Conclusion and consolidation for my work forward:
A landscape is a cultural constructed image. In visual art and especially painting typically viewed as a framed image. For me the question can I embed this in my work? How can I apply perspective in a different way (see my painting in Project 1 Ex 1 ‘Linear perspective‘)? How can I incorporate architectural elements – if at all – and how can I visualise my personal encounter with my environment and the two places (work place and residence place, Switzerland)? I find the experienced relationship of me and the places as an important personal and emotional aspect that I do want to include in the assignment work. Alongside the element of memory.
To elaborate further as I’ve done in my other sketchbook #9 e.g. my mini series ‘The Mountain Cries’ ? I am struggling with using just my recent work and bundle them into a multi segment work. So trying to find another smart way forward.
One common theme that I noticed and researched more in depth is the sublime, at times in a still romantic articulation with a contemporary touch (see Project 5 Exercise 3 ‘Working from photograph‘ (Sublime cloud) and at times rather as an emotional and intimate visual response (see my sketchbook works ‘The Mountain Cries‘ and Project 2 Ex 1 ‘Linear Perspective‘)
How can I build on this?
One word that crossed my mind is ‘Awe‘: awe. (n.d.). Online Etymology Dictionary. [accessed 08 Dec 2016] from Dictionary.com website
=> medieval term aghe, agiz, agiso’ = fright, fear, terror, anguish, pain, grief
Another aspect is my physical encounter with nature and the incorporation of found objects as ‘Artefacts‘ in my work (see Project 4 ‘Outdoor Painting‘)
From the previous exercises and sketchbook works I am mostly fascinated by my approach with watercolor and ink resp. fluid paint, the element of chance in contrast to control, and my ‘artefact’ approach by incorporating found objects in nature as an index for my physical and spatial encounter with place. My works so far are rather scattered and isolated. Is there a common theme or approach? For this assignment I am thinking how to conclude and embrace my past works instead of making something completely new. Thus a multi segment work, serial work – consisting of my sketchbook pages only perhaps? Key aspect is my personal encounter, my sketching as a visual journey through this part of the course.
- Exploring serial painting
- Explore watercolor, ink and/or fluid paint
- Exploring how to build larger work (around 90 cm x 60 cm or larger)
- Building on my successful works (chance, automatic, emotional connection, spatial experience)
- Interrogation with my sketchbook work
- Contextual: Landscape as a cultural constructed image and physical engagement in the making of.
In previous exercises I was mostly inspired be the following artists for their unique approach to painting and visual articulation:
- Uwe Wittwer – for use of watercolor in an abstract and broad approach at larger scale, His appropriation of old photographs as ‘negatives’
- Hurvin Anderson – for his bold and abstract application of paint, blots combined at times with lines
- Kotscha Reist – for his minimalistic and rather monochromes application of paint with some visual depth and without conveying a pure flat visual appearance.
- Laura Lancaster – perhaps less so far – for her fluid and expressive use of paint.
In a deeper reflection on my tutor’s remarks about how large scale works can be done in various ways (see my contextual notes on ‘Large Scale‘) and besides the researched approaches by John Virtue, Tacita Dean, David Hockney, and Fred Williams (‘Beachscapes‘) I looked further at
Serial works, different formats and presentation:
- Small paintings in series – artefacts:
=> Seana Reilly ‘Artifact serie, no. 201-225‘
- Tony Clark (b. 1954) ‘Myriorama‘ Australian painter. A large landscape painting made out of several smaller landscape pantings. Available from: http://www.roslynoxley9.com.au/news/releases/2006/03/02/102/ [accessed 07 Dec 2016] => Due to the common horizon line bridging each panel, any panel can be placed adjacent to any other piece. Reminds me of some children board games and actually the term ‘Myriorama‘ derives from illustrated cards created by John Clark begin of the 19th century. The cards could be arranged and re-arranged, forming different pictures. Later the popular entertainment form of moving panoramas was invented, in close relationship to
- Panoramic painting of which I know the ‘Mesdag Panorama‘, 1881. This painting, created by Hendrik Willem Mesdag and other painters of the Haagse School and his wife Sientje Mesdag-van Houten and George Hendrik Breitner. It has a dimension of 14,5 x 114,5 meter! This painting is still on view today – click here.
Series as documentary and reflection of mental images:
- Ana Opalić (b. 1972) a Croatian photographer and filmmaker who documents and records personal encounters in her life reflecting the passage of time.
=> Natural landscape representing the imaginary world, a metaphor for ones mental state and desires. Series of small fragments of things.
– Series ‘Brsalje‘ 10 years documentary of the same sea coast place. Available from: http://ikonartsfoundation.org/interview-documentary-photographer-ana-opalic/ [accessed 08 Dec 2016] and
– Series ‘I do not see‘, 2002. A disappearing forest path, Opalić refers to what is excluded from our frame of vision. Exploring the potential of the landscape genre for representing inner experience. Available from: https://www.mutualart.com/Artwork/I-Do-Not-See/9B491D67F4F64963 [accessed 06 Dec 2016]
- Philip Wolfhagen (b. 1963) Available from: http://philipwolfhagen.com/current-2 “How does paint create something to look at in comparison to the thing that it might represent” Three separate convases, each devided in half. He is concerned about the passage of time, and uses atmospheric phenomena to express the fragility of the natural world.
- Caroline Rannersberger (b. 1961) Australian painter and printmaker. Available from: http://www.carolinerannersberger.com/2012-melbourne => multisegment landscape paintings. She works on site and is concerned with the natural processes and how they can be simulated through the materiality of the painting medium.
- Paul Ryan (b. 1964) Artist from New Zealand. Available from: http://paulryan-artist.com/. Ryan applies loose and bold strokes to express character of the landscape. For me going into the direction of Laura Lancaster though with more muted colours.
My thinking went along the path of a multi segmental painting, constructed out of single paintings, perhaps added with a layer of a path? Too illustrative perhaps? I looked at different options in my sketchbook:
and looking further on how to build on my recent paintings and sketches – to construct them meaningful, and with a first sketch of multisegment painting based on one painting (cut and construct):
Key visual elements I found in my sketchbook images are: mountains, rocks, water, ground, architecture, man-made.
So my plan forward: Memory of layered images, constructed landscape out of multiple landscape images, my journey as a personal encounter with the world around me.
- ArtNews (2016) ‘Beyond the Infinite: Robert Rosenblum on the Sublime in Comtemporary Art, in 1961‘ Available from: http://www.artnews.com/2015/03/27/beyond-the-infinite-robert-rosenblum-on-sublime-contemporary-art-in-1961/ [accessed 06 Dec 2016]
- Bell,J. (2013) ‘Contemporary Art and the Sublime’, in Nigel Llewellyn and Christine Riding (eds.), The Art of the Sublime, Tate Research Publication, January 2013, Available from: https://www
.tate .org .uk /art /research -publications /the -sublime /julian -bell -contemporary -art -and -the -sublime -r1108499, [accessed 18 Nov 2016]
- Browne, D.E. (2005) ‘Painting the Sublime Landscape and learning to see Nature along the Way‘ Available from: http://etd.fcla.edu/CF/CFE0002020/Browne_Deborah_E_200805_MA.pdf [accessed 08 Dec 2016]
- Fowkes, M. & R. (2010) ‘Unframed Landscapes: Nature in Contemporary Art’ Available from: http://greenmuseum.org/generic_content.php?ct_id=186 [accessed 20 Oct 2016]
- Hazelhurst Regional Gallery and Arts Centre (2014) ‘Sublime Point: Landscape in Painting’, Available from: http://www.sutherlandshire.nsw.gov.au/Community/Hazelhurst/Exhibitions/Previous-Exhibitions/2014/Sublime-Point-The-Landscape-In-Painting and (YouTube video, 26:09 min) https://www.youtube.com/watch?v=1ajW-03HhPo [accessed 08 Dec 2016]
- Hoyle, S. (2012) ‘The Development of the Contemporary Sublime’ Sublimation 2012. Available from: https://www.academia.edu/2295523/Sublimation_The_Development_of_the_Contemporary_Sublime [accessed 20 Oct 2016]
Morley, S. (ed.) (2010) ‘The sublime’. London: Whitechapel Art Gallery.
- Wells, L (2011) ‘Land matters: Landscape photography, culture and identity.’ United Kingdom: I.B.Tauris.