Inspiration: From Classroom to the Studio

It happens ever increasingly, that as well as (hopefully) inspiring my learners my session also push my own art practice forward.

In the first instance this was with the line drawing. This time round it is with pointillism. Within this session we were exploring different styles of art to create drawings in. 

Pointillism, or Neo-impressionism is usually used in painting, however within the session we used the style to draw with, this style allows you to create images by building up dots on a page. Within the session we worked with primary colours and dot placement to create outcomes which would then blend together when viewed. Pointillism is depended on the eye and mind to turn the dots viewed into a fuller ranger of tones.

Within all my session I like to provide a range of artist reference, this ensures that the learners have an awareness of what had come before them, as they cannot create art in vacuum (Melee and Cramerotti, 2013). This week we explored the work of artists such as; Roy Lichtenstein, Paul Klee, Georges Seurat and Damian Hirst. By exploring a numbering of artists learners are exposed to a range of ways in which the style has been, can be used.

L-R: Roy Lichtenstein: Modern Art (1996), Paul Klee: Seaside Resort in the South of France

(1927), Georges Seurat: Le Bec du Hoc, Grandcamp (1885), Damien Hirst, Damson Mousse (2016)

Within the session we also looked at the work of Bradley Hart, who expands the Pointillism style by utilising a very everyday item - bubble-wrap. He takes advantage of the pre-existing circles and injects each with paint. 

Bradley Hart, Insomnia, 2009

Within the session we took inspiration from Hart, albeit minus the injections, and used bubble-wrap as one of our materials. The technique we used was to paint directly onto the individual bubbles and then either leave it at this stage, or to then create a print from the painted bubbles. We also used cotton-buds and anything round we could get our hands on. 

In relation to my own practice I found the work of Hart particularly compelling due to the concepts behind the outcome. Our start points echo each other, both beginning with photographs, he with images from his own personal collection, mine with my personal collection of images of road signs. The issue of the mass produced also pops up for the both of us; bubble-wrap is mechanically mass produced, as are my source materials: road signs. This lowers the value of these items (Benjamin, 2015). However, his process tries to tackle this - as does mine - by turning these mass-produced items into originals of sorts. this is achieved by the outcomes being hand rendered and time consuming (Hart, 2019), allowing them to become the antithesis of the mass produced.

As such we are both also dealing with the issue of originals and copies, due to the subject matter and materials we are dealing with. Our works take the mass produced and turn them into originals of sorts (Judovitz, 1998), giving each their own authenticity an aura (Benjamin, 2015). We then both end on the audience’s individual reaction, or interpretations of the work. What does it mean for the viewer to experience each of these outcomes? 

Initial Outcomes

Within my sessions I always have the intention to also take part in the activities, as this allows me to model techniques and styles to learners - allowing them to learn through observation and imitation of behaviours (Bandura, 1977). This can also encourage them to partake in activities which may seem new or difficult.

Much of what I plan for sessions is removed from my own practice and the delivery of these is often the only time I use that skill set. This could be due to a number of reasons such as the activity being simplistic and one, I feel I have already accomplished, or as it is not relevant to what I am doing in the studio. Either way, there is a huge benefit to me here, as it reminds me of the important of, firstly practising skill sets and secondly the importance of play and experimentation. 

For example, while my bubble-wrap outcome let much to be desired I saw how it could be used to quickly create an interesting background and how with practice myself and learners found more successful ways of using the bubble-wrap. Such as cutting it into smaller shapes, rather than trying to achieve everything on one sheet.

In contrast I found myself at one with a cotton-bud fairly quickly - there was more control here, (the issue of the mass produced remains). Going forward this is something that I will continue to play with. I have a feeling that the bold, simple colouring of road signs with work well with this style and this tool.

Development

Pointillism meets The Road Sign Collection 

On reflection, and as with most things I do, I would like to see these bigger - with the

dots smaller but in larger quantities. The finish is too messy and that is I feel down to

the tip of the cotton-bud being too large for the scale I was working on (A5). 

The issue could also be in the viewing, as for Pointillism to take effect the eyes need some

distance from the page. These photos are quite focused in on the outcome. 

I find the blue circle containing the word 'end' to be the most effective and easiest to view.

Perhaps my love for text has something to do with this. 

References

Bandura, A. (1977) Social Learning Theory. Prentice Hall. Education. 

Benjamin, W. (2015) Illuminations. London: Penguin.

Gagosian, (2018) Damien Hirst: Colour Space Paintings. [online] Available at: https://gaosian.com/exhibitions/2018/damien-hirst-colour-space-paintings/. [accessed 28/01/20].

Hart, B. (2009) Insomnia. [online] Available at: https://www.bradleyhart.ca/Artist.asp?ArtistID=37166&Akey=5BDJN8BK&ajx=1#!Group1_Pf184646_im7. [accessed 28/01/20].

Judovitz, D. (1998) Unpacking Duchamp: Art in Transit. University of California Press.

Melee, L. and Cramerotti, A. (2013) Art and Revolution. Aesthetic Journalism. 

Tate. (2020a) Whats on: Hatton Gallery: Roy Lichtenstein. [online] Available at: https://www.tate.org.uk/whats-on/hatton-gallery/exhibition/roy-Lichtenstein. [accessed 28/01/20].

Tate. (2020b) Paul Klee: Seaside Resort in the South of France. [online] Available at: https://www.tate.org.uk/art/artworks/klee-seaside-resort-in-the-south-of-france-t06795. [accessed 28/01/20].

Tate. (2020c) Georges Seurat: 1926. [online] Available at: https://www.tate.org.uk/art/artists/georges-seurat-1926. [accessed 28/01/20].

The Westologist. (2020) Pointillism. [online] Available at: http://www.thewestologist.com/arts/of-paint-and-pixels. [accessed 28/01/20].