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Blasting “Simply Kids”

The large, fleece covered board has not worked at all.  It soaked, bowed and twisted. Additionally, the image did not transfer well on the fluffy surface of the fabric.  I had to reevaluate and decided to use overprinting in a variety of contrasting yet harmonious colours. This has worked much better.  When I started to blast the image with a pressure washer, the ink run down to discolour the fabric and covered the hideous green frame.  I started to alternate printing with painting, image transfer, collaging cutt out photos and pasting them on top of the already complex and sophisticated surface of images and washes; all sandwiched together, coherent, layered and increasently  heavily textured.

Yesterday evening, having reflected on the painting process, I considered a range of alternatives. Through brainstorming, I developed a plan to enhance this composition with a central collage using a photo of a Haitian child.  I immediately started to overprint the existing composition before blasting it again and over again.

I am so intrigued by the complexity of this process and the value of the accidental mark, which can be achieved through this type of experimental printmaking. I continue to search for visual sensitivity, which is valued and treasured.

Ultimately, my creative intention is to communicate that we are all waiting for change, for this special moment , which has the potential to improve prospects for the future.

Noone wants to be uncertain of tomorrow.

Certainty is much more valued and treasured! Certainty is secure and safe.

Does it exist though?

 

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Begging Children

The main concept, which I am attempting to explore and communicate is the idea of hope.  A glimpse of excitement, which has the possibility of changing everything.  It is not really important, if it results in an improvement or a decline.  The change itself  is of value here, as the presence and the past have been fully rejected.

My focus is entirely placed on the depth of colour of a painterly expression and the dreamy qualities of the layers, their transparency and, almost hypnotising,  vibrancy.  Images of the children are purposefully hardly visible, hidden and camouflaged in the complexity of the composition.  They partially resemble reflections and are intended to appear ghostly.  What is also important is the breaking up and crumbling of the surface.  No-one is really certain what is out there – perhaps simply nothing.

There are reflections and sparks of light, full of secrecy and mystery, almost mystical in character. There is a wide range of bustling questions in my mind.  During the panting process my eyes have begun nervously moving around the composition without acknowledging any breathing spaces to stop and rest while trying to understand the value and meaningful the composition. The memories from Haiti have suddenly become much more vivid, intense and clear.  My heart filled with uncertainty,  nervousness and fear.

What is afoot? What will happen?  Is change imminent?

The character in my work are not here nor there…they are again suspended in the vacuum of waiting with uncertainty of tomorrow…

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Girls in Red

Following my reflection on the most recent tutorial with Jonathan, I have drawn a plan of making progress through an introduction of a variety of quality improvements.  The essence of my work is in its meaning and the visual communication of my creative intentions.

Everyone is waiting for something!!!

I have initiated the process of experimentation with image transfer and painting.  The intentional breaking of the overlay creates a sensitive and gentle quality through making the work feel and look more painterly.  The top layers form a very fascinating “painterly matter” and open new opportunities for further work.  I will update this post with additional developments as I progress with screen printing and blasting of images.

The other idea is to start to differentiate on the size and format of the work and explore possibilities for combining smaller images to increase the volume of the overall composition.

My main focus here was to create a sense of being “suspended in vacuum” while waiting for change. This develops a form of tension and drama.  The colour is dynamic and full of expressive turbulence. The faces of the girls are somehow twisted and deformed.  The logo element of underlay and the text, add a sense of unreality by making the composition ambiguous and opened to interpretation. The flowers, symbolic of celebration, can be used as a reward for acting as a change agent, giving hope and enabling positive prospects in life.

haiti111haiti222haiti333

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Tutorial 2

Tutorial with Jonathan Kearney on Tuesday, 16th January 2019 at 4 p.m.

64fcc337-3b6f-49cf-878d-951ff2971455Issues discussed:

Jonathan has helped me to regain focus on what I am trying to explore during an hour-long video call on Skype.  When discussing my individual ideas, his particular attention was drawn to the brutality of the process of blasting of images in contrast to the sensitivity and gentleness of individual layers achieved.  Jonathan emphasised the value of this type of experimentation and reinforced the importance of the creative practice in visual research:

“the physical process of blasting images is in the centre of your research and practice”.

(Kearney, J. 2019)

He also suggested that my trajectory was clear and a degree of hesitance and uncertainty of direction is very much a part of the overall process of risk-taking and visual experimentation.

The option of transferring images onto reflective surfaces was discussed and partially rejected.  This is due to the destructive aspect of the behaviour of the audience in the context of this type of interaction. The attention of a viewer could be placed firmly on their “look” and impression in the mirror rather than the intended reflection on the meaning of the work.

My immediate work plan is to continue with the process of blasting images and over-layering  them using screen printing, painting and image transfer.  The portfolio of my primary sources will be triangulated and extended during the planned trip to Georgia and Azerbaijan in April, and Thailand and Burma in July and August 2019.  I will also consider using sources from my local environment.

The principle of the working process and methodology will remain the same.

It was also recommended to look at the work of Mark Bradford.  His unique collages and paintings on paper possess an organic quality and are frequently based on a grid-like composition. The surface of his work has got a highly textured, layered and almost typographic quality, making references to the dynamism of a metropolitan landscape.

This is supported by the bleeding of colour and layering.

Mark-making and painterly gestures are also very important elements in the overall work – all making a contribution to the painterly process.

Related image

Mark Bradford
B.1961
SPEAK, BIRDMAN
signed on the reverse
mixed media on canvas
59 1/2 by 70 1/2 in. 151.1 by 179.1 by cm.
Executed in 2018.

Image result for mark bradford

MARK BRADFORD

Rat Catcher of Hamelin III

mixed media on canvas
304.8 x 320 cm (120 x 125 7/8 in.)
Executed in 2011.

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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.