Immersion

This addresses conceptual research which gathers more ideas to incorporate into landscape and portrait painting. Such as art history throught the pecticle of all cultures. This works a personal developmental practice, which provides my own interests to begin the painting itself. 

Alister Mackinzen, Untitled 2017.

 Mackinven, A. (Untitled [Iron Powder and Oils]. Institution or collection that houses the work, city OR DOI or Available at:  http://www.reenaspaulings.com/AM.htm Accessed: 11/05/20).

Alister Mackinzen,  Untitled 2017

Mackinven demonstrates the 'mainstream' direction of my research, as you can see from my responses in the Portfolio. We both like to use only two or three layers of context, usually landscape followed by portrait. This creates a sense of immersion through emotional empathy.

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Reading and Documentation:

These are sketchbook drawing of Martins works, which explore surrealism in utopia and dystopia landscapes from details in imagery and that are merged into his paintings.

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Agatha Christie - The Mouse Trap, live performance and this was one of the early scenes at The London Theatre house. This was mentioned during Dyslexia week at UAL , Christie was diagnosed with Dysgraphia, a learning difficulty with coordination.

The Most Important page from 'How to think like Leonard Da Vinci?' - I investigate different meaning of the word intelligence because some people believe that Da Vinci a Dyslexic, so his reading and writing qualities where very different. 

The information about how Da Vinci made lists written in reverse, discovery that he was dyslexic and his imagination of fantasy dragon are factors which inspired 'The Drag'on of Wales' painting in the portfolio. 

The Drag'an of Wales
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This is a sketch book example of rembrandt's drawings, I drew from his original works in the British Museum, Bridget Riley Collection. 

I make 'connections' and revise there significance through spider diagrams as though Da Vinci would in lists or short sentences.

Painting a view of the Cathedral of Santa Maria del Foire and Piazza Del Duomo

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I photographed the Duomo on a memorable Holiday with my brothers. The architectural detail was a challenge to recreate in a painting, however, masking and drawing helped to draft a decent perspective. The material come from previous works, which helped me 'finish on a high' in this series - Unit 9 Painting as Agent.

The Copeland show - Penultimate! March 2020 

Repaired due to an acrylic varnish reaction, I painted it over entirely again.

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The first attempt was damaged by my concoction of diluted vanish.

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Blinky Palermo, Peter Hiesterkamp, 'Blaues Dreieck' - Blue Traingle stencil, URL: https://www.tate.org.uk/art/artworks/palermo-blaues-dreieck-t13802 (Accessed: 21/05/20)

Building The Final Degree Show Visually
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Thus, Palermo is referenced to in this work, which embodies a model of the final degree show. See the Visual Proposal for more detail

Household Art, Landscape Artist Called A.Genliani 

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This artist distinctly reminds me of my great aunt called Alice, her last name I cannot remember. However, their aren't any records of her drawing of landscapes on the internet to show. This is a watercolour composition of a similar time, place and skill level that I am proud to relate my paintings too.

Bob Ross: The Joy of Painting, Oval edition.

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Bob Ross's Online tutorials have been producing resources which developed my landscape painting maturity. Ross has a very technical approach, that can make the work much quicker and enjoyable and once your all set up; the learning process is easier to revise. 

Ged Quinn: Painting about Paintings

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Tarsus, From a distance, 2013, Oil on Linen, https://frieze.com/article/ged-quinn, Accessed: 01/06/20.

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Tate Etc., Issue 49, Summer 2020, Front Cover, Untitled Artist.

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This was the first confident demonstration of the composition dedicated to Sophie (mum), commissioned for her birthday on the 8th of June 2020. We both like photographs from the beach in Whistable, UK.

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These are two pictures from a dozen, which I used most to paint from and develop a narrative in the sea-scape. The boat is a metaphor, as though freeing the viewer; a vast ocean and sky.