How Field has influenced Subject.

The Pembrokeshire trip in the first term was the inspiration for my interest in maps and navigation. Working from memory I made a series of large scale drypoint prints from memory that functioned as maps of the area. The high vantage points I experienced within the landscapes led me to focus on lines of vision and alternate ways of viewing a landscape. I was also looking at Peter Lanyon’s glider paintings which are landscapes but from an aerial perspective; again an alternative way of viewing a traditional landscape scene.

Whilst creating the drypoint plates I became aware that whilst they were intended as landscapes they functioned as a map that was personal to my experiences. As I had been working from memory each time I created a plate the outcome was slightly different depending on which parts of the trip I recalled. At the same time as i was working on the prints I made paintings and line drawings depicting journeys i made regularly around Cardiff.

The work i created during field has influenced my studio practice because it has continued my interest in maps and psychogeography, more recently I have  changed subject matter to ones i was more familiar with such as from home and around Cardiff because the landscape in Pembrokeshire was starting to feel irrelevant to my present life. The change in subject matter to urban landscapes has led my paintings to have a more limited colour palate, something I initially struggled with as I enjoy working in colour. However I’ve found a restricted colour palate has benefitted my work because it has forced me to simplify my mark making and compositions. After simplifying down my work, in the last few weeks I have begun to re-introduce colour but in a different way.  Making these changes to my practice and the work i made during field has helped me to realise my goal of creating a series of contemporary landscape paintings.

I have experimenting with working on ripped cardboard because I find my mark making becomes less expressive and restricted by the conventions of a canvas, however I have been limited to working on small canvases because i have had to transport my work on the train. Now that I have access to studio space again I would like to work on a larger scales an experiment, but for now I am happy with 9 x 12″ canvas as working on a smaller scale makes the painting more intimate. I also set myself a challenge to create an art work without using any conventional paint because initially I was working in oil paints which I found limiting.  I enjoy using mixed media and find it difficult to concentrate upon one medium, instead I used a combination of emulsion and coffee, collage materials and oil bars. I have continued to use the 100 drawings method from Pwll Deri as I found it an effective way to gather lots of information and they also function as a body of work in their own right.

 

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