5th November 13 1-2 pm Lecture with Gary and Mo.
This was about essay writing. Structure and formal grammar
Assignment 1. end 6th June. . That is this reflective journal.
Assignment 2. end 5 pm 17 Jan 14 for the Rationale. on Turnitin. What will I feed into my FMP etc.
I am now started to write parts of the essay. I am looking into the works of Konstantin Dimpoulos, an Australian land based Artist.. He paints trees. I am trying to convey a message through colour to draw attention to the plight of the destruction of the rain forests.
During this last week I have listened to the Grayson Perry Reith Lectures on Radio 4, this was part of the celebration of arts and culture in 2113. I think you can learn something from every artist.I found the part where he says ” i want to talk about what it is to be an artist , here, now.” Perry says: “I want to celebrate an emotional relationship with visual art, the innocent drive to make it, to look at it, feast on it, to love it. I feel now is a good time to reflect on the idea of quality and how we might, in an age where we are told anything can be art, appreciate which art is any good.”
Well there lies the problem , what is good art. For me it must be the people that have studied it, done it and been awarded for it and then you are in with a chance of getting noticed, or is it that you have one original picture that launches your career, who knows?.
I agree with him on the development of art critique language and what he sees as people’s increasing need to over-intellectualize their responses to art.
Pablo Picasso 1935 “Conversation with Picasso” trans. Barr. reprinted in Art in Theory: 1900-2000. ed. Harrison and Wood pp. 5P07-510 “A picture is not thought out and settled beforehand. While it is being done it changes as one’s thoughts change. And when it is finished, it still goes on changing, according to the state of mind of whoever is looking at it. A picture lives a life like a living creature, undergoing the changes imposed on us by our life from day to day.
This is natural enough, as the picture lives only through the man who is looking at it”
This is how I work and the picture changes all the time. When mine is finished (as with my pour and collaged paint paintings) I can see when they are finished, but when I look again I am tempted to change some part of it. It takes a strong will to leave it alone.
Other people look at them and see something completely different and have varied opinions. This is a good thing, talking about art is helping one understand art.
I have looked at the work of Andy Goldsworthy as he works outside and one of his processes is that his long leaf lines and “tapestries” that he creates by threading the stems of leaves together to make outdoor environmental art
Every time I look at one of his ephemeral works, I am in awe at the power and beauty of nature! In truth, he is an incredible model for environmental art. In his own words:
“Movement, change, light, growth and decay are the lifeblood of nature, the energies that I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in materials, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.”
I am drawn to his writing in that he says nature is in the state of change and that change is the key to understanding. I believe you will only get change if people are educated in the importance of saving the planet . We all live here , so we all should contribute to its upkeep. I am doing doing this thought colour and trying to communicate my message though this media.