Summary of tutor feedback
Learning points from tutor feedback:
- Continue to explore using a variety of unconventional/innovative painting media and a range of primed papers/supports.
- Experiment with the use of negative/positive space and compositional balance.
- Continue to consider narrative content – is there a story to be told, how do you draw the viewer in?
- Seek tension in paintings, e.g. between convention and innovation, cliché and experimental even iconoclasm (the action of challenging or rejecting conventional approaches, values and practices).
- Continue with/explore more painterly and free application of media.
- Need to work on line approach to drawing with a brush.
- Think more about arrangements of sketches/paintings in a series.
- Continue to experiment with gestural mark making combined with use of colour.
- Think about my work falling between line-based more graphic work and more painterly and experimental expressive work (applying paint more liberally and building up paint).
- Continue to explore digital painting as collage – hybrid approach to painting.
- Think about use of dark backgrounds that tend to make lighter colours sink.
- Continue to explore the use of collaged backgrounds.
- Push strong paint contrasts and gesture.
- Continue to consider compositions in relation to references to other artists as well as to something personal.
- Consider a mixed media approach to future sketchbook work as well as working on pre-coloured grounds/coloured paper.
- Continue with my learning log approach to reviewing the work of other artists and my interpretations of their work (Research workbook table template approach).
- Continue to maintain a personal angle in my writing, keeping evaluation and comments accessible and concise.
- Continue with the current learning log format – keep it well laid out and easy to follow.
- Suggested reading: Diane Waldman (1992) Collage, Assemblage and the Found Object – especially chapter on Appropriation.
- Look at the work of:
- Rachel Ruysch (Dutch Golden Age painter) – vanitas.
- Russian artist Marianne Werefkin (contemporary of Kandinsky).
- German painter Georg Baselitz.
- British artists Glenn Brown
- Eugène Delacroix (French romantic school).
Pointers for Part 2:
- Experiment with working from senses (observation/touch).
- Consider ‘found’ images as also possibly chosen and collected/appropriated – experience objects in terms of form, texture, space and time.
- Explore some of my own ideas in relation to themes for collections.
- Try and continue to push ability to subvert unusual painting media even further – build on what has been achieved in Part 1.
Stuart Brownlee – 512319
16 October 2016