The interesting part of working with coffee stains is that for some artists it just happened by accident. Many people in the world can’t start the day with a cup of coffee but I suppose the artists mind and eyes go beyond that. I too see art and ways of working with it in my everyday life with everything around me. These researches just motivates me to continue looking for ways of expressing art and not to limit myself to a studio full of “made for art” materials and tools. In the era of recycling, reuse, reduce it is crucial to do art and at the same time having a way to collaborate with the environment getting the attention of audience to art and how it was made. I think coffee, tea a wine stain has similar effect of watercolours except that it creates monochromatic pieces, not very easy to achieve but it also seems to be a therapeutic process: to use something pleasant to the senses: see, smell, touch and taste. I like very much the work of Hong Yi for its details and specially for its scale. Her portraits are very accurate and it surely done with time and patience. Since I have been very interested in expressive art, quick, energetic and spontaneous, I think practising “coffee stain art” would be a good way for the to focus more, reflect and change the method in order to learn how it triggers in me.
Karen Elland has an impressive realistic style in her coffee stain paintings. She reproduces famous pieces and create very accurate ones. Her dark and light contrast is perfect and her attention to details must require a lot time, observation and patience. It is visually amazing but I like more lose mark making and the technique Houng Yi uses for her portraits.
“What makes an artist unique is when they do things differently.” said Gaul. “You’ve gotta keep reaching. A true artist will find something that takes what they create and takes it to the next level. There’s something to be said for coming up with your own idea.” – Ron Gaul – The daily Chronicle article – September 20,2012
The work of Annette Robinson shows the multi faceted ways to approach an image. How she sees the “Sticklebricks” through different angles, in some parts of it, in photography, stamps and in relief. It changes the feeling in each different project. The numerous possibilities she achieved is a great source of how the process of trying the possibilities becomes art in unpredictable ways. The “Sticklebricks” (if you don’t know it is a toy) could be mistaken be a textile pattern, a architectural study or even a graphic comic image. It is the same object done in different methods that turns the work to be very interesting. Only after a great deal of images that her idea/project takes a body and make sense. If it was only a couple drawings of a piece of toy it would not be a subject of exposition but her ways of showing it in so many way that creates a solid intention of her efforts to develop something ordinary into a artistic level.
The work of Sue Gilmore is about taking the time, preparing, having it transforming and finally let the result happen. In her case, the process of making charcoal to execute her conceptual work -pyrolisis- is what makes me think that not only about the visual, scale and materials used that matters but most importantly focusing in the process itself . In this module, for The process project , work like hers helps so much people like me in a long distance online course to figure out ways and reasons to develop ideas and concept reaching the understanding required to present a final piece.
Both articles and video interview brought many insights of Grayson Perry’s ways and nature of his works. He is definitely a piece of art himself. He extended his way of expressing himself through his art all the way to his crossdressing and he enjoys showing it. As mentioned on his video interview by Tim Marlow – Director of artistic Programmes of the Royal Academy , Grayson Perry above all is also a performer, without forcing it, it is who he is. Grayson Perry is so humbly opened about who he is and I think that is one of the reasons people get so engaged in his talks and with his art. Bright colours and images, a variety of subjects and approaches, he deals with the matters of the world. His depiction is explicit , full of humour, provoking and seducing ways. On the article about his first artwork, I relate to him in the sense that sometimes in the middle of the night, ideas come to his head and he has to just doodle some of it on paper. In preparation for his work it will have some additions and changes but the foundation will be pretty much a resemblance of what he had first sketched. The same happens to me, although I think I am not confident or experienced enough to develop my initial ideas and sketches all the way to a final piece, YET!. It is motivating and inspiring to know that an artist do not need to stick with a subject all the time. Grayson Perry deals with his childhood matters, the unconscious ,politics, what is going on in the world at the moment, and put images and pieces together in very appealing ways. I like how he depict figures in the foreground a lot bigger than the background. I think he can play around with his feeling and moods in his art because his style is consistent and from tapestry to his vases, mixing medias and textures and materials, he has a unique style and that is what makes him so recognised in the world of art at the present time. Grayson made use of all his experiences from emotional pain and self-discovery, strong and bright pieces of art but also with a lot of light feelings and humorous touch. His is audacious but also a simple and committed artist. He does every bit of his art himself. It feels like that he really does it for him and had a great opportunity to show it to the world and attracted a lot admirers. I think it could be that he mirror what many people feel and want to be. Most of us, sometimes we are not brave enough to completely open up our most deep and darkest secrets not realising we are all the same!
I chose the image above to make my own comments about Grayson Perry’s art. His colours are so bright, there is so much information and patterns and shapes but yet it all has a balance. His foreground and middle ground and background are well depicted. I feel like looking at a very modern Rennaisance art, if there was no such term as “Contemporary art”. He depicts the type of food, outfits, furniture… all very British, very traditional. It in the little details like the tea and jam on the table, the slippers on the Botton right, the vegetables on top of a newspaper, the tea towel in the back of the lady playing on her phone, the landscape in the background.The patterns on the ladies dress and skirt reminds me of vintage clothes from second hand shops. His colours ,patterns and colour contrast reminds me a bit of Anthony Green’s work. It tells a story as well, it is fun, bright, beautiful and well balanced.
Going through the Essay ‘The Porous Practice of Drawing’, by Meredith Malone, in my understanding, drawing overall is a important component to the practise of art . Rather the artist focus on the material or on the ideas ;the visual and physical results needs a starting point. Sculptures, installation, site-specific work or paintings are a result of processes which sometimes is what the drawings will influence most or when the drawings were simply a jot down of a moment, and will dissolve or lose importance depending on the artists outcome , progression or improvisation through beginning to end. Donal Judd and Dan Flavin gave high values of their drawings which for them exposed the process of creation and stranded as vital counterpoints to the sterile perfection of the standardised industrial Minimalist object. There is a lot information that goes into the drawings, and for me it is equivalent to a manual of instructions and steps in order for the artist to conclude his ideas into the piece he wants. Carl Andre on the other hand didn’t think of drawing to be as essential as Dan Flavin. He believed that in his sculptures , the process would reveals itself as he goes through it. Richard Serra was the same and he stated ” I never make sketches or drawing for sculptures. I don’t work from an a priori concept or image. Sculptors who work from drawings, depictions, illustrations are more than likely removed from the working process with material and construction”. He still used his drawing though but his approach to it differed of the one from Dan Flavin. In the same way that Barry Le va gave a lot importance to his drawings. Some of his statements about drawings prove it. ” to be alone with myself”, “to discover and clarify my thoughts”, ” visualise my thoughts” and to ” convince myself some thoughts are worth pursuing”. Drawing will play a different role for different artists from conceptual or experimental, it will act as decision making or feeling aroused during the process by the artist. The very unconventional Willian Anastasi who developed a series of blind drawing in the subway journeys to a more systematic approach of Sol LeWitt , Three-part variations on three different kinds of Cubes, 1967.
“Visualise my thoughts” ( Notes (undated), reprinted in Accumulated Vision: Barry Le Va (Philadelphia: institute of Compotemporary Art, 2005, 89.) would be the quote that describes best what drawing means to me. Sometimes the images does not come out exactly the way I have in my mind. Sometimes the result is disappointing and I still can’t pinpoint where it went wrong and sometimes it goes above my expectations and gives me an extra push to take my ideas further as soon as I have the main starter on paper.
I liked the idea of Anastasi of blind drawing, I haven’t tried exactly as her work has been described but I usually have some great experiences on typical doodling or sketching random images while talking on the phone or listening to music. It is not a planned drawing or with any intention. It captures my unconscious movements that sometimes will triggers ideas or simply bring out my mind images and thinking process. Through this module I discovered the pleasure and purpose of simply mark making to reach another level of drawing. I am attracted to a more expressive and energetic sort of drawings rather than systematic and planned. EDM is helping me to refine some skills that I think I always had but did not consider relevant to the act of drawing. As a learner of art, my concept use to be of drawing to form a figure or object in details and aesthetic shape. I feel a lot more satisfaction in drawing now that I take it as simply my own way of expression, exploring new materials and techniques and find a way to create meaningful pieces of my own expression.