketched this out in charcoal and pastel. I realised that I was starting to block in shapes.

As I am going to use the iron theme I wondered how I will place the items..I felt that my work  becoming dominate by Three distinct shapes..Rectangles, Triangles and Squares.  I quite liked the idea of reducing everyone to its shape..however I was not sure what medium I would use. Watercolour I thought would be too fluid...pastel too light..ink perhaps to bright..I stopped for a few days to consider how I would progress.

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Quick sketch..(from a picture of the top of the Destiny Stone)

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Willie Cole is a contemporary American sculptor, printer, and perceptual engineer.

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African & Afro-American Art & Philosophy