ART281 - Negotiated Learning Plan: Personal Evaluation

Back when this project started, I was under the impression that the UK had control over the pandemic, however over the course of this project I had to make many adjustments. What really detracted from my overall result is the fact that I am located so far away from the University site, and I have had medical and technical issues that have set me back. I slowly came to realise that to achieve my final outcome of a proposal would not be so simple.

Despite this, I have related my body of work back to abstract expressionism and to using the subconscious as a creative tool. The challenges I gave myself ultimately have improved upon my artistic ability, and the results and research gathered have broadened my horizons. I really enjoyed conducting the experiments, and the work that came out of them is really interesting too. If it was possible, I would have exhibited my findings alongside the actual work that was created, as I have been on a valuable learning experience that I feel would be beneficial to share.

As a result of this project, I know now that in the future I am going to always consider emotion and expression when creating any type of art. I learned that emotion naturally being projected onto a canvas through artistic mediums is always going to feel more passionate and genuine than any forced emotion. My project slowly transformed due to circumstance, and I ended up learning more about art than I ever would have expected, as the project became more oriented around my own practice and the introduction of more conceptual ideas.

ART281 - Experimentation - Drawing In The Dark

For this experiment, I decided to attempt to create a drawing in the dark, consisting of my own style. So, I allowed myself a minute to prepare, and then a ten minute period of creating a drawing in darkness. This was a challenge for obvious reasons, but I was curious on how I would approach it and what the resulting work potentially could look like.

The end results of this experiment.

Over the course of the ten minutes, my eyes started adjusting to the darkness. So I could see bold, black outlines, but not the finer details. Also at the beginning I could barely see at all, which made this quite challenging. However, due to this process, the end result looks far more disturbing than what I originally had planned.

This artwork appears feral; the chaotic linework paired with areas of very high and low contrast in turn make the artwork feel more violent. The face also becomes more haunting, as features fade into the apparent dirt and hair implied by the line direction. I do realise that this artwork is not necessarily the most aesthetically pleasing, however I really am pleased with the outcome, which is inspiring me to be more bold with my mark making.

ART281 Research - Alberto Greco

Argentine conceptual artist Alberto Greco's work focused on a deeper message rather than traditional aesthetic. Fascinated by the trivial and quotidian, he notoriously created the 'Vito Dito' ('Living Finger') series in 1962. Greco intended to draw attention to the everyday occurences of life by signing multiple people, animals, and objects. It was also recorded that he drew circles on the ground, signing his name near them, and in one instance he apparently would not let a man leave the circle.

Greco rebelled against artistic normality by not limiting himself to flat canvasses, allowing artworks to conceptually reach gigantic proportions. The seeking out and drawing attention to objects reminded me of Marcell Duchamp's infamous 1917 'ready-made' sculpture titled as 'Fountain', which boldly placed a urinal into an art gallery setting. It is interesting to see how Marcell Duchamp's work has influenced art, and how this could possibly have lead to Greco's 'Vito Dito' idea.

I also found it fascinating when reading about his personal life, and multiple controversies. For example, his first live exhibition was called '30 Mice From Neo-Figuration', which was a glass box painted black in the interior, also containing thirty mice. Due to the apparent smell, Greco subsequently had his work removed from the gallery. His dedication towards artistic intention and becoming fulfilled through his work has inspired me to consider approaching my own artwork in a more abstract manner.

His mixed media work also is inspiring me to explore using collage for this project, as it would be interesting to reflect upon how the medium allows the artist to express themselves subconsciously.

J.F. Kennedy Assassination, Act 1, 1962-1963

ART281 - Experimentation - Five Minute Biro Drawing Challenge

After reflecting upon the results of the last drawing challenge, I decided to use a similar approach from a different angle, and evaluate how different the outcome is. So for this experiment, I am seeing how many faces I can confidently draw, in my style, for no longer than five minutes. I used a sheet of A3 paper, and restricted myself to only use a black biro or graphite. 

The results of the five minute drawing challenge.

Although I am happy with the drawings I did create, I would not necessarily label this experiment as a full success, despite the results still being valuable. Over the five minutes, I got caught up with including specific details, primarily on the very top and bottom faces. Although I am happy with the execution of these two, the other two heads were created out of necessity to include more faces. This resulted in them lacking the detail the other two faces possess.

If I were to conduct this experiment again, I could consider abstracting my designs more, in order to create more faces. The quality of the two faces I worked on the most in this experiment however were executed, in my personal opinion, in an expressive yet concise way.

ART281 - Experimentation - Timed Oil Pastel Challenge

In my opinion, my personal artistic weakness is my incorporation of colour in regards to my paintings and drawings. So for the next experiment, I decided to challenge myself as an artist and reflect upon the results by introducing oil pastels.

Similar to my timed drawing experiment, I only gave myself a minute to complete each drawing, with a thirty second rest period. However, I gave myself no general outlines on the subject matter and had a vast array of colours available. I knew from the start how hard this personally would be for me, but I thought that the outcome would be really interesting.

The results of the timed oil pastel experiment

The end result of this project is crude due to the time limit, however the results were very interesting. For example, I switched from drawing objects, to landscapes, to abstract objects, consistently switching subject matter. Surprisingly, I enjoyed creating these during the challenge, as the introduction of colour theory forced me to consider the colour pairings as well as the subject matter. Also, because the paper squares used were only two inches by two inches, the size of the oil pastels often posed an issue when adding any sort of details, however this did not remove much from the enjoyability.

I personally found this particular process therapeutic as it felt more like a personal challenge rather than an experiment, possibly due to the fact I had the freedom of choosing my subject matter. Therefore, I will allow myself more freedoms in these experiments, however time limits and certain guidelines will have to be adhered to strictly for the best possible results.

ART281 - Experimentation - Timed Small Scale Drawing

Due to the current circumstances and unpredictability of global events, I chose to conduct some artistic experiments on myself rather than to involve others, which could pose a safety risk. This ultimately will improve my artistic ability, and lead to more personal reflections regarding the results gathered from this project.

For this challenge, I wanted to explore how I personally would approach creating ten very small drawings, only allowing myself a minute to complete each one. Each drawing had to be improvised, with the only overarching theme being 'faces'. I would give myself a brief thirty second break in between each work, in order to prepare myself for the next drawing. This allowed me to explore how I would approach my particular style under such circumstances, and reflect upon the results.

The results of the timed drawing experiment

I noticed how the quality of each drawing, in my opinion, vary at a seemingly random degree. For example, drawing number 4 (counting from the top left to the bottom right) feels as if the artistic decisions made were more intentional than what is visible on image 2,3, and 8. This was due to the varying degrees of stress that were caused by the strict guidelines. As a result of them however, I became more experimental with my use of shapes and form. Also, because each drawing had to be finished after one minute, I had to decide which elements were more important to finish than others. I found myself always making sure the shape of the head, the eyes, and the teeth were finished at least twenty seconds before the timer was up.

Overall, this experiment has been valuable in contributing towards my learning experience and the results gathered from this project. Because this was a success, I will conduct more of this experiments.

ART281 Research - Hermann Nitsch

Austrian born avant-garde artist Hermann Nitsch's work has been so controversial over the years that he has recieved three prison terms due to the 'grossly indecent' imagery he creates, that apparently 'incites violence'. Straight away, I find it admirable that he has always stood by his messages and intentions, which is a valuable quality for an artist to have. Despite backlash, he displays gorey, bloody work that ultimately reflects upon his own life. A lot of his work centres upon his experience during late World War 2 and the aftermath. Nitsch does not want to provoke audiences with this bold work, and never intended to in the first place.

I really enjoyed perusing his body of work, especially his 'Pour Painting' series that come across as violent and visceral. The red 'blood' splatters and their spontaneity reminded me of Jackson Pollock's notorious technique of dropping paint, from a height, onto a canvas. Unlike Pollock however, Nitsch lets the paint travel down the canvas using gravity, which implies an intense assault reminiscent
of a gunshot wound.

After looking into his background and approaches, Nitsch has inspired me to explore the idea of aggression and violence more in painting, as he proves how effective of a tool it can be when conveying such themes. The parallels between his work and the brutality of war are fascinating, which is why it is so unfortunate that many interpreted his work crass and hateful. I personally think both his themes, and his artistry, symbiotically work together to create stunning, bold works of art.

Poured Paint, 1963

ART281 - Experimentation - Pallet Knife Paintings

Using a pallet knife to paint creates a lot of texture and motion in artwork, due to the shape of the knife and the way in which paint is applied. Having little experience with this technique, I decided to create two artworks that focus on gesture and emotion.

The first artwork was applied onto a porcelain tile, which allowed me to freely blend colours together. Because of this the features of the entity fade into the skin, making it appear as if it is mummified. To also assist me in creating an eerie piece of work, I decided to create this during the early hours of the morning. I believe that because of this setting I was more careful with how I painted, possibly due to fatigue after the day. This inadvertently really added to the artwork in my opinion.

Untitled, acrylics on porcelain tile

This second artwork was applied onto a sheet of A3 paper that I primed with gesso, to prevent any paint from potentially leaking through the paper. You can almost tell that this was created during the day when compared to the last pallet knife painting, evident from the presence of more vibrant colours and a new-found energy. Also unlike the previous work, I created ta background using the sharp end of the knife and gestural strokes. Initially, this artwork was challenging, however I feel as if the end result went successfully. The figure in the artwork comes across as abject and visceral, which was my intention.

Peel, acrylics on Gesso primed A3

ART281 - Introductory Work

I feel as if I create a small general body of work as an introduction to this project, this will assist in directing me towards a more concise outcome. So I created a series of artworks based on emotions I was feeling at the time, which I can then compare to artworks I create later on in the project.

To start off, I created somewhat of a caricature of our current Prime Minister, commenting on his response to the pandemic and his attitude towards Northern regions. It is not uncommon for the North to be disregarded, however I was particularly disgusted with his disregard of small businesses and artists. So I produced this as a response.

Tremendous, Ink on A4

The next drawing was made as a sort of therapy piece, where I produced it when trying to relax. I enjoy crosshatching and shading in practice, and find it a relaxing experience, which is why this drawing is so heavy in terms of shading. It is quite graphic, and was improvised during the creation process.

Untitled, Ink on A3

The next drawing is titled as 'Storms', which was created out of stress. This is evident from the varying densities of line that define the shading and tone of this image. I personally really like this work as I feel like it is really emotive, and it represents the overall theme of the project in terms of expressionism and art therapy.

Storms, Biro on A3

ART281 - Experimentation - Self Portrait

This is a self portrait created during a time of uncertainty, where emotions for everyone are running high. I feel as if this is reflected in my oil pastel artwork here, where I drew a self portrait of myself using a mirror and artistic liberties.

I really like the colour pallet I used in this artwork, and the overall mood that is created as a result of all elements brought together. After receiving feedback from peers, I was told that the artwork comes across as sad, with an overall feeling of dread. Relating this back to my project, I feel as if it really fits in with the expressionist attitude of representing emotion.

Self Portrait, A4 artwork using oil pastels, pencils, and a painted background.

Negotiated Learning Plan - ART281

NEGOTIATED LEARNING PLAN (questions to be addressed) 

(1) Outline of current concerns 
Reflecting on the work you have previously made - outline the concerns/ideas that you wish to develop in this module. You might plan to continue and further develop a personal project begun in Stage 1 or develop additional and/or new ideas/concerns 

My work typically deals with marginalisation, abjection, and viscera, such as with my previous project called ‘Filth and Squalor’. This mixed media artwork explored comments found in public vandalisation, with the intent to give these disenfranchised voices a place in the public eye. The overall theme was to force the audience to recognise these groups and their mental wellbeing, even allowing audience members to add any further comments directly onto the artwork. This unfortunately could not be achieved due to the current global circumstances, so the audience participation had to be cancelled. 

 

I would like to develop my research abilities as well as my awareness of art’s placement in society this year, by writing an in depth proposal for a participatory mental health art workshop. It will focus on expression, where the participant is given protective equipment and paint, and they are to exert a single emotion on a canvas without intent to ‘paint something’. The room will be dimmed however, allowing the participant to express themselves without being aware of their work. This will then repeat two more times with separate emotions being explored. Afterwards, the participant will have a discussion with the host, where they will reflect upon the work. 

 

I feel as if this experience will allow people to become more objective about themselves, and by acting as both a meditation and a release. I also want it to be accessible and safe at all times, so there is a stress on the fact that this workshop is one-on-one. This is in consideration of those with conditions such as depression, anxiety, and agoraphobia, who might feel uncomfortable in group situations. I would like to make it accessible as a lot of current mental health support involves forcing the groups to go through rigorous, stressful social scenarios just to get some help. 

 

The expressive aspect stems from my previous work, which could be described as disorderly and chaotic. This is because I feel as if a n important aspect of art is the distinctiveness of each individual's mark making, as no one can truly copy a brushstroke from another artist. With participants pouring their emotion subconsciously into their work, some fascinating art will be created, assisting people in their healing process at the same time. 

(2)Studio practice/working methods 
What working processes or strategies do you intend to use to develop your personal project? What new processes/strategies/studio practices do you intend to try/‘test out’ during this module? 

In order for the research proposal to be successful, multiple strategies and processes will be explored such as:  

• Library research practice strategies: Finding information that is relevant to the proposal, which will support the credibility of the document. 

• Expressive practices: Exploring expressionist approaches to art making through both abstract works and studies. The studies will focus on environments and architecture, as well as self portraits, to greater understand art as a representation of self. This will allow me to reflect upon environments I experience as well as my personal emotional experience with art, which will support the proposal. 

• Consideration of my role as an artist in society: Reflecting upon my own practices and relevancy in the wider world of art, providing me with perspective on how I could apply and develop those skills. 

• Documentation processes: Rigorous photographic and portfolio documentation will improve my presentation skills, as well as helping to put all work in perspective to identify its relevancy to the project. 

 
(3) What do you need to do, to help achieve your personal project? 
For example: What areas of research are needed to support your project? How will you expand your knowledge of the context(s) are you working in? Which artists, writers, critics, gallery/museum/exhibitions/site visits do you need to be knowledgeable about? What skills do you need to acquire or develop? For example; Welding, printmaking processes, painting skills, illustrator or Photoshop. 

I will need to research studies into group and one-on-one art therapy sessions, and the results obtained from them, as well as looking at participatory art performance works. By looking at performance work from different artists, this will expand my horizon into how particpants could express themselves, what could be discussed, the approaches to be considered, and the most appropriate artistic medium. The artists will also help inform me as to what expressive art making methods I could employ in my own practice, to enhance my own artistic ability. 

 

These are the following artists that will be researched: 

• Paul McCarthy 

• Bruce Nauman 

• Hermann Nitsch 

• Alberto Greco 

• Jackson Pollock 

A combination of extreme performance artists and expressionists will be researched. 

This is further reading material that needs to be explored and considered over the course of this project: 

 

• Integrative Art Therapy and Depression: A Transformative Approach -  Skov, Vibek 

• Art Therapy Research: A Practical Guide – Betts, Donna and Deaver, Sarah 

• Art Therapy Techniques and Applications – Buchalter, Susan L 

• Jackson Pollock: Psychoanalytic Drawings – Pollock, Jackson 

• Expressionism In Art – Warren Cheney, Sheldon 

 

Outline of skills that will be developed over the course of this project: 

 

1. Gestural painting techniques on a large scale. 
2. The ability to research different sources to support one overall point using a variety of materials. 
3. Library research practice. 
4. Proposal writing ability. 
5. Presentation and speaking skills. 
6. Exploring drawing methodology in regards to expressing emotion, from an abstract viewpoint. 
7. The ability to discuss my own work, and the relevancy of it in today’s society. 
8. The ability to reflect upon challenges faced during experimental research stages, and how to relate these techniques back to the proposal. 
9. To understand what makes a successful participatory art workshop in terms of planning what could happen, assessing risk factors, and considering art’s ability as a tool for people to heal. 

 

(4)Personal Development Goals. This could be particular skills that you would like to develop e.g. the ability to write about own work with greater clarity; it might be to investigate a volunteering or placement opportunity related to your career ambitions; it might be a technical skill; or to develop ways, (with the help of the module leader or your personal tutor) to increase your confidence when speaking about your work in a group situation.  

I would like to investigate the pathway towards a career in art therapy and psychotherapy. I find this field fascinating, and I feel as if this mental health workshop will help me become more aware of common practices in this sector, giving me perspective into the importance of art in our society. The group tutorials will develop my confidence with presenting, which is a necessary skill for the field. 

The academic research approach needed to write the proposal will also support this career decision further, as it is good writing practice. This will greatly develop my skills in discussing my art, comparing it to other artists, considering the most efficient ways to research, and planning skills. 

 

I would also like to practice more expressive art practices and approaches, such as with mark making and sculpture. I will discuss how different mediums affect my ability to have freedom in my gesticulations, and which I felt were the most successful in being meditative artistic practices. I feel as if this would make my art hold more meaning, as it is going to be a learning experience.