Building on from my experiments with landscape painting in Studio 3, my intention in this module was to focus on sky studies. This began with a series of small scale oil studies on paper and developed into my Sky Study Series (September 2019), where I explored how the fluidity of painted sky-scapes allows for the intersection of abstraction and realism. I played with the amorphous shapes of clouds and dynamic, vibrant colours, specifically in Sky Study 3. Inspired by the work of Turner in the Tate Britain, I was drawn to the way classical sky painting employs a range of textures and thickness of paints, for example see Sky Study 2. Another aim in this body of work was to produce paintings that suggested an infinite space and used the depiction of space to suggest a calm state of mind. I was interested in the works Mark Rothko and how he creates a meditative experience for viewers. I aimed to create an endless sense of calm through the use of infinite space and colour. Additionally, I experimented with different methods of displaying paintings. Hanging straight onto a wall in Sky Study 1 made the clouds look flat. I created the illusion of floating clouds in Sky Study 2 through hanging the work from the ceiling at an angle, in front of a window.
For my second set of work I developed my ideas about the installation of the paintings. The previous square canvas looked too perfect, whereas the rectangular portrait canvas in Sky Study 2 contradicted the typical way clouds are presented in renaissance paintings or modern day photographs. Furthermore, a circular canvas was built to create the illusion that the clouds continue past the edges of the canvas. I also worked from photographs, as painting from my imagination caused the clouds to look prototypical. Creating a suitable canvas and hanging in a way that complimented the work would have continued into the final exhibition, with the use of additional structures on the end of the wall. An example can be seen in my Documentation. I was motivated to create a wall-sized cloud study after seeing Tacita Dean’s beautiful and dramatic large scale landscapes. In my paintings I worked with oil paint on canvas, as it allows me to achieve different levels of transparency and vibrancy in each layer of paint. As the paint has a slow drying rate, I can move the paint around the canvas or wipe it off as I go to work on each layer carefully. To create my paintings, I begin with one thin wash and build on this using layers from thin to thick, light to dark, colourful to dull and glossy to matte. This creates an image that is designed to look realistic from afar, but with abstract details up close. Moreover, implementing multiple layers allows the painting to have several dimensions to it, which push and pull the viewer at each stage. In Sky Study 2, I added thick solid colours using a squeegee, which disrupted the flow of the clouds. My practice had to drastically change due to the circumstances, and I have taken my work online, creating digital paintings. A large influence behind these cloud paintings is Vija Celmin's ocean drawings, which seem as though the flow on past the paper. I explored this in my own work through the installation and shape of the canvas. I was excited by Albert Oehlen’s exhibition in the Serpentine, where he installed his work to adapt to the architecture. This is what I worked to achieve throughout the year. My final piece would have adapted to the architecture of the art department – building circular structures for each side of the wall to create an illusion that the clouds continue past the edges of the canvas. Also, creating a smooth surface to the wall would assist in producing this piece, and allow the painting to compliment the space. Instead, I have taken my work online, creating a series of digital cloud paintings. I wanted to test whether the intentions of my previous work in producing sky-scapes, which created a sense of vast spaces, could be achieved on a smaller scale. For instance, Constable's small-scale paintings with dramatic, colourful skies. A digital image also presented the possibility of extending, exaggerating or warping the skies. |