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warm ground & cool ground on 10x10' acrylic canvas

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warm ground & cool ground on 10x10' acrylic canvas

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I didn't have a burnt sienna so I used a red oxide instead as it's a warm red to do the warm ground. I used a deep green similar to phatlo green for the cool ground.

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In attempting to showcase the paper as more than a mundane everyday object, and bring forth the materiality of it, as a group we attempted to make a short and simple routine. It consisted of us tearing our paper in half, moving it across the screen and scrunching it onto a ball and giving the illusion that the person in the bottom screen is throwing the ball to the person on the top screen. Honestly, this activity , I found slightly difficult, drawing blanks on how to show that paper is MORE than a two-dimensional object.... perhaps I might delve into further research onto it.

(in this image is a screenshot of Jorja's screen so we could see who was in which box as she was the one who screenrecorded our performance.)

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some compositions I tested for the still life activities.

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I ended up choosing this one because I liked the composition of it as opposed to the other 3. I think it presented all the objects well, and visually it looked balanced.

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I painted the still life using acrylics on a 12x16 canvas using raw umber as the undercoat for it.

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I'm excited for how it's going to end up looking as I've never done a still life painting before. I don't believe that my tonal shading is completely accurate, I used my iphone to convert the image into b&w to see the different gradients. In future, I plan to improve this and also look into colour theory more.

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In reading this article, I was able to see the parallels between the original principle of painting and the purpose of Instagram, how they both exist as a means to publicly display the aestheticised images of our lives (wealth, fame, glory, etc). It exposed the continuity of the way humans have produced images and the way we perceive/want people to perceive them .

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Amber believed that I was drawing between two different type of characters and should choose one. As I wanted to originally work with impasto textures and layers of paint, she suggested that I adopt a character as a teacher for the blind. Therefore, the works I create is intended for them to feel with the layers of paint for them.

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I got a new idea where I decided I wanted to make the author of the paintings to be a hair dresser. I intend to try to capture the movement in the space and materials used in hairdressing such as the scissors or the spray bottle?? also, the emphasis of hair being the central focal point of hairdressing. I want the works to be dynamic and focusing on a single item for each painting that encapsulates the occupation of the author of the paintings.

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me looking into my photobooth camera to draw a self portrait of me on paper.

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self portraits by pencil & compressed charcoal 

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self portraits by pencil & compressed charcoal 

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I've always struggled with drawing realism or a realistic depiction of something which was what was intended for the portrait on the left. It's slightly better but still similar to the 1st portrait on the left. Although, personally I believe it is more intriguing to look at than a realistic drawing.

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I found it to be more visually interesting to draw in continuous lines or even with my eyes closed. The results are unexpected, and there's still similarities shown in all 4 drawings that are distinct to Khusboo's face (most specifically the dangling earrings she was wearing.) I might try this technique for the portrait??

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I do believe the acrylics look much better layered from the raw umber ground, it brought more visual interest and depth into the painting.

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I went to officeworks and bought 3 stretched canvas, 2 is 7x9 and one is 8 x12. I intend for the portrait to be the focal piece as that is what exudes their soul, spirit and personality so I plan on positioning this painting in the middle. This is also why I specifically chose a larger canvas for it, and the other 2 enrich the visual narrative of the character I chose which is the "hairdresser."

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colours I use for the grounds.
raw umber: still life
green deep: portrait
ultramarine: landscape

I decided on doing a cooler colour for the portrait and landscape as I learn that when painting use a cool ground if the painting is going to be dominated by warmer hues and vice versa.

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I chose to focus on a single hairdressing scissor as it's a universal tool that it's easily recognised for hairdressing/cutting hair.

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I searched for salon chairs as I believe a chair is a distinct object within the landscape of a hair salon. I found this image on pinterest and was drawn to the bright yellow of the chair. (cited in bibliography)

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It was fitting to choose a yellow chair as they were complementary colours in the colour wheel, and I believe they contrast well. I intentionally composed the chair and both scissors in the canvas because I wanted it to be salient image, making a clear indication of the visual narrative I'm intending to convey.

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I painted the background with 2 different shades of ultramarine + white, I personally like the look of it contrasted against the vivid yellow chair. I plan on adding another of layer for the chair and perhaps adding a figure sitting down on the chair??? I want to convey movement of people and a kinetic energy that's in the environment of a salon. I'm taking inspiration from the impressionist movement and how artists conveyed a sense of motion through their brushstrokes.

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To complement the warm ground, I painted a cool lavender colour which I believe blends well and creates an interesting layer on top of the raw umber. Similar to the chair, I plan on showing the movement of the scissors to parallel, the constant motion in a salon environment, in both people and machines/tools.

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I attempted to create a fuzziness in the scissors by rubbing the wet paint with a dry brush however, the outcome isn't exactly what I wanted it to look so I'm going to try again when it's dry. I plan on doing less transparent scissors showing it's movement opening and closing which overlaps with this first layer of the scissors.

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 Always Learning to See - The Art and Thought of Sargy Mann

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this short film gave me an insight into Mann's artistic practice, and how he constructs his paintings despite his loss of sight. It was genuinely so interesting in seeing how he saw the colours of the landscapes and subjects, painting figuratively. The viewer is able to experience how he envisions this specific subject through his eyes.

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The 7x9 frame feels too SMALL for the still life and landscape so I'm going to attempt to do it in the 10x10 frames that I have which I've also done a cool and warm ground on for the previous activity.

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I decided to look for found images of a hair salon such as the scissors and the chair to get inspiration for my painting. I made them in black & white because I found that showing the different hues in the objects is both visually pleasing and interesting to look at, giving the painting greater depth. The b&w helped me to distinguish which areas were of a darker and/or lighter hue.

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I still want to be able to show the motion of the scissors when cutting, so I plan on putting a gloss medium on the acrylics in order to make them more transparent. This is so they can be layered on top of these base scissors, and I'll hopefully show the motion of them. Also, I will add more layers to the scissors by adding tarnish marks on it to show the age and do a wavy motion???? on the scissors when painting them again to show memory and movement?

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I feel that purple show the vividness and liveness of a hair salon as it's a living space that is full of motion and colour (in people's hair). The cool ground of green complements well with the purple colour on top.

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my first sketch of the chair it seemed to small as I got the idea to show the age and memory within the chair through a worn out look with the wrinkling of the fabric. Originally, I wanted to put a human figure sitting on the chair but I realised that the salon chair and it's textures and colours should be able to speak for itself hence, why I enlarged my drawing to be able to both exaggerate and present the details more clearer.

(I also chose a chair for the landscape because It's a recognisable symbol in the salon, so I wanted to showcase the interior design of a hairsalon)

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close enough of a colour match???? it ended up a skin tone match, I had to mix raw umber many times (trying it with white and then warm red and a mix of black and warm yellow????) ....I had many variations but I ended up with this swatch which was mainly warm yellow + raw umber + white.

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I wanted to contrast the colours as blue and orange are complementary, making it more visually appealing and striking. I personally love the look of it and seeing the different hues, I plan to add the the tear and wrinkles of the chair manually, experimenting where to put it in using my imagination.

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In attempt to convey motion, I overlapped multiple scissor blades, and at first they looked messy and smudged. I rectified it by adding the background colour in between to divide the blades, making it look more polished.

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Personally, I'm liking how it turned out, I added gestural brushstrokes being inspired by the impressionist movement around the scissors that simulate this sense of movement.

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thinking I'm gonna add little details such as rust???? and refine the painting.....

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I wanted to show a painting of cutting hair because it's such a potent action in hairdressing. It defines the character that I developed entire personality/persona, this is her job and her passion, this is the essence of herself.

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I wanted more gestural strokes (taking inspiration from impressionist) on the hands, not wanting it to be anatomically correct but more of an impression which viewers can identify it's a hand.

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in accordance to keeping pop of colours, I chose pick because I'm planning on doing blonde hair strands which I believe will complement the pink tones.

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I'm trying to think if I should show motion in this chair through multiple legs walking from in and out the chair? or keeping it simply from the crinkles shown in the chair???

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I didn't intend to do a realistic hand but I wanted the strokes to be more gestural, and gives the impression of a hand, doing fast brushstrokes (inspired by impressionist). Also, wanted to be able to give a sense of fluidity and motion when viewing it.

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I was planning on doing blonde strands but the yellow didn't look as good as I thought it would so I went with black hair instead. Also, I repainted the background adding different hues of pink and did fast brushstrokes which went in different direction to give off dynamic and movement in the act of hair cutting.

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I experimented and painted a figure on the chair and painted multiple feet walking across at the bottom to show the movement, and the multitude of customers that come through a hair salon. I honestly think it made the painting a lot more visually interesting....

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I realised I didn't like the look of the feet as I felt it wasn't visually strong in conveying motion so instead I tried to explore depicting movement through these ambiguous figures, moving through the scene/landscape to present the commotion in salons and the multitude of clients that come through.

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I had two options in presenting and I was trying to think which one was both more visually pleasing and which conveyed the meaning that I was intended. I liked Presentation Option #1 but after a while, I started like #2 as I think it conveyed the meaning that I intended better, the visual narrative felt as if it flowed better. I wanted to present the 'self portrait' painting on the top as this is the author of my painting's essence, her soul, her passion and profession. This is her life. Then I wanted the viewers eyes to go to the landscape and still life, as this is the world through her eyes, this is her story.

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My first thought of a title was just 'A Day In The Salon' which was simple, and self explanatory so I wanted to try and do a more interesting title. I thought of 'In Her Element' which to me captures the author's persona as her career as a hairdresser is her craft and form of self-expression. This is what she does!

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I'm gonna work on the landscape painting to show more movement in the figures to refine the paintings. I'm pleased however, that my teachers and peers thought my paintings were good and it saw what I intended them to see which was the movement and energy within the actions of a hairdresser and the environment they're in.

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brilliant red + warm yellow + white for the colour of the background of the landscae

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In taking Amber's suggestion of adding the orange background on top of some of the figures to depict a better sense of motion. It honestly looks better and I see more movement within the works!

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From watching the short clip about Kristie Rea's material and conceptual practice on working with both two-dimensional images and three-dimensional glass works was fascinating. How she brings the experience and the feeling of being in that place, that human touch that is seen through the raw moulding of the glass is beautiful.

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I was unsure on which images to take photos of for the Studies With Light activity we're doing next week, and asked Bec to which she responded that it can be any image shot through glass and to try different subject matters. I took this small piece of glass from a picture frame and took pictures of plants, the outside of my house, lamp and a guitar. In the end, I decided to choose the plant and the lamp because I liked the look of the composition and the light and shadows which come through the picture.

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notes from the video on how to load film and process, as well as the introduction to the 35 SLR film cameras.

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In this exhibition entitled 'Tableaux Pictures Photographs 1996-2013,' Wall constructs a space where in the curation process the pictures have a relationship with one another to draw a fluidity and visual narrative so the viewer experiences the photographs in a certain way. He constructs and composes each photograph to gain visually pleasing compositions through the balancing of colour, experimentation of light and relationships with people. Wall's experimentation of bringing forth the idea of fiction and reality, having it appear to be an accident when everything within the pictorial frame is staged allows audiences to question this idea of what is authentic and what isn't.

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Jeff Wall: Tableaux Pictures Photographs 1996-2013

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I've decided that I'm going to create a small-scaled realistic model of something (unsure still) for this major project as it's more inexpensive for me and I want to experiment in creating a realistic miniature model of something that appears to be life-scaled.

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I was struggling in coming up with a tableau scene and reminded myself to keep it simple, and I looked back at the presentation to see artists that were shared to get inspiration such as Oliver Boberg and Anna Carey. I wanted to create a scene that presented the absence of people, sense of isolation in an urban landscape (similar to the concept that Edward Hopper is famously known for) and came up with 2 scenarios. I wanted to either do a birthday party where nobody showed up or a hoarder.

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The idea of constructing a scene of a hoarder, a bedroom space that appears almost abandoned but you're able to tell there's some presence as there's visual hints of discarded food, newspapers, markings on the calendar was an interesting idea to try. I intend to make this appear cinematic, having the colours complementing each other and perhaps printed on an A3 scale??

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This video was super helpful in informing me how to create a realistic mini bed for my project.

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DIY Dollhouse Mattress and Bed Frame: Making Festers Bed

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This video provided me some tips and tricks in how to construct a diorama, mainly providing me the essential tools needed such as exacto knifes, glue, paints, etc.

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To symbolise the passing of time, I chose items such as the piles of newspaper and clothes, discard food and calendar paper. To convey this sense of isolation, I wanted to close the blinds but have a gleam of light shining through.

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I tested on destroying the film with hydrogen peroxide, scratching it with a needle, tinting with foo dye, nail polish and colouring with a marker. I think I'm going to go with the marker, nail polish and needle approach because it's the ones that work well and would create interesting effect son the 16mm film.

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In seeing what the subject of my cut of the 16mm film was - a man running to his dog and then cuts to a man playing a clarinet or flute with a little girl (perhaps his daughter?) dancing to the music he's playing. I decided for the first cut (man running to dog), I would block out the man which hopefully it'll look as if it's a ghost figure or blob. For the man playing the instrument, I coloured the background with blue and red to add some visual interest and to hopefully contradict or maybe match the music he's playing. I proceeded to scratch the rest of the film, most specifically the figure (man playing instrument) and the sound to disrupt the film and add visual interest.

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For this weeks tech workshops I did:
- glass
- sculpture
- jewellery

In attempting to score glass and breaking them then painting them, was tricky at first because breaking the glass was a bit challenging as it didn't cut exactly as I wanted it too. As a result, it ended up in these accidental triangles however I was fond of it and went along with it. I painted it in an abstract expressionist way because I believed it to be more interesting and experimental so I look forward to what it'll look like.

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SCULPTURE
We were given an introduction to the wood workshop, being introduced to all the tools we could potentially use for our future artworks. Personally, I'm not inclined to use wood for my artworks presently however,  I'm glad to have the option if I do happen to need it for the future.

JEWELLERY
We attempted to make rings by filing the wax mould of them and my wax was THICK. I spent the 2 hours filing it down, creating a signet ring which was tiring but rewarding. It's still unfinished and I look forward in continuing it next workshop, hoping to sand it down and engrave it. I think some components in this workshop was interesting and I might in the future use their tools and expertise to maybe incorporate it into a future work.

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Towards the Reinvigoration of the ‘Western Tableau’- Some Notes on Jeff Wall and Duchamp

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- foam board (easy to cut and assemble)
- paddle pop sticks (to create hardwood floors and furniture)
- cardstock paper (for wallpaper)
- craft glue (to use to stick w/ materials such as the foamboard, cardstock,etc)

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I bought a foam board from eckersleys to create the bedroom for my small-scale sculpture/diorama. I decided to make it an A3 scale so I measured the boards in order for it to line up and create a 3D model.

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It turned out well, it was actually a bit uneven as my cutting was that straight but It turned out okay. The glue didn't stick on the sides of the other foam boards so I had to resort in taping it which made it look more put together. Also, I placed the wallpaper which is the navy blue cardstock paper, I specifically chose a warmer cool tone to create that sense of alienation and isolation within the bedroom so the room would appear a lot darker and morose.

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I constructed hardwood floors with paddle pop sticks because I wanted it to be appear realistic.