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
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].
