Category: Critical Analysis

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The Influence from Kehinde Wiley

I have recently been inspired by the work of Kehinde Wiley.

http://kehindewiley.com/works/haiti/

His projects consist of a global survey of countries and their respective traditions and cultures.  He explores and investigates their socioeconomic dynamics and interdependence in the context of globalisation.  His models are random strangers, who are identified during street castings.  His bizarre, balancing on the edge of kitsch images, are a unique chronicle of life and culture, amalgamation of colour and pattern, which is juxtaposition-ed with stylised portraits.   The background repeats are created by manipulations of typical and indigenous vegetation to Haiti, such as okra and sugarcane – products, which were exploited as a cash crop during the times of mass slavery.

They are all staged, unnatural and almost suspended in vacuum.  Superficially, his oil on linen paintings appear to be of only decorative value.  Are they though?

This has given me the idea of isolating individual characters from my photographic library of documentary photographs from Haiti and superimposing them with a range of painterly and printed backgrounds, which I have recently developed, including video records of blasting prints.

The three images below are my initial visual thoughts, which I am planning on developing further towards a more refined stage, possibly involving animation.  I would also like to link these ideas to my experimentation with exploring the process of waiting through a gradual appearing and disappearing of objects of need, necessity and desire.

I am considering image manipulations using Photoshop and Premier to discuss possibilities of initiating working using physical processes of painting, screen-printing and, perhaps, image transfer.

I am using an image of three  young Haitians girls, dressed up in preparation for Christmas celebrations.  They appear to look into their future with uncertainty, almost being afraid of disappointment.  The white gloves and flowers are symbolic of purity and innocence, and their eyes are full of hope.  The viever, however, immediately knows that their futures are very uncertain.

The special and theatrical clothing emphasises further the contrast between the farshness of their daily lives and the the hope and smiles on their innocent faces, just like on “Afgan Girl” photograph by Steve Mc Curry.

Image result for the afghan girl

‘Afghan Girl’ Is Arrested in Pakistan, in 1985, National Geographic Photo, Steve McCurry

haiti girls

orphans from haiti

orphans from haiti 2

IMG_20190114_191141_0.jpg

HAITI
LOUIS XIV OF FRANCE , 2014
OIL ON LINEN 60 X 48 INCHES

HAITI
PORTRAIT OF DYOUANY BERETIE VERLY , 2014
OIL ON LINEN 36 X 28 INCHES

HAITI
JUPITER AND THETIS , 2014
OIL ON LINEN 84 X 63 INCHES

HAITI
THE MARCHIONESS OF SANTA CRUZ , 2014
OIL ON LINEN 36.5 X 72
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Reflections on the “Wow” Factor of Technology.

“… not to make the technology the ‘wow’ element, but you encourage us all to reflect on how we make our work and how we ask audiences to interact with it…”

(Kearney, J. 2019)

The digital revolution has redefined our understanding of art, frequently in bizarre and new ways. The use of contemporary advances in art is important as it reflects the flavour of the current time.  It also opens up a broad array of totally new possibilities and opportunities for contemporary visualisation of ideas and discussions of alternatives.  It allows to develop pieces, which are immersive and interactive.  Digital illusions are very powerful and can be overwhelming.  However, the medium itself is just a form of a new language of expression, a sophisticated set of tools.  These can, however, be very misleading and cover deeper inconsistencies in critical analysis of creative intentions, visual communication and the overall creative process.

The meaning of what I am trying to communicate is the backbone of my practice.  All supporting research and experimentation are a part of a long process of establishing the most appropriate and effective way of communication.

Key thoughts and questions:

  • Does the use of technological advances support the essence of the meaning of a piece of art and its interpretation?
  • Does it enable and encourage the element of interaction with the audience and their inclusion in the holistic creative process?
  • Is technology used as a “gimmick” to simply impress the viewers?
  • Lack of access to technology can be very powerful by directing focus on creativity out of necessity.
  • The use of technology can result in limited creativity.
  • Glamourisation of “cheap” ideas through the use of technology by making them look more important and expensive.
  • Technology should enhance the sophistication of the creative expression by broadening possibilities and engaging other senses in the visual communication process.
  • Technology in itself is just another tool not the outcome.
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The Lost Hope in a False Promise

When reflecting on my most recent experiences from Haiti, I have specifically started to analyse the idea of “a false promise”.  There appears to be a general feeling of entrapment in a transient state of passivity.  This means accepting whatever happens without any physical possibility to influence change or control life.

When being approached by touts, who try to sell items in desperation to survive, refusal is unacceptable because is seen as definitive and therefore, can be dangerous.  Giving false promises instead is much safer.  It creates and illusion of achievement, gives a glimmer of hope and allows to avoid conflict and confrontation.   It diffuses negative energy and silences nagging. It is an easy way out of an unwanted and undesirable situation.

Strong refusal simply equals aggression and harassment.  It can be also potentially dangerous.  It is threatening and can lead to acts of violence, assault and robbery.

I have started to develop the idea of incorporating words, which are associated with false promises into my painted and printed images.

TOMORROW

LATER

NEXT TIME

DEFINITIVELY, BUT NOT NOW

 

To extend on my critical understanding of the concept of false promises, I have read a paperback titled “Kant: Groundwork of the Metaphysics of Morals” (2012) .  Following the digestion of the content of this document, I reflected and summarised my thoughts below.

Kant argues that, as a principle, it is crucial to treat others as you would treat yourself. This is his Golden Rule and it is central to his philosophy.

He also states that you should not use other people in ways to which they would not consent.  He totally rejects manipulation and control of people for the purpose of self-benefit. Therefore, all people should be treated as having dignity. This is Kant’s view of the ideal moral community using the conception of respecting others. The perfect community is a “kingdom of ends” in which people are never merely used by others.  No one acts on principles to which others could not consent.

Kant extends on these thoughts and proposes that certain ways of behaviour are wrong by definition and in every context.  He refers to the idea of false promises as always wrong, because they are not intended to be kept. Therefore, it is absolutely impossible to accept the idea of making false promises as this would lead to a total breakdown of trust. False promises are unacceptable, simply because there are not promises – they are dishonest lies.

Honesty and trust are the backbone of all human relationships.

The essence of life is about being able to establish and maintain these relationships.

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Blasting Red

What have I actually achieved?

This is a brilliant question.

I have started to investigate my responses to waiting for change in a very uncertain world!

The current focus of my practice is to experiment with overprinting of painted images. Subsequently, I blast the surface of newly created and layered compositions with a powerful water jet.  The partial marks, which are left after this procedure are combined with further screen overprints.

The hope of achieving a new sense of completion is simple washed away. The repetitive character of this process makes the uncertainty physically unbearable, yet visually exciting. How far can I push this process? When will I reach the stage of exhaustion? What is the impact of colour on the overall effect?  How many layers become lost?

The more certain the moment of completion is the more uncertain I become about it.

I have also noticed that canvas is much more appropriate for technique than working on old wooden boards. There is more gentleness and grace to the printing on canvas and a sense of full interruction between individual layers. Perhaps, I should restart the entire process by creating further compositions using a really large format of canvas.

Scale here is very important. It allows for a greater degree of experimenting with an illustration of space, I creates the physicality of the working method and indicates ambition. The painterly space can be elaborated in much more detail, just like in the combination of three overprinted images below. 

I have experimented again with back lighting of the works in order to discover more sensitive detail. This process has resemblance to the forensics and x-ray techniques. Both are designed to reveal the hidden components, which can potentially affect the overall entity of the works.

The hidden qualities become exposed and elevated to a higher level of the visual hierarchy. 

I am particularly interested in the violence and brutality of the blasting process. I am also impressed by the sensitivity of response of the image to this treatment – the tears and the  dripping of the watery and semi-transparent layers of printing ink.

 

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Making Progress With Blasting Paintings

I have just overprinted these images with yellow and than, partially, with orange.  Subsequently, all ink-work was blasted off with a jet wash.

The cold (in blue) underpainting has started to bleed through the covering layers bringing hope to of warm light.  The continuing layers indicate the experience of waiting.

Everything is wet, smudged and dribbling with diluted ink.

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Blasting of Paintings 3

I have become very intrigued by the process of overprinting a painterly background.  Screen printing technique allows me to manipulate the matrix in order to control both the creation of a new composition and the meaning achieved.  This is done through repetition and the choice of colours in relation to the background as well as the other prints in the existing superimposure.

This effect if subsequently manipulated further through water jet washing and blasting of the wet overprints.  This process gives me much less control.  It is quite violent and spontaneous. The ink splashes all over the spray booth.  Additionally, a range of further effects are achieved through dripping of water and the position of the actual painting during the drying stage.

My creative intention is to continue with this process until I reach the anticipated level of complexity and interaction between individual layers.

As stated in my project proposal, my aim is to discuss the dynamics of a period of 60 seconds of waiting for something to change and happen.  Perhaps, I will try to repeat this process 60 times. The supposedly pointless process of over printing and blasting away with a water jet.  I feel like I am making progress in terms of establishing a framework for the creative process and also with my methodology.

Sixty interventions and “changes” to the image, which are erased as if nothing has ever happened. The memory of the surface implies something different.  Sensitivity of marks and subtlety of this process is something I would like to explore further.

 

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Why Are You Coming Back So Soon…

I have just submitted the following video for a pop up exhibition.

This experimental video is of a series of recently created paintings. The inspiration comes from my experiences in Haiti. I gathered a wide range of primary sources and photographs evidencing my observations and responses to them. The essence of this work is to contradict the rhythm of the painterly process and disturb it with emotional drama inflicted by a long string of messages begging for help and financial assistance. The background narrative – a sexy female voice of a Haitian woman – totally contradicts the drama of the entire situation. She appears to be oblivious to poverty and human struggling. She makes references to her country and the pride of private people. Her vagueness is overwhelming.  The juxtapositioning of the image, the colour of WhatsApp messages and the commentary evokes a totally unreal opposition and clash. It simply etches the intrinsic drama, which is related to the experience of being there and seeing ‘things’.  This is so strange and surreal.

Subsequently, I have booked another trip to go back there at Christmas to revisit the places and refresh my contacts again.

Courful visuals, painterly landscapes, intriguing female voice contrasted with the seriousness of dramatic messages asking for help. I will continue to reflect on this video composition throughout both, the festive season and the forthcoming trip. I am so full of anxiety and fear.

I have also started to feel the impact of ‘reisefieber’ on my well being and my performance at work.

What does the future hold?

Nothing is certain and no one knows.

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Waiting For Something To Happen.

I have made further progress with proposals for the last two seconds: 7 & 8.

While layering image transfers and varnishing surfaces in-between with watered down PVA glue, I have developed the idea of continuously applying 60 layers of related imagery onto the surface while thoroughly documenting each stage.  Some intervals are going to be, perhaps, developed further through the use of video and blending.

I have also recently received a bizarre and laconic sound message. The idea is to use this recording as audio track to support those experimentations.

Photographing the work below was not easy.  I had to experiment with several lighting techniques, while documenting the work in progress in the photographic studio.

There are some contact sheets below, which visualise the entire process.

60 seconds equals 60 layers – only 1 minute of waiting. Waiting is used as a metaphor here. The person who is waiting and trapped in the sphere of dreams and hopes is very predictable and safe. Action and response are much more dangerous. They both require bravery and facing failure and disappointment. They require ideas and energy.

Waiting is the new state of being. Waiting for something to happen and change life for better. Waiting, which is passive and effortless, withdrawn; dreaming about change.

On the other hand, waiting can be associated with emotional destress and boredom. This, in turn, can lead to a life of  crime and deviation. When one waits for too long, greed becomes the only option and the ultimate desire.

7&8 27&8 1

7&8.jpg

 

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Seconds 7 & 8.

I have tried to document the process of developing a set of recent painting ideas for seconds 7 and 8.  I have experimented with layering and using a large number of glazes, robbings and image transfers.  The main focus is on the revealing and distracting the surface in order to achieve an incredible depth to the hue of colours, which sound with harmonious melody.  I will continue to update this post as new developments take place in terms of making progress with the act of painting and discussing my concepts further, using video manipulations and editing.

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Comparision of Abundant Spaces

When reviewing my research journey, I have noticed that the view from my lounge window has an astonishing resemblance to a slum outside Port-au-Prince.

It was raining quite badly and the entire valley was covered with a thick layer of condensation and trapped moisture in the air.

The image of Torquay is dark, gloomy, wet and almost monochromatic.

The photograph of Port-au-Prince is highlighted by the hot sun, which emphasises the colours of the environment.

Both were shot roughly at the same time of the day.

I find it very surprising that despite both destinations being densely populated, there is no sign of humans.

EllacombeslumPortauprinceslum

 

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60 Seconds of Waiting For Something To Happen.

Following  a considerable amount of research and critical analysis of my own experimentation, I have slowly started to develop a deeper understanding of my creative intentions. My focus is firmly placed on uncertainties of tomorrow in the context of waiting for change. Time is a very important factor in the proposed intervention. My thinking has been extended by Samuel Beckett’s ‘Waiting for Godot’, supported by considerations of several scientific and philosophical theories of being and perception of time space. I am interested in visualising a period of 60 seconds of waiting for something to happen and change.

60 Seconds are insignificant yet, simultaneously they are also a metaphorical milestone in the context of measuring time: 60 seconds becomes one minute, 60 minutes create one hour.

The plan is to create a series of 60 painting explorations inspired by research from my travels and observations of what people are waiting for, their cravings, dreams and desires. I plan to superimpose my painterly interpretations with photographic and, perhaps video pieces, before transferring them onto mirror card.  This process creates a very important element to my project. It evokes the feeling of ambiguity and unreality. The reflective surface forces the viewer to see his own reflection in the context of the broader work. It provokes a deeper reflection on the nature of uncertainties, their meaning, importance and hierarchy.  It proposes the question of what is important and what is insignificant?  It also reinforces what cannot be ignored as you see your own reflection in the problem.

Reflective surface has been widely investigated by a British artist Anish Kapoor through his ‘Blood Mirror’ series.

Stainless steel and lacquer
198.5×198.5×46 cm

My obsession with measuring time space comes from the earlier discussed artist Roman Opałka and his ‘Counted Paintings’.

Carte de Voyage Detail (2875545 - 2878714), 1965

Roman Opalka

Carte de Voyage Detail (2875545 – 2878714),

1965, Medium:Works on paper, Ink on paper

Size:33 x 24 cm. (13 x 9.4 in.)

 

I am also looking at Marc Quinn and his piece titled

No Visible Means of Escape IV, 1996

 

Justine Khamara – Orbital Spin Trick #2, 2103

Justine KHAMARA. 'Looping #3' 2014 (detail)

 

Self-shredding image by Banksy, “Love Is in the Bin,” , 2018

Rehearsal for shredding Girl with Balloon

Finally, I have recently read a novel titled “Hunger” by a Norvegian writer called Knut Hamsun.  Throughout the book, there is an overwehelming sense of total isolation accompanied by craving for food and stomach pains.  THe experience is vivid and almost real.

The project aims to interpret 60 Seconds of waiting in anticipation of a change in the context of broad ranging uncertainties of the future.

Can the presence last forever

Will anything ever change?

Will this process have a positive impact on life?

Will my perception of existence continue to deteriorate, while making reality more and more miserable and unsustainable?

My work will be continuously updated and adjusted in the light of new discoveries and research findings until it becomes a comprehensive and holistic appraisal of human uncertainties of the future in the context of my observations and responses.

The initial experimentations are below :

First Second:

second-4.jpg

 

Second Second

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Third Second

scanner@sharp.local_20181109_114620_001.jpg

Fourth Second

scanner@sharp.local_20181109_114546_001