Year 12 Amalia L Art as Alternate Phase 3
Unit 4 Art as alternate (General syllabus)
Project — Inquiry phase 3 submission Amalia Levick Moreton Bay College
Inquiry question: How do artist communicate relations styles through a personal context? Context/s: Personal context Media: Acrylic Paint on canvas, Impasto, illustrated book, charcoal, carboard boxes, roots, thread and dried flowers
Contents • Focus from Investigation – Inquiry Phase 1 • Annotated resolved work from Project – Inquiry Phase 2 • Resolved work from Inquiry Phase 2
• Artist Statement • Resolved collections of work: Broken Structure 1m x 1m Acrylic Paint on canvas, Impasto, illustrated book, charcoal, carboard boxes, roots, thread and dried flowers
o Resolved Work – Display view o Resolved Work – Details
• Documentation
o Annotated details of the resolved artworks to support performance descriptors in developing, researching and reflecting criteria o Supporting Evidence: o o o o
Developing and reaching to support final body of work Making Process Preliminary Work Further developing and reaching to support final body of work
FOCUS – INQUIRY PHASE 1
The focus of my body of work is the perspective that humankind creates on beauty and decay. Labeling decay as disgusting and not putting thought into the processes and needs it undertakes for our world. My inquiry phase 1 explored how artists communicate the idea of the spirit animal through a personal and cultural lens. My primary focus artists were Deb Mostert and Sally Smart, who explored the concepts of collections through the manipulation of various materials and processes. These artists influenced my experimental research, in which I created a collection of collages using different materials. My experiments revealed my personal aesthetic and a tie in of a cultural lens, to explore animals and their collections.
ANNOTATED RESOLVED WORK FROM PROJECT – INQUIRY PHASE 2
Developing: Personal context – inspired by my own experiences of my grandma passing in which the cycle of decay was evident. An experience all humankind will have yet decay is categorized as disgusting. Formal context - With this personal aspect I was able to draw from it to society’s views around beauty, in which humankind depicts what is beautiful and what is not. Yet something so normal and experienced daily is categorised as unsettling and gross. My focus on ‘humankind’s perspective of beauty in which decay is labelled as not ’ was communicated through the metaphor of the thread stitched into the rotten fruit, society’s perspective fix it up to be perfect again.
Researching: Research influencing my central focus: Joel Armstrong’s formalistic processes and materials of wire and tissue paper sculptures to create clear forms to the audience. Anaya Gallaccio’s Preserve ‘Beauty’ (1991 – 2003) installation creates an immediate focus to normalise the processes of decay as it is beyond humankind’s control and is something we experience daily in the others around us. Kathleen Ryan’s sculptural pieces ‘Bad Fruit’ explores the focus deeper, using the metaphor of gemstones as beauty in her work in which represent decay. In which I used thread as my metaphor on the take on humankind’s perspective. Reflecting: My initial experiments allowed me to develop a deeper connection with the concept of decay which was further represented through the series of mix media works. This allowed experience the process firsthand in a way I haven’t before. This allowed me to use materials which created the aspects of decay as where the fruits were an unformed in places. The repetition of wool fibers around the mold creates a textural element in the work and the realistic aspect of mold being furry. The repeated use of stitching created a metaphor to represent society’s views of the concept of decay in which everything must be prefect – when broken it needs to be but back together.
RESOLVED COLLECTION OF WORK INVESTGATION – INQUIRY PHASE 2 Beauty within 5 Mix Media works 21 x 29.7 cm (A4), 14.81 x 21.01 cm (A5), 10 x 22 cm Charcoal, watercolours, art line pen, coloured paper and acrylic paints on watercolour paper
Beauty within 2 Sculptures 41 x 70 cm, 50 x 40 cm Wire, tissue paper, watercolours, thread and wool
ARTIST STATEMENT
Broken Structure 1m x 1m Acrylic Paint on canvas, Impasto, illustrated book, charcoal, carboard boxes, roots, thread and dried flowers
Broken Structure explores through a personal lens the experiences and emotions I endured centered around my parent’s divorce throughout my childhood. Likewise, connecting and exploring the concepts of abandoned and broken structures through a formal lens. In which abandoned budlings are places of remembrance and strong links of identity tied to the individuals who once called the structure home. My body of work intertwines with this concept through the strong connections and memories once shared in my childhood home before the separation. The combination of all elements in my body of work has significantly influenced by Ben Quality, Frida Kahlo and Tyrone Wright who explores various media and forms related to my main focus. The canvas being ripped with holes displaying an image of my childhood home, that has been broken since the separation of my parents. Placed in the ripped holes portrays elements of my emotional journey. The charcoal drawings being memories of travels once shared as a family, surrounded by dried and decaying flowers capturing element of the memories detreating. Likewise, the stitching of the canvas symbolising my emotions trying to repair the situation that occurred. Lastly, the tree roots convey my sense of growth and acceptance of the changes in my life, knowing that me as a person will always stayed rooted in the walls of that home.
RESOLVED COLLECTION OF WORK – DISPLAY VIEW
Broken Structure 1m x 1m Acrylic Paint on canvas, Impasto, illustrated book, charcoal, carboard boxes, roots, thread and dried flowers
RESOLVED COLLECTION OF WORK – DETAILS
Broken Structure 1m x 1m Acrylic Paint on canvas, Impasto, illustrated book, charcoal, carboard boxes, roots, thread and dried flowers
ANNOTATED ILLUSTRATION OF RESOLVED WORK Developing: Extended from my pervious focus and body of work in the IA2 phase. Extending from humankind’s perspective of beauty in the form of decay being categorized as disgusting. Captured through the dried flowers and concept of the broken structure of the home. Personal context – Inspired by my own experiences with my childhood centered around my parents’ separation and the emotional journey I inured. The feeling of brokenness captured in through the holes in the canvas. Likewise, evident in my body of work my emotions coming to accept the situation, shown through the thread sewing the holes back together. Researching: Research influencing my central focus: Ben Quality’s formalistic processes and materials of thick and textured brush work creates expressive forms to his audience. Frida Kahlo’s ‘The Two Fridas’ (1939) artwork effectively portrays an insite in her emotions coopt throughout her childhood with the separation of her parents and her partner. She captured such feelings through the use of metaphors and realistic imagery. Tyrone Wright’s installation work explores the main focus, using abandoned structures and painting imagery with elements of beauty through the human body. Taking inspiration for my body of work through metaphor of my home being abandoned and broken after my parents’ divorce. Likewise, capturing the elements of beauty and decay through the dried flowers. Reflecting: My initial experiments allowed me to develop a deeper connection with the concept of decay and my emotional journey through my parents’ separation, in which was further represented in my body of work. The processes and metaphors undertaken allowed me to have a deeper connection with my work and reflect that through on to my audience. The materials of thick and textured paint work created an expressive mood allowing my audience to better connect to my emotions. The use of metaphors through the holes in the canvas explores the idea of broken and destroyed structures. Likewise, the repeated use of stitching symbolises my emotions trying to fix and put back together my parents’ divorce. Lastly, the use of the roots explores the idea of growth and coming to accept the change in my life. Likewise, my roots as human being will always be interchanged and rooted inside my childhood home.
SUPPORTING EVIDENCE
Ben Quality’s use of thick and textured brush work had a prominent influence on my body of work. In the aspect of the painting of the house to achieve an expressive look through the brush work.
The formalistic qualities of my painting were inspired by the thick and textured marks of impasto that made up the abstract self-portrait of Ben Quality.
A broad spectrum of plate knifes, and brush sizes were used throughout the piece of art to create various marks that ranged in thickness and transparency to generate a more dynamic sense of visual interest. Each of the marks helped form an expressive and emotional feel to the work.
Ben Quilty Self-Portrait 1973 Oil on Linen, 130.0 x 120.0cm SOURCE: The Conversation < https://theconversation.com/a-noisypassionate-show-from-an-artist-in-a-hurry-quilty-has-just-oneemotional-pitch-112943 >
In juxtaposition to the use of expressive brush work in the bright coloured areas of the canvas, other sections featured bold contrasts between light and shadow to create a realistic and 3D sense to the artwork.
SUPPORTING EVIDENCE – MAKING PROCESS
Used blue colour thread to help the stitching standout and symbolise the emotion of saddens hence putting the hole back together.
Applying paint to canvas with a palette knife – inspiration from Ben Quilty. Ensuring each layer that is applied is visible.
Close up shot of hole cut in canvas – cut with scalpel knife and ripped. Ensuring I used the scalpel knife so the rips do not travel to far Process of creating my body of started with drawing up the desired design, to ensure I got the shape before applying paint. I had to redraw over my first sketch with charcoal (in aim to see the redrawn lines clearer) to insure the proportions of each element was correct this time
Four holes selected at random in different parts all over the canvas. At this step I need to start thinking about how I will attach the boxes to the back of the canvas.
My final complete body of work. Very happy with how all elements turned out and even over coming such challenges all came together in the end.
Two out of the four boxes each box having a different element inside. In the process of making, I soon discovered that when attached to the canvas the boxes were a bit dark and hard to see. I over came this problem by poke a hole in the top of each and sticking an artificial tea light. This further added to my meaning by the memories of my travels with family are being burnt away due to orange glow the light displays.
Process of attaching the boxes involved hot gluing each one individually – this worked due to the boxes not being overly heavy itself or the elements inside. In addition, the rope already attached to the canvas was also utilised to help the boxes stay secure.
SUPPORTING EVIDENCE – PRELIMINARY WORK Experiment Work 1 21 x 29.7. cm Art line pen, Brown card and Watercolour paper Experiment explored the concept of abandon structures in a form of a collage. However, soon concluding this medium is not alternate in my personal aesthetic as this a material I use for most of my works thus far. Soon after experimenting with paint and other mediums.
Experiment Work 1 21 x 19 cm Charcoal, Acrylic paint, Impasto Initial experiment to explore possible materials and media for my body of work.
Experiment Work 2 Digital Photographs Various souvenirs from family holiday
Experiment Work 3 5 x 20 cm Driftwood and Acrylic paint This experiment aid with my research to explore my focus in a deeper meaning using metaphors. Taking inspiration from Frida Kahlo’s work ‘The Two Frida’s’ in which captures the idea of a broken relationship through imagery. The cutting of the main artery connecting the two hearts, implying neither bodies will be able to. function after the breaking. Likewise, my focus of decay is further captured in the way of ageing piece of driftwood.
Experiment Work 4 Digital Video Various Windows from around my home The digital video displays different windows ranging in size and style around my family home. Undertaking this experiment would allow me to explore deeper into my focus and prepare me for my body of work. In the video the binds differ in level, as the video goes on the bind gets closer to closing and in the last shot is closed. This aspect was selected as windows are the way of seeing in. However, the blind slowly closing capturing the memories shared with my whole family before the divorce. Now kept inside the walls of the home.
I took photographs of various souvenirs in which were collected on my family holiday. Likewise, using other elements to capture my focus of decay through the flower petals and driftwood. In addition, the vintage suitcase represents the idea of travel, and the outdated feel again captures the idea of ageing. To further implement such aspects into my body of work by drawing such objects in a unique media.
SUPPORTING EVIDENCE
Frida Kahlo’s paintings portray her emotions she coopt throughout her divorce with her partner and childhood with separation of her parents. In which she conveys the feeling of downhearted and loneliness to her audience. This was a personal concept that I explored in my own work through my emotions with my parent's divorce as a child.
Frida Kahlo The Two Fridas, 1939 Oil Paint, 1.73 m x 1.73 m SOURCE: < https://artsandculture.google.com/story/the-twofridas-1939/_wJCem8xJOWKLw >
Rone’s concepts of new and old in an abandoned mansion, allowed me to explore this view and I aim to create my large painting displaying a decaying structure with an element of beauty. I likewise want to ensure my body of work brings the audience through senses as Rone does with his installations.
Tyrone Wright The RONE Empire Exhibition, 2021 Oil Paint SOURCE: < https://hunterandfolk.com/journal/rone >
• Showing Frida’s two different personalities • One a traditional Frida in Tehuana costume – with a broken heart • The other Frida modernly dressed • Expresses her desperation and loneliness with the separation from her partner • Two Frida’s holding hands • Visible hearts - main artery coming from the torn heart down to the right hand, cut off by the surgical pincers held in the lap of the traditional Frida • Blood keeps dripping on her white dress and she is danger of bleeding to death • Stormy sky filled with agitated clouds may reflect Frida’s inner turmoil
I was inspired by Frida Kahlo’s use of metaphors with the use of the torn hearts, I implemented into my initial experiments. However, adding my element of decay through the driftwood.
My body of work was likewise inspired by Frida Kahlo’s through the use of the element of natural materials such as the roots and dried flowers. The roots symbolising my emotional growth coming to accept the change from my parents divorce and my roots as a personal will always stay in that house. The flowers a symbol of decay. Such element can be seen here in Frida’s artworks.
Frida Kahlo Self-Portrait with thorn Necklace and Hummingbird, 1940 Oil Paint, 47cm x 61 cm SOURCE: < https://artsandculture.google.com/story/thetwo-fridas-1939/_wJCem8xJOWKLw >