Final Piece.

Project Proposal:

"I will explore vulnerability through the use of painting techniques. I want the viewer to feel uncomfortable, so I will be exploring large scale portraiture, and through experimentation I will decide on a painting technique, medium, material and tools to use for my final piece. I shall make samples using different media, a range of surfaces and tools, documenting the exploration and my ideas digitally on Blogspot."
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As a result of my research into artists, painting techniques, and my own investigation through experimenting with media, materials and techniques, this is my final piece...

I chose scrap cardboard as a surface for my final piece as it is classed as a 'poor material' because it is cheap and highly manufactured which links to my theme of 'vulnerability'. This particular cardboard has creases and jagged edges, making the material itself look vulnerable, it isn't as strong as wood but it isn't as weak as paper but it is extremely absorbent so I did find myself working at a fast pace and applying the paint really thickly, which shows in the painting itself with the directional marks I made with my fingers. These marks are really gestural and create form by showing the rounded cheeks and forehead  as well as the shape of the nose. I chose emulsion paint for the painting because it is cheap and everyone uses it. In fact this piece cost me nothing but time, as they were all found materials, so the cardboard and the paint had already been used which links to vulnerability as I have used abandoned, worthless materials, to create a fine art painting of my sister as a baby. The subject itself is vulnerable; a child. The expression on her face is innocent, and the way she is looking up suggests she is weak and almost afraid, and the quick layered paint technique of contrasting cold and warm colours stir a vulnerable atmosphere where the subject seems scared, not just because of the expression, but the use of the unrealistic and unblended scratchy streaks of colour create an abusive brutal painting. The colours I have used build up tonal value to the painting, the purples are darker and the blues and whites are lighter, combined with my gestural mark making the painting looks 3 dimensional, instead of flat, I gave it depth which somewhat brings it to life. I used the under painting and overlaying painting techniques to build up this painting with layers of paint to create this colourful fast expressive piece using only my fingers and hands to apply and control the emulsion paint, which I really enjoyed because I could get close with the paint which felt quite intimate, because this image is personal to me and the use of my body painting a portrait of my sister worked really well, I really think it is an appropriate way of painting this piece.

I really think this project went well, considering I was working completely out of my comfort zone by working large scale for the first time. I had to move around the painting to work on each section which is something I have never needed to do before with the small scale pieces I have produced in the past. This was an active piece of art work and I really enjoyed making it, and stepping out of my comfort zone which I think is very important in the art industry; trying out new things to push your artwork further because you just don't know what will happen until you try. I surprised my self actually. I must admit I was quite worried to work big scale in case it all went horribly wrong, it isn't something you can hide if you make a mistake whereas working small at a desk is easy, because no one is there watching over you, so I did in fact gain confidence with this project, as I had to work in the hallway at college as there was no room in the classroom, so people were walking past watching me paint, which is something that I have never liked, but I did get a lot of compliments.

I had a few ideas on how to present my final piece, I thought if it was left off the wall it would keep to an abandoned theme, as on the wall it would look out of context. It wouldn't look vulnerable it would look valuable, and that would not work well with the theme, so I had a play around with found boxes to make some kind of rubbish tip installation, making the painting look abandoned, I added a rubbish bag and decided to include the tubs of paint I used, arranging them and spilling their contents down boxes in the installation. I took photos of this as I wasn't able to keep this in the corridor as it would have been in the way, however,I plan to reduce the installation and keep it out the way in the corner of the corridor, because I really think the arrangement of neglected worthless objects reinforce and create a vulnerable atmosphere for my painting. I considered cutting the cardboard down to shape and using the edges to reinforce the back of the painting to keep it sturdy and flat, but as I played around with the arrangement, I decided I really liked the creases in the cardboard and how I could bend it at angles to create something more sculptural than just a 2 dimensional painting on the wall. I am really pleased with the way I presented my final piece, it was fun and I have never created an installation piece before and would love to do it again.

The only factor that I didn't like is the quick drying time of the emulsion paint which forced me to work fast and literally slap the paint onto the cardboard so it was thick, as I needed to work the colours into each other before they dried to build up tone with the contrasting colours with my fingers, but then I did actually get a positive thing out of this. The layered paint created a textured painting and the marks I made with my fingers look obviously fast which gave the painting it's layered brutal appearance, as if the contrasting and unrealistic colours cut you up with its edgy atmosphere, accentuating vulnerability. So even though the experience of creating my final piece was rather difficult, I am really pleased with the outcome and I believe I have successfully worked closely to my project proposal and created an outcome that exactly explores vulnerability. Personally, the layered jagged textured  paint combined with the afraid look in the child's eyes does create a vulnerable atmosphere, but whether you  feel uncomfortable or not, you decide.

John Newling

John Newling studied at North Staffs Polytechnic doing Fine Art and Sculpture. Then he went to Chelsea to do an MA. He was given a fellowship at Wolverhampton in the 70's for 3 years. Newling has always been very lucky, discovered in London by well known art critics. This recongnition gave him the opportunity to live in America for 9 months where he produced work on the streets. Currently based and living in Nottingham, Newling is an international acclaimed installation artist and pioneer of public art, exploring the natural world and heavily inspired by the social and economic systems of society – such as money or religion. So the way in which Newling works and what ideas and materials he works with, he aims to combine radical new thinking with practical action to deliver positive social change.

The first section of the exhibition plays with these two ideas, exhibiting replicas of high street cash machines made in copper, large glass bowls stained with the dirt and debris cleaned from the surface of 50,000 two pence coins and glass cabinets that confine items inside which relate to the act of taking communion in the Christian church.

His second section features new artworks inspired by the natural world and its ecological systems. He grew and harvested over 80 cabbages, and used these to create sculptural artworks through horticultural processes. These can be seen to change physically over the course of the exhibition, as they dry and harden, which is one of the reasons Newling became interested in their use value, they don't stay the same forever because it is a living breathing object. This is perhapse what he is trying to suggest in this piece to the right; the cabbages metaphorically represent a pair of lungs, and are presented on a lightbox on the wall, suggesting an x-ray. His message is probably trying to show the environmental issues of today; we are destroying plant life, and plant life is what breathes oxygen into the world. See, the leaves overlap and have dried out by the time I had visited this exhibition in Nottingham Contemporary, suggesting the death of oxygen as we continue to destroy trees and the environment, whether it be an increase in CO2 emissions or urban development. There is less oxygen. The lungs are shriveling up as a result. The work of Newling is inspired by and clearly deals with current issues of today such as social, environmental and economic systems of todays society, expressing through very simple sculptures and framed pieces. I think the simplicity is what strikes the audience, but for me, I personally like the idea and the message Newling is trying to show. It does make you think really hard at first to understand what this message is. Then I suppose sometime art isn't supposed to be understood or got, it is supposed to touch you, to move you. But I am not moved by the work of newling. I find his work to be too much of a scientific experement than a finished piece of work. Though the lungs on the light box have reason to be there, they have significant purpose. It does make you think and the message touches me. For the rest of his work, it failes to interest me and I just didn't take anything away from his work, but the pair of lungs.

agnes-cecile

Like pages of a diary, Agnes-cecile's portraits are a collection of memories, only she refuses to express the very thought of these moments, rather defining the emotions and not the story. Aesthetic simplicity breathes, flutters and rushes across the page, painting intensified expressions that bleed into each other and fall like rain drops. Washy abstract aspects in her paintings are mixed with a strong realism, which even those who are not interested in the abstract are suddenly attracted to Agnes-cesile's work, because the recognisable figure in each painting acts as an anchor. The abstract in her work is an extension of the subject. However, the hidden meaning of each painting is expressed through her recognisable technique, represented through colour and the body language of the figure, but her message is just her inner thought, a memorandum just for her. But the heavy use of colour and the technique combined almost confines her personal experienses and feelings that inspried each painting, that the meaning is versitile, interpretated differently to who looks at her work. Provoking a contrast in emotional response to each individual. That is exactly what the Italian painter strives to achieve, she wants the paintings to speak to people, to mean something to them rather than what it means to her. She says "If I wanted to talk about important messages to the people, I'd write, not paint." As a self taught artist, based in Italy Agnes-Cecile uses watercolour and varnish in her pieces, using the materials to create striking images that steal your attention, creating mixed responses with the expressions of the subject, the realism contrasted with abstract elements, her work is appreciated by a wide audience. People who can relate and understand, or thoes who are intreuged by how raw the the pain is in the figures eyes aor how the shame is painted so harsh. There is no reason why Agnes-ceciles emotionally infused paintings shouldn't connect with everyone.

Sue Bulmer

Sue Bulmer was born and raised up on a farm in the North-east of England and this is where the inspiration for her work comes from, as she developed a love of nature ant art at a young age. She would particularly sit and draw the chickens on the farm as a child, even now her work is mainly a collection of beautiful stylistic birds perched delicately on pretty decorative trees and birdhouses. Currently, Sue is based in Nottingham and has been for the past 23 years, however, she Attended the University of Nottingham to study Pharmacy. Her passion for art never went away though, and after 15 years of being involved in the sciences, she went back to her artistic roots. She enrolled in a Foundation course in Art and Design, which she believes gave her the extra boost of confidence and allowed her to explore a variety of media such as print, stitch, watercolour and drawing skills. Since completing that course she has continued as a self-taught artist.

I Carry Your Heart

Sue's work is clearly inspired by nature and the countryside, forever stimulated by her upbringing. She is a lovely down to earth lady raised in a very close loving family, and through her work her humble nature is seen with the simple, sweet illustrations reflecting sentimentality, peace and love. An ink pen is simply all she uses to create these bold dreamy illustrations, though she has created some work using watercolour and even textiles. Perhaps she chooses to illustrate nature because this is her sanctuary, and no wonder she feels at ease in the countryside when the world we live in today is almost completely man made. We are living in cities and towns deprived of nature and the once fresh air is thick with fumes from vehicles and factories. Her illustrations are a vision of her life, cherishing what we still have left of the natural world. Sue believes her work is "unpretentious" and that she does what she does because it is simply "the things I like, things I love and things that move me."She states on her website "My work is very subjective and fluid, I let my mood, feelings and current interests dictate what I do."Motivated by the outdoors and the natural world, her quirky little illustrations warm my heart and remind me what really matters. Her style emits a sense of tranquillity, that no matter what gets in the way of my happiness, I can still fly to the top of the highest tree, breathe in the fresh air  and just let go of everything for a little while. Her work comforts.

You can find out more on Sue Bulmer's website and contact her here
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