wtf… why are you doing that?

Some notes and thoughts after a good conversation with my mentor Iris Häussler and Katz the cat.

 

Things to think about and remember…

  • spoon feeding the audience – know how much to give and how much to hold back.
  • be prepared when talking about your work. People are quick to make comparisons to other artists who are working with the same visual vocabulary. Know how to separate your work from other artists.
  • WTF – ask yourself wtf…why are you doing that?
  • It’s okay to work on many things and then go back to them. Look at how your hands move as they work.
  • Try drawing after photographing – watch your hands and think about how they move differently with the medium/materials you are working with.
  • Photograph of the birthday girls … this is easy to consume…this image seems to do what the others deny.
  • Drawings: Why is this figure celebrated? Why is the figure left alone suffering? Why is the body a comic-like depiction? Think about how all the expression is in the face and the body does not protest. Do you bring this work into the photographs – how or maybe not? There is a relationship and a separation between the drawings and the photographs.
  • The figures are not realistic and they go into the realm of fairy tales. They have the appearance of old illustrations from a book.
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gum tears

single figures_0619

Playing with gum and empty space in compositions and looking at ways to imply a narrative. Thinking about the work of Clementina Hawarden and her “subject-less” paintings. Her work focuses on reverie and reflection and there is no story.

narrative thoughts in the studio

 

I have been researching the narrative in visual art. In my last research paper I examined the works of Gregory Crewdson and Alec Soth and I looked at the way these two artists construct a narrative in their work. Crewdson loads his images with layers of a story which he presents in large scale compositions, while Soth sequences his images and presents his work in a book format. Although both artists imply a narrative in their work, the viewer is left with more answers than questions. Implementing the research in my own studio work, I’m looking at ways to create and deny a narrative.