"Brexit?" - Ink and pouring medium on sprimed stretched canvas 20.5x20.5cm
This painting makes me feel a sence of relief. It slowly made itself an event which no-body could make again. Even with a simple chemistry of three colours: Red,yellow and blue. It still suprised my expectations and became more powerful than possible, considering its little size.
"Remain, ukay?" - Ink and Medium on Mounted ply-board 20.5x20.5cm.
Like wise, the wooden equivalent made another unique effect, as though transperant, the wooden grain collaged in dilute colour. Thissuface was completely flat, which needed more encouragement to getmovment; by tipping it to one side, its as though the colours are expanding out from a point.
"Brexit is Nye" - Black and white primer, pouring medium and acrylic inks. 75x45cm mounted ply-board.
I felt the only way to balance the vivid strengh of the glossy ink was to remove it entirely. By coincidence, with recyled materials I've used; the cross outlines and frames the englishflag, in technicolour. I feel this was a beautiful and inspiring breakthough, which I have revisited in later paintings. Thename is a play in words 'The end is nye' because the imoratance of ecology is being forgotten for the interest of politics.
"Propaganda" - A2 Paper, Indian Ink, water colour, cut-outs and string.
A translation on Mark Titchner's approach towards typography, poster and mixed media art work. Although this isnt the size of Titchners murals, there is a cinematic quality and social commentry. However, this I will pursue in greater depth given more time in the studio. As we can see in Titchner's exhibition Video we don't use the same quality of materials; please watch and share my technique Saturday video from youtube.
PLAY VIDEO - Studio Practice: Pouring Medium
A quick demonstration on how I use the pouring medium to create amazing colourful effects.
The Display of, 'Brexit'.
This is composition of a piece I see relevent to our political status. It is symbolic of divied votes, almost 50/50 and the overiding power of politics which descides anyway. The material themselves are just recycled boards and 2x4. Made in October 2019.
PLAY VIDEO - Inky Bubbles
In my exploration of technical painting, this is more complicated and needs rigorous experimentiong. A technique I learned from my brother at the age of 14. I value this imagery like a family trait, such as our blue eyes.
PLAY VIDEO- Mark Titcher Tour
An excellent video insight, into the passion Tichner opperates into his exhibition at Firstsite, Colchester. We are able to reciet the real qualities of the paint work that Titcher has and the assistance he employs.
'Scared by Scotland' - Oils and Woodcut 70x40cm.
The piece itself has changed several times. It is a similar size to 'A piece on war' as demonstrated in further imagery here. Oil to stain and woodcut.
"A Piece on War" - Black and white primed ply-board, mounted supports, indian ink, masking-tape and celo-tape 80x50cm
The excitement made in the "Brexit is nye" I wanted tojuxtapose the sentiment of the painting, in an international school it would otherwise compliment or be seen as'supremisist'. To express my contention with glabal coniuosness, the conflict between the european union is illustrated here, by the impermeable stature of the solid wooden board; sliced by the knife and taped back like a ravid animal. Hence the name, like a battle for no reason, just a treason.
The Drag'on of Wales - Oils and Ink on mounted ply board 60x89cm
This oil colour has a historical commentry on the confusion expressed by Wales, caused by the polital arragments in the United Kingdom. Its also a pun in suggestion to pronouciation and spelling. The white peals come from the weathy dynasty's flag in China. They also represent a playful balance, among specles of ink its cosmical and like floating bubbles. The black circle in the right hand corner was an acident, representing the spatial improvisation I used to compose a multi-cultural impression of the welsh dragon.
A Caged Shamrock - Oils, Acetate and wire on board 122x153cm.
The Irish flag is green, white and red. Although there isnt a shamrock (clover) in the centre I have experimented in materialising one with wire. In commentary of war and violence withing the UK, a four leaf clover is 'behind the bars' of wire; as though improsoned. Oil Colours, Acetate and wire. Mounted ply-wood. 122x153cm
Read between the lines - Oil and ink on board 122x244
After copious amounts of travelling across London to reach check points, this expresses the undesirable view I have from my bike. Again, all the materials are formed from separation panels and the misellanious bollard in the corner is from the road side. I found an unused light set up to make it illuminate the work.
Unit 9: Research mood Board
This show boats photography and hand-made prints. The research file and journal are under neath in a shopping basket to demonstrate 'consumer traffic' in thematic of 'Painting as Agent' for unit 9.
'A Romantic Road' - Gauche on Canvas 50x60cm
After the series of monocrome photos I developed, they were put to good use. By selectively cropping element of each photograph, the compositon becam for exciting with narative and imagination. The practicality of photography is in the same vain as observing the changes to political debates and small samples of the public and differing culture; some picture are taken in Florence, Italy. To conclude, the group discussion on this work guided me to work on more black and white paintings you will see later in the portfolio.
PLAY VIDEO- Experimenting With Pouring Medium
Using the back panel of 'The Caged Shamrock', I made my first double sided work of art!
Red dye inspired by Lilah Fowler's algae staining process. Click this image and load the link:
The Mysterious Box and patterned plank - Charcoal and oils, fresco/plasted box and scafold plank
This develops my research file with comments on artists and peoms, incribed with charcoal. Some you may be able to read from this picture: Mono-lith, Stanley Kubrich's film 'Space Odessy'. Not only that, on the other for sides of the box are drawings of and about Stan Brakhage and personal poems on individuality.
Corridor Show - Image/wall 1
I had a week of display in the college, exhibiting all the work made that year. These make up a series, however, I would have prefered a striaght horizontal presentaion.
Corridor Show - Wall/image 2
This is a new work, which combines materials such as Oil paints, accetate and spray paint to make the impression of the Caltholic Domo in Italy, Florence; where I enjoy my summer holidays with family relations. The work is called 'Collapsing Cathedrial' because it look as though the building is sliding off the canvas: 2x3m (2) Primed and streched.
'A Tsunami on The UK'
The board is primed with white gesso and collaged with images from the national geographic magazine. Then I painted over it with oil paint and when dry; vanished with clear-acrylic 2x2m board.
'A Mantel Piece' - Oil on Board 50x30cm
Again, on scrap wood and as you'll find with most works of art at this stage in my work. I am meddelling with the concept of Apocalyps, since the governments referendum to leave the EU has passed. Also, the storm Ciaro AKA. Kade that has faitaly struck countries around Europe.
'A Random Picture Painting' - Oil on Board 60x40cm
Scap board and monocrome oil paint, like 'The Romantic Road' I have done mid way through Unit 9: Painting as Agent. Although this one is not entirely surealist, the image from which I painted was a refuge from the skip.
Alistair Mackinven Responce
Oil on Canvas, using olive/vegetable oil. 60x50cm Because I have been lacking the facilities and resourses for painting.
Bruce William's Response
Oil on Canvas and white spirit. 60x50 cm This is a common DIY swap for turpentine, since the lockdown limmited the local art shops for specialist materials, mediums, equiptment and any other utensils.