As I am completing my boards, it seems like the right time to figure out how to finish the edges. I knew I wanted to do them one colour all round as I’m looking for a sharp finish, I had heard about a previous graduate who coloured the back of her boards … I decided that because colour vibrant throughout all boards it would be interesting to see if it could reflect off the exhibition wall.
Using this effect could suggest;
Highlighting the floating qualities in which French Cleats hold
To create a more sensual experience / a glow
I realised that the choice of colour would be an important factor to consider, I shone the coloured side of the board’s against the white wall. It was clear that throughout this experimentation process the bright yellow was the most successful. I did initially think about selecting a different colour for each board, but as the boards will be so close together/touching one colour would create a bigger impact. So I decided to prime all edges and back of the boards white [add image]
we were also shown the plan for the exhibition set up
In Gerhard Richters ‘Atlas’ series we are shown a tremendous archive of various pictures since the moment of his creative breakthrough in 1962. From snapshots to magazine cut out’s, Richter has acquired these images as they have caught his eye or through means of inspiration. The archive holds over five thousand photographs which portray his life at that moment in time and subjects he relates to, whether it by kitschy tourist New York cityscapes, bad family portraits or romantic sunsets expressing all aspects of nature.
“The Atlas comprises over five thousand photographs, drawings, diagrams and proposals which constitute the foundations of Richter’s practise as an artist.” – Iwona Blazwick 2003
Gerhard’s archive shown in a grid format presents to us his ideas, processes, life and times of the artist himself in sections with the occasional diagram or plan of how the artist himself see’s these images in a studio space. An intimate perspective on the artist’s thoughts and what inspires him as an individual. Often these collected images acted as a basis for a subsequent painting, a painting which holds more truth and is illogical as opposed to the static photograph. It is clear from this series that the collection and preservation of these images is an important part of Richter’s artistic strategy. An example of this is ‘Parkstück’ 1971, based on panel 155. The relationship between panel and painting is clear, his use of abstraction in his brushstrokes conveys truthful movement within nature.
“He looked to photography for a way to release painting from the political and symbolic burdens of Socialist Realism and Abstract Expressionism.” – Helmut Friedel
Below are images of selected pages from Richter’s ‘Atlas’. Natural landscapes alongside man-made landscapes.
This inspired me to archive my photographs and drawings which have accompanied me throughout this project, it has been really helpful as all the imagery is set out in sections/categories and is all in chronological order. Below I have inserted photos of my version of ‘Atlas’;
This contextual reference has been included on my blog because I enjoy the overall view of the exhibition space. It is simplistic and the use of white space around the artworks helps this. For my exhibition set up, white space will be crucial as it enforces a large background to which the artwork will sit on. I believe that because my paintings hold busy and colourful formations, the use of white space around the artwork helps to promote the reflection of colour from the back of the board.
These landscapes were created initially through the method of collage, I found that once I had made a few collages I was able to paint freely with all the experience I had gained from that initial process. So although these boards don’t necessarily follow an exact collage they have been inspired by the collage making technique and outcomes I had encountered by making collages. This method helped me to become a lot looser whilst painting, creating these abstracted and figurative portrayals of the passing landscape. I had helped me to make the natural, unnatural. By using sharp lines, bright colours and juxtaposing memories from home with actual landscapes that I had passed by.
My aim for this project is to create a journey which encompasses my feelings associated with going to and from my home in Shropshire, glimpsing at passing landscapes and targeting my thoughts as I am passing these landscapes. Whether that be my fathers’ bright blue shed, my mums’ many mismatched pots scattered in the garden or the hills in the background. By combining all of these aspects of ‘going home’ I am able to create an exciting collage style, throughout the making of these boards I experimented with colours and how they react to each other. The shapes of the natural environment and how I could create a continuance throughout the boards as they are side by side.
I decided to create three daytime landscapes, which focus on the vibrancy of colours and use of mark-making to intensify the fast passing hedgerows which are eye-level to me as I sit in the passenger seat. These paintings are abstract and convey dreamlike qualities, which corroborates with my effort to try and illustrate a memory state and also the abstracted perceptual field which being in a moving car has. The three nighttime landscapes also incorporate the elements I explained earlier, but they are darker and have more silhouettes. They are bearer which also illustrates how the nighttime landscapes are harder to visualise, being in a car means that the only light is either from the car headlights, street lights or reflectors on the road or signposts.