Following an exchange of messages, Aristotle has worked really hard in order to visualise my ideas for the exhibition. Initially, I wanted to display my artefacts all in one line. My intention was to have them equally spaced and presented on a white and plain wall with no shadows and other unnecessary distractions. For technical reasons, this was impossible to achieve. The first draft is based on a grid, which consists of three rows. Every individual image can be enlarged for viewing. I am very impressed by its simple, clear and aesthetic look.
I have posted the following two questions for a further discussion with Aristotle:
Will videos play looped in small windows or only, when individually enlarged?
Will I be able to add text/ sound files to accompany and explain my work?
This is necessary for me to ascertain in order to continue with additional preparation of appropriate text and narrative.
Screenshot of the overall pageScreenshot of an enlarged individual piece.
I am very happy with the progress of the design proposal for the exhibition. I am excited to see how it will continue to develop and evolve until a final resolution is achieved and refined.
I will continue to update this collection of work as some key pieces are still missing.
This has also given me ideas of how I would like to present my work during the final show. I have exchanged correspondence with Aristotle and uploaded work files into my space on the shared google drive.
I am really looking forward to seeing the work being presented in this simple yet clear and aesthetic format.
All images are of identical height. They are equally spaced, probably further apart than on my rough design. The 7 central pieces are videos (the above design displays only 5) and my paintings on both sides. The order of my work may be adjusted.
The work on the left represents some initial research and experimentation. The pieces on the right are the most recent. Therefore, there is a sense of chronological progression throughout. The idea is to echo my journey, experiences and findings. Ideally, it would be great to be able to click on each piece to enlarge it.
I am also planning to support each piece with an explanation using either a sound recording or text.
The sequence of my work files is: 7 paintings – 7 videos – 5 paintings.
I have created two plans for the arrangement of my work in preparation for the final show.
The 5 central pieces indicate video projections. My paintings are displayed on both sides and organised in their chronological order of research and production.
I shared the following thoughts and reflections with the group:
‘Having carefully considered many different options, I have made a conscious decision to use a website-like display for my exhibition.
This is to ensure clarity, aesthetics and sophistication of my visual communication without any distractions, additions and unnecessary decorations. I would like to avoid, at all cost, the form overgrowing the meaning.
I am inspired by the design and organisation of presentation offered by platforms like Instagram and https://www.behance.net/
I would like to present my research project using a white page with a grid of ‘windows’ representing individual paintings and videos. Viewers will be able to click on each individual piece to open it up and view larger details in a pop-up window. My video pieces will play exactly in the same way – when enlarged.’
The more refined thinking is as follows:
‘I have copied an idea into my folder on google drive. All images are of identical heights, and are equally spaced, probably further apart than indicated on my design. Central pieces are video projections, and my paintings are on both sides. They are arranged in the chronological order of creation. Their sequence may be slightly altered.’
Refined version of proposal covers 7 paintings, 5 videos and 5 final images:
This is an earlier version showing some technical glitches and inconsistencies:
I am a fine art painter with 30 years of experience. I have spent my life travelling and recording human existence in the most distant and exotic locations in 99 countries. ​
My project is a metaphorical attempt to formulate a response to my observations of people, who are entrapped in waiting, while being suspended in the vacuum of hypnotic repetition. I have gathered substantial primary sources and evidence from destinations across the globe. Perhaps, the most significant research findings were from Haiti and Myanmar and resulted in the production of the most spectacular paintings. They have inspired me to develop new and innovative ways of working and experimenting with image making, which are appropriate to the subject. They combine the best of traditional achievements and the power of contemporary thinking and deep reflection.
I work full time as a programme coordinator for Art & Design at a large institution offering a broad range of FE and HE qualifications. I am also an external examiner for the UAL and AQA.
Artist Statement:
Through my projects I feel that I discover my inner fears, longings and re-evaluate my uncertainties. My work seems to be an attempt to explore and question by metaphorical presentation my response to the hidden truths of the world. The essence of the value of these works is in their inherent meaning and an atmosphere, which manifests itself in the dusk of the space portrayed, thus the light may appear, where the hue of colour fulfils clarity and sounds with harmonious melody.
This video pieces covers a summary and visual outcome of my research, practicalexperimentation and analysis, which I have develop in consequence to my investigation into hypnotic repetition over the last few years.
My work is about an attempt to develop a visual response. In contradiction to logic, opportunities arise in life to break the mundane phenomenon of entrapment and never-changing routine.
Perhaps, with increased sensitivity of observation, we would be able to free ourselves from this ballast and seek other endeavours and experiences to continue to make progress, develop and flourish.
This crazy pirouette continues forever. One broken cycle leads to another entrapment. New becomes old almost instantly. One fulfilment unexpectantly turns into a disaster and we remain unsatisfied, while travelling on a piece of rock through space – paradoxically, entrapped in a hope that the final destination is anything but death!
However, with great and vulgar arrogance, we continue to refuse to accept that nothing lasts forever and everything will turn into dust.
The One-Legged Player is totally on the task. Her appearance looks frivolous and theatrical to distract from her determination and the fact that she cannot afford to miss any shots. Her outwards image portrays glamour and fame, but the reality is diametrically different. The One-Legged Player is frozen in a stretched position, suspended in the vacuum of repetition. Every shot is executed in an identical posed pose in a hope to attract attention and increase the stakes, hence maximise profits. I am hesitant to come to conclusions that there is something repulsive about it. The first impressions of wonder and curiosity are replaced with laughter and astonishment. The performance continues regardless.
This piece portrays a coach driver. He is preparing to leave Kawthoung for a 20-hour long journey to Myiek. The road is terrible and unpredictable. His old coach must be in a top condition before the passengers are allowed to board. The driver looks very tired and substantially overweight. He spends his life driving his coach between those two distant cities in Myanmar. Mixed media on board, A1 size
This work portrays a Burmese captain in charge of a long boat. His job is to transport people and cargo from Ranong in Thailand to Kawthoung at the furthest southern point of Myanmar. His main clientele are poor illegal workers from Burma trying to earn a few baht in Thailand. Following a long conversation with him, I become one of his passengers. To maximise income, he accepts as many people as possible. He even travels on the very front of the boat to save valuable space. This place is very uncomfortable and rocky. He is also fully exposed there to the power of the tropical sun. He tries to get some relief from the burning heat by hiding under a colourful umbrella. The image is very clashing in colour – very kitsch. This is further enhanced by his crude and cramped body position. His ankle reveals a massive tumour. There is a gigantic growth on his leg, perhaps caused by prolonged exposure to the sun and continued contact with polluted water in the port. My creative intention was to portray him in his usual setting, while crossing the same water many times every day. The focus is on him. The beautiful surroundings no longer matter. He cannot see the landscape. He is trapped in his daily routine. The colour of his shirt blends in with the orange stripes of paint on the boat. The umbrella is feminine and looks absolutely ridiculous.
This new piece portrays three Burmese monks taking a break from their money collecting duties, while entertaining themselves with a large group of pigeons. In the area, there were large numbers of child monks present. Most of their days are spend extorting large amounts of cash from the hard working, fearful and deeply religious market community. They are immaculately dressed in pink robes and sarongs. Simultaneously, they walk bare foot to project an image of poverty and humbleness. However, the truth is different. They have got daily targets to fill their metals trays with a mixture of coins and bank notes to satisfy the needs and expectations of their superiors.
mixed media on two joined canvases
Size: 60cm; (h) 85cm
This is a portrait of a young, beautiful and idyllic-looking Haitian girl playing with butterflies. I met her during my travels through Haiti, where most people survive on less than 1$ per day.
She is totally oblivious of her origin.
She does not understand, why she is consistently ostracised and bullied. Her skin is white, and her eyes are baby blue. She definitively stands out!
She has never heard of Poland. Her home is on a little island called Petit Goave.
She is a descendent of Polish legionnaires, who were sent to Haiti by Napoleon to suppress an uprising of slaves. However, having realised the extent of exploration and abuse, the Poles changed sides and fought in support of the oppressed indigenous people. Subsequently, most of them were punished and slaughtered. A few lucky ones managed to disperse to the islands.
mixed media on board
Size: 60cm; (h) 85cm
This is a portrait of a young Haitian girl called Palenque. She is heavily disabled. Her arms are distorted and twisted. She is in constant pain.
Today, she is celebrating her 16th birthday. Her eyes are full of joy and spark of life, and she smiles beautifully.
She is totally overwhelmed by an unexpected present from a stranger – a mobile phone.
5. Punhana
mixed media on board
Punhane, in Azeri, means ‘secret’. I have got to know her quite well. She was diligent, perceptive and intuitive. She made a very positive impression on me. Her outgoing personality was enhanced by a very natural look, reserved and introvert personality and beautiful young face with long hair and no makeup.
Revealing her deepest secret could cost her life.
She is Armenian. Since the war, both countries are filled with hatred towards each other.
6. Thai Masseur
mixed media on stretched canvas
Size: 116cm; (h) 184cm
This is a portrait of a single mum of three. She originates from a poor village in the North. Her new life is in Pattaya. Before the pandemic, her days were very monotonous and repetitive. She used to work 17-hour long days as a masseur. Now, in lockdown, her shop is closed. She dreams about returning to her previous life and the former status quo.
mixed media on terrycloth, A1
Pearl Twink lives in Lagos, Nigeria. She is transsexual. She fears for her life and her sexuality is her biggest secret. She is a fashion icon. The piece tries to question the presumption within our prejudice and allows us to understand the contradictory point of view – the opposite perspective. Therefore, forcing us to confront and reflect on our own behaviour in the context of making judgements without thinking and appropriate analysis. We simply devalue the status of a person from a different culture. Labelling and categorising removes individuality and creates a climate for a lack of our responsibility towards them.
This is a holistic and conclusive summary and visual outcome of my research, practical experimentation and analysis, which I have develop in consequence to my investigation into hypnotic repetition over the last few years.
I have attempted to portray my research findings as unreal. In the context of the current crisis, my ability to travel appears to be nothing, but a distant memory. The seriousness of the situation is reflected in a ‘torture like’ visual metaphor, which is intentionally ambiguous. The title implies a false show or pretence. The opulence of the Venetian mask has an important function here. It depersonalises the character. We are all entrapped in the vacuum of hypnotic repetition, regardless of status, age and location. The yellow and gold tonation imply a form of celebration, perhaps a masked ball, which allows all participants to misbehave without any possibilities of being recognised and punished. It creates a feeling of safety and removes all unnecessary barriers and limitations.
The process of washing is also of significance here. Its aim is to cleanse, purify and remove a burden of recollections and reminders of the past. It is a perfect time to move on and embrace the new normality in the brave and contemporary post pandemic world.
The narrative has a purposefully confused and partially non-sequential timeline. The underpinning idea is to disorientate potential viewers and make them question the purpose of the existence through an interpretation of the meaning of my video.
The spinning cycle of the machine has hypnotic properties and enhances the overall feeling of absurd, repetition and induces a fatamorgana of safety and cosiness.
In contradiction to logic, opportunities arise in life in order to break the mundane phenomenon of entrapment and never-changing routine. Perhaps, with increased sensitivity of observation, we would be able to free ourselves from this ballast and seek other endeavours and experiences to continue to make progress, develop and flourish.
The masquerade of ‘head-spinning’ continues, while we are all waiting for something to change and happen.
This crazy pirouette continues forever. One broken cycle leads to another entrapment. New becomes old almost instantly. One fulfilment expectantly turns into a disaster and we remain unsatisfied, while travelling on a piece of rock through space – paradoxically, entrapped in a hope that the final destination is anything but death!
However, with great and vulgar arrogance, we continue to refuse to accept that nothing lasts forever and everything will turn into dust.
I have been invited to take part in this year’s edition of the UCSD Research Showcase. My role was to develop a presentation about my research project using a common structure.
I have used this opportunity as a tool for bringing all of my thoughts together.
The webinar is planned to take place on Monday, 4th May at 2 p.m. I am currently rehearsing for my talk and have already prepared a range of slides as follows (the last three images are stills form my videos):
The painting has been continuously glazed and cleaned. It has gone through a number of stages and altered by, contradictory in temperature, transparent layers of olive oil and alkyd paints.
I have gone through a long process of consideration and reflection on my current painting. I was questioning how to make a radical progress with my current painting? On the one hand, the composition is intentionally balanced and scattered, on the other, the image lacks the desired level of depth and mood. My intention was to make it more dynamic and dramatic.
Currently, the skeletal silhouettes are quite rough and crude in execution. The idea is to echo the reality of my primary source – crows and ravens feasting on rotting seaweed, which is tumbled and mixed with rubbish, decomposing plastic and other organic matter, and surrounded by the most repelling possible stench. This analysis of my research findings describes and outlines both the source and the concept, while setting my work in a horrid, dark and depressing context.
Somewhere, in the centre of the compositional entrance, there is a portrait of myself. It is covered with an embedded text in Spanish. The fonts are almost impossible to decipher. My intention was to draw analogies to the final end and death of the most amazing and pure experiences in life. I wanted to question the purpose, sense, direction and destination, while embracing the most powerful existential thoughts and feelings.
Subsequently, I started to experiment with a range of glazes using alkyd paints. I wanted to drift away from the time typically used media in my studio: oil and encaustic media. Alkyd paints are thicker and stronger. They consist of thermoplastic polyester resins made by heating polyhydric alcohols with polybasic acids or their anhydrides. Their main function is to create protective coatings, which are resistant to ageing and general wear. This physical property of this toxic medium creates a significant clash with my need to protect the significance of the past. To experiment with the viscosity and luminosity of the glazes, I have diluted them with the best quality of extra virgin olive oil. The use of a top-of-the-range product, here again, is intentional and carefully thought out. The idea was to depart from commercial qualities of cheap and raw linseed oil. I wanted to replace them with a natural and silky translucency of an opulent food ingredient. It is like feeding the birds and, simultaneously, covering the essence of the subject matter of the under image with a preserving layer of indulgence, luxury and melancholia. The additional purpose of this is try to safe myself from the attack of the cruel and metaphorically important ravens and crows.
I have included below, two documentary photographs of the glaze alteration process. They illustrate a long cycle of the building of the layers. It consists of warming up and cooling down the compositional colour scheme. Ultimately, the developed image will be ‘touched up’ with oil bars in order to continue to increase the vibrancy of the tint and add another element to the piece – texture.
Looking back at the painting process, my inspiration came from both, observation of a primary source and digestion of a piece by Greta Alfaro. I saw her work on display at the Saatchi Gallery. Her 2009 piece called In Ictu Oculi, Single channel video (HDV, 16:9, colour, sound, duration: 10:37) The Latin title in translation means ‘in the brink of an eye’.
She uses birds in a Hitchcock-like, metaphorical way. However, the meaning of her piece is different. It focuses on questioning human desires and has a very dark side to it. I thought that quoting her video and learning from her use of analogies and suggestions was very relevant to my painterly explorations.
I have researched and tested a great number of possible platforms for the final show. Unfortunately, I have found them quite disappointing. The most common concept is to based on echoing a feeling of a physical gallery. Frequently, the software is very slow and clumsy in operation. Additionally, the overall effect is more focused on the look of the space rather than the work itself. Art becomes somehow secondary to the meaningless decorations and textures of walls, ceiling and the lighting.
The most popular online gallery is artsteps.com and https://www.furioos.com/ is best for streaming 3D work.
Alternatively, I have considered using a website, which is similar in design to behance.net.
I really like the simplicity, effectiveness and freshness of the front page. There is a grid of large block images, which is inviting and very clear. This website is able to accommodate a broad range of artefacts, including gifs files and video work. Photography on display is relatively high resolution and organised with order and structure.
Our group meets in Zoom on a regular bases to discuss possibilities for arranging the exhibition. All students are very proud and would like to present their research projects to the best of the abilities. Likely, Aristotle, who is one of our students, has offered to help everyone and donated both, his time and the use of his original software.
In preparation for my exhibition, I have carefully considered a range of ideas. My main intention is to make sure that the way, in which my work is displays reinforces its meaning. I would like to avoid using any unnecessary gimmicks and distractions.
In these unprecedented times, it is quite strange for a painter to accept that the final exhibition will not have a physical dimension. Frankly, I am saddened and overwhelmed by a lack of reality it terms of the experience of true colour, texture and painterly mastery of strokes. However, an artist and creative individual needs to seek opportunities in overcoming obstacles. Therefore, my intention is to excel myself and make the online exhibition even better, more refined and sophisticated. I would like for this to be a new learning curve full of controlled happy accidents, experimentation and deep reflection of what is appropriate in term of visual communication – my chosen language of expression.
The digital approach creates a new chance to experiment with a ‘space’, which supports and reinforces my messages in cohesion to deliver a holistic poetry about my painterly and video work.
Currently, I am planing for a long wall with three parallel and simultaneous video projections. This number can be possibly extended to four. I am in the process of working on a painting titled ‘Ravens and Crows Will Peck Us to Pieces’. It is quite likely that I will make sufficient progress to video another washing cycle. This image is different to portraiture. Therefore, I was relatively hesitant to include this image. However, on reflection, it summarises my overall responses to my research findings in a time of lockdown and social isolation. We are all subjected to mortality, vulnerable and fragile. The end of our journey is the only certainty in our lives. Death is the culmination of our waiting, while being suspended in the vacuum of hypnotic repetition.
The side walls of the gallery will be dedicated to the display of the actual paintings. I should be able to exhibit between 8 and 10 canvasses.
I have spent the whole day preparing my submission to this fantastic opportunity created by Zealous. Their aim is to motivate artists to review their practice in the time of crisis. As a reward, selected three winners will receive a portfolio review from industry professional, David Ferry, who is the President of the The Royal Society of Painter-Printmakers.
Additionally, unsuccessful entries will receive another chance to reflect on their work. Zealous offer to arrange a comprehensive system of Peer-to-Peer Reviews.
I have thoroughly enjoyed the process of organising my portfolio online using their platform. Currently, I am nervously awaiting to hear back from the organiosors.
I have gone through a long journey Exploration, trial and error with this piece. Initial observational and crude sketches of crows in hard pencil, were gradually transformed into dynamic and terrifying black silhouettes of individual birds in a herd. There is definitely something raw about this piece, which portrays a bizarre world with no source of light nor gravity. The mood is overpowering and depressing, perhaps overwhelmed by dirty browns and broken yellows. My painting echoes achievements of strange yet famous Munich grave painters, who limited their palette to the use of dirty colours and broken chroma. This was the main discovery of and I have decided to refer to their learning on the composition on my experimental composition.
Initially, I collaged a self portrait into the painterly space. I have carefully chosen this photo to make sure that it was personal Ly significant. Subsequently, I immersed myself in the creation of an arrangement, which contained energy and drama. Through scraping, glazing and overlaying, I managed to increase the element of a secret atmosphere, mood and, therefore, forced a reflection on a viewer.
The sipping light through the colour layers will later become subdued. I will use an overall glaze of a mixture of crimson Alizarin and Prussian blue. I will also consider using an oil based coat in order to ensure that there is an appropriate translucency and depth of the overlaying colour.
The final stage will be concerned with scrapping of the glaze and, perhaps, imprinting further textures into the existing layers to reveal a mysterious illusions of secrets underneath.
60cm; (h) 85cm
HYPNOTIC REPETITION 