Revisited suminagashi this week, exploring how substances float on water. Tar volatiles, oil, ink. Rice paper the best carrier, although fragile tissue piggy backed on to newsprint worked well too.
Back to the tar works again today to record the remains leeching out into the water.
Hi AA2A artists
You should have received by email the first artists newsletter today. You can also find it here: AA2A Artists Newsletter
So I`m pretty sure that if I can just find the right paper, my work will be transformed. Its not my skill that`s at fault, its all down to the paper, well & maybe the pencil, but one step at a time. So off to find John Purcell Paper. Train to London, tube to Brixton, walk to the backstreets & here the pilgrimage ends. A somewhat world weary industrial unit, a pile of pallets, forklift truck & a guy having a fag. Possibly not an angel. The entrance is through the warehouse, squeezing past rack after rack of paper. Up the narrow wooden stairs & through the pearly gates. Plan chests ooze samples, all labelled. Exotic papers from Korea, Mexico, Japan, Nepal, I mean paper from Nepal ! Names like Hahnemuhle, Magnani, Fabriano & Zerkall. How can my work not be utterly brilliant if its on Kozo 52gm ?
Pic of the Week: Coventry University's AA2A artist Adrian Baynes' image from his Dotbiz album 'Adrian Baynes artwork'
You can see more of Adrian's work on his Dotbiz page.
Tip of the Week from AA2A artists to students (as featured in our self-employment talks):
'If you make work that's true to yourself, that you really believe in, then everything's easier.' Jane Barwood, AA2A artist at Liverpool Hope University (2013-14)
Other news: Great to see so many of you using Dotbiz to introduce yourselves! Having a profile on the site is a great way for your students to be able to identify you and easily see examples of your work. Don't forget we also have a listings page for advertising any upcoming exhibitions you may have and our 'Pic of the week' is also showcased on our Twitter and Facebook pages so it's a great way to promote your work. A final reminder that our Dotbiz training guides are available to browse on the website but please just get in contact if you're struggling with anything!
The blotchy face of a man in the faded light of a grey, but not wet, afternoon. The Post Office is closed. We will never send mail again. Instead, we will throw our heavy bodies in the water, such as bottles do at sea.
SOS. The SOS of a UFO. In French, it’s an OVNI. Why don’t you say the OVNI since there is only one, there, behind the dunes. The dunes with wild and salty grass like dirty hair. Did you ever notice the dozens of little bugs that bounce when your sole touches the dunes? Barely have you brushed the first grain of sand that their minuscule legs have already taken off.
I would always want to be posted here, in the midst of the dunes, the shingle, factories, car parks and mini-golf. Feeling the sticky wind; having little shivers; walking, progessing with difficulty. The North sea doesn’t seem to have an horizon. It is gobbled up by the dirty sky and the brown water. No fishes, but sand. Everywhere. Sand between the toes, in the nostrils and in your eyes.
How to explain of what this project consists? The why and how.
The town has its own prose. Not poetry but prose. A monotonous prose, muddled and a tad sad. Actually, very sad. And I underline the very. Is it possible to shape a project around sadness?
– I only went there on Sundays afternoons.
– The weather was never sunny. Or at least, not yet.
– It has often been cool. Not cold, cool.
Those three elements are decisive.
To see some stills, please go to my website: http:/
Sorry, I can`t help it. I keep thinking about the viewer, the one who is looking at my work. I know that until I get my work exhibited no-one is looking at it, but I keep thinking about this mythical person, none the less. My first inclination is to impress them with my stunning technique. That black blackness that stands out on the wall, the vigorous, precise lines, the sheer originality of the concept. No this isn`t going to work. I must do what I, the artist, wants to do. Nope this isn`t working either. So I am working on a plan to make the work about the viewer viewing the work. Its a secret plan obviously, but if you keep reading the blog I will share it with you over the coming months. I think the Turner Prize is as good as mine .....
I don`t know about you, but I get really bored with sharpening pencils & conte crayons with a knife. Every few lines & it has to be done again. So now I`m drawing full time, I thought I`d invest in an electric pencil sharpener. Much studying of the vast selection led me to the Swordfish MultiPoint. As it says on the box :- accepts 6 different pencil thicknesses, strong replaceable helical blade, auto stop to prevent over-sharpening, safety Off feature, 4 second sharpening. I mean what professional artist could do without one. Well it has arrived. Much excitement as I thrust my conte 3B crayon into the correct orifice. Much whirring. Much chewing sounds. Crayon getting shorter & shorter. Just in case you ever wondered, a strong replaceable helical blade can mince the entire length of a conte crayon lead in 4 seconds. Life can be such a disappointment....
Is it okay to establish some rules for creating art ? Rules & art don`t seem to sit comfortably, but hey let`s break the rules & have rules. So I think I want to do stuff that I like. I like drawings. I like pitch black blacks. Shading does it for me, as do confident lines & don`t get me started on borders. I`m starting to pay attention to what artists say & making notes if I agree. Today Ryan Gander (its always Ryan Gander isn`t it ?) said in The Independent ( well its better than The Times) "most things that work well in a single image aren`t very good artworks. I like this because it means I can dismiss Banksy as an artist (even though I like him). Actually I would`t dismiss anyone as an artist, but you get my drift. Second rule isn`t a rule, just a word "ambiguity". I like this word & I`m going to keep testing that all my work features it. My understanding is that artwork has to leave space for the viewer to interpret it in their own way. If the work tells one story, say a photo realist image of a chrome car, there doesn`t seem to be much room for ambiguity, it`s a car, admire the technique, squeel of tyres, its gone. So we have a plan. Not much of one, but its early days.
Firstly may i apologise in advance if i post incorrectly, I'm more of a pens, pencils and print gal than posts, blogs and tweets but I'm a tryer so here goes.
I'm one of the newbie AA2A reps based at UCLAN Preston so hopefully I'll be bringing you lot's of exciting photos, info and ideas both from our AA2A Artists and me. Coincidentally I'm part of an exciting group exhibition, preview night Tuesday 11/11/2014 5pm -7pm Hanover Building, everyone welcome and if that doesn't sell it there's free nuts!!!
Hope to see you there and I'll be back soon with more stuff.
It may be second nature to you, but having spent a lifetime designing, I`m programmed to satisfy, make things that are useful. You get a brief, you design what they want, they are happy, I get paid, easy peasy. I`m starting to realise art doesn`t work like that. Sorry I`m a bit slow. So now I`ve got to unlearn this & start being useless. I blame Marcel Duchamp. He takes a perfectly useful bicycle wheel, mounts it upside down so it is useless & bingo, mega bucks art. I`ve been reading Design & Art and there`s a great essay by Joe Scanlan, "Please Eat the Daisies". He quotes Thorstein Veblen as saying "the extent to which an oblect fails to be useful only enhances its value as art. Beauty`s most basic trait is its lack of utility". And I like this one "Art is the ultimate pointless eneavour and thus one of the most flattering things a person can be associated with, since its presence always implies the ability to waste huge amounts of time on something that has no ostensible use". I can`t help it, I want to be associated with art. I spend ages visiting galleries, now I want make some. But all the time I have one eye on this "satisfying the viewer". I want to impress with technique. I want to thrill with concepts. Even demonstrating my intuition can`t let me escape.
Then I had a discussion with an MA student at Chelsea & she said "you can do what you like". The cell door was open all the time......