Following on from the first semester of my MA; I am continuing the same project in the hope that I can take this body of work to its limit. In the first semester, I learnt a lot about tools. Posca pens, Ink, Water Soluble markers, Alcohol markers – the list goes on. This, however, is precisely my aim: to master my craft.What has struck me over the past few months is how many times I’ve been asked what mediums I use to create my current work. And honestly, after implementing lino and printing into my process I can’t imagine finding these images any other way. Below is an example of (on a spectrum of realism and abstract) my more realistic artworks. Although it is quite a small piece, my attention to detail reaches near to my limit here. Through pointillism and different dilutions of ink on top of a lino print, I am able to produce a very natural looking form.
Following on from my development in the first semester, I have decided to continue using only grey-scale materials. My subject matter and intention is to investigate natural forms, inspired by Eastern composition and Western abstract landscapes.
By looking at the marks the prints make through a more abstract lens, this has allowed me to further my process even further (see below).
Painting, together with calligraphy, poetry and music, constitutes one of the four key traditional art of China and is an extension of the art of calligraphy. It is therefore, like calligraphy, linked to the sacred prestige of the written word. One’s first encounter with a Chinese painting will immediately betray its literary nature. Unlike a western painting that hangs on a wall, the Chinese work is mounted in the form of a scroll, which by its nature is related to the world of books. It belongs to the realm of the written world.
A further distinction that has made it difficult for western art lovers to fully appreciate Chinese painting is that the Chinese are simply not interested in transcribing or depicting reality. His objective is rather to ‘write the meaning of things’ … to express the idea.The Ink Art of China, Michael Goedhuis
Mynach and Buarth Mawr Tree Panorama was the beginning of implementing a new and complex layer to my practice. This led me to think about other aspects of my process in this way – and how I could successfully incorporate this new perspective. So, i began to use my pens in this manner too; for example, I investigated how the alcohol markers react when drawing over Posca paint pens.
After finding my niche, I was encouraged to start experimenting with larger scale paper, A1 and A2 sized to begin with. Although I bought in commercial sizes, my tutor and I soon came to realise that I have no reason to stick to the commercial sizes: I can cut the paper down, I can make it square – even though this may seem obvious to some, it was an important decision. At this point in time, I am working on a series of six vertical (tall but short in width) panoramic pieces cut from three A1 works.
As for inspiration, I have been reading and analysing contemporary Chinese ink artists (Qin Feng, Wei Ligang, Gao Xingjian) and Japanese classic woodblock printers Hokusai and Hiroshige; on top of my previous research into Romantic Western Landscape Painters (Ruskin, Cozens, Thomas Cole, C.D. Freidrich) and New Media artists (Rachel Rossin). Recently, the chinese ink artists have struck a chord with me. Their calligraphic approach blended with (often) their integration into the West (and thus Western art) concocts interesting compositional and tonal images. From the minimalist work of Gao Xingjian to the complex detail of Hiroshige: I aim to combine those two styles in order to create an artwork which balances (the juxtaposition) of detail and block colour (grey).
I want to be an artist who is viewed as a passionate investigator of specific media who is motivated to inspire others by exploring the vast possibilities of art.
I hope you enjoyed reading about my current process. I am currently producing a lot of work and will write about how it’s all going very soon,
thank you for reading,