stefanie vd merwe
Subjective Objects
Subjective Objects
Subjective Objects
Subjective Objects
Subjective Objects
Subjective Objects
Subjective Objects
Subjective Objects
Subjective Objects
Subjective Objects
unit 1
PHASE 1
LESSON 1
To explore what is truly conveyed by a piece of artwork, we looked at a range of works by different artists and analyzed what we thought was the strongest root of the piece; what was the main aspect being conveyed here? The true root of the artworks could either be context, concept, or technique. The context being how the time and place that the artwork was created in impacts the purpose of the piece. The concept being the meaning and idea behind the piece. The technique being the method used to create the piece.
For example, we looked at Pieter Claesz's artwork "a still life with a roemer, a crab and a peeled lemon". When we viewed this artwork, words such as luxury, class, and enjoyment came to mind. We then looked further into Pieter Claesz's biography to understand why he might have made this artwork due to the environment he was in while he created this piece. We read that he was part of an artists guild in 1620, and then taught there for most of his life.
We decided that the main aspect being conveyed was definitely context. Whilst we may not know much about the artist, we can assume that during that time art was not valued as much because only the very wealthy and higher class citizens appreciated art. With Claesz being a teacher of an artist guild, we can further assume that he was a successful artist, and thus, the painting of luxury and class is a reflection of himself, and his environment, or possibly the people he created artwork for.
Pieter Claesz, A still life with a roemer, a crab and a peeled lemon, 1643
We also recognized this common theme throughout Claesz's works;
LESSON 2
To further our understanding of "still life", we photographed images from different still life setups. We began with a view finder, to practice and experiment with composition; this way we could visualize what perspectives and angles we wanted to take our photos at.
Whilst taking photos of our still life, we kept in mind the elements and principles of design; such as line, shape, form, color, texture, space, pattern, contrast, emphasis, harmony, variety, and more. I tried to experiment with some of these important aspects, although, found myself most interested in the use of space, texture and color.
During this lesson I attempted to be open-minded about my photographs and to try and step out of my comfort zone; usually I am selective of my photography and am focused on the aesthetic aspects, however, in this lesson I made an effort to experiment with the use of light (white, warm, colored) and perspective (zoom/ distance). I soon found myself focused on the shadow and texture, or the angle of the photograph and was able to be more receptive about my photographs.
Here is a series of some of the photographs I took;
LESSON 3
Drawing workshop:
In its most basic definition, we can simply say drawing is about leaving a visible mark with a tool, in which we tend to look towards the final end result and image created once a drawing is completed. However, through a different perspective, we can appreciate the act of drawing rather than the result; the idea of acknowledging that a drawing is a representation of movement over time - a depiction of an "occurrence" and journey. This is what I understood from our discussion in class and found it very interesting to realize that drawing is not about creating an exact copy of an image that already exists, but creating a representation of time, dedication, patience and thinking, all at once.
To supplement this creative and stimulating mindset, we spent the lesson doing a fun activity to push us out of our comfort zones and to exceed the boundaries of "drawing". A series of still life set ups were placed in front of us, in which we had to choose a composition and simply begin drawing it. Following this, every few minutes our art changed; whether this was interfering and rearranging our composition, changing our drawing materials, sticking tape on our work, having someone else contribute, physically limiting our ability to draw, or erasing everything and starting again - we were forced into exciting, frustrating, and stimulating situations.
Personally, I loved the freedom we had to simply create what we saw, whilst utilizing a range of different materials, and working from different perspectives too. As well, whilst some might have become frustrated at the uncomfortable and unfamiliar situations, I loved watching as my work changed, whether this meant adding layers upon layers, or by eliminating certain areas. My favorite realization that my art teacher mentioned as an outcome from this activity was the idea that the depiction of "still life" was no longer still, and was suddenly a representation of a journey and a series of events.
here is my outcome of the activity;
here is a look at my environment after the activity;
LESSON 3
From our photography workshop, we were to choose a composition that we thought would be suited for a final piece; as well as one that we could manipulate and transform to transcend the boundaries of a still life work. This is the composition I chose;
Sunday, 9 September
In todays class, I want to experiment with with composition with the use of many different media and techniques. I used patterned paper (which I implemented with glue), charcoal pencils and water color paints. Below is my process of experimentation;
This was a great opportunity for me to experiment with different mediums, especially collage which I haven't worked with before, and to recognize how I could implement different medias into my final product. I admired how I was able to find a pattern that resembled the inside of the pomegranate; I felt this added a contemporary and interesting look to my experimentation. As well, although I have the ability to manipulate the use of color, through this experimentation, I realized that I appreciate the lovely tone of a pomegranate; the use of red and pink tones are rather beautiful to me. Although, even though it represents evidence of effort to utilize different media, I was not entirely fond of the way I created shading of the pomegranates with the charcoal pencil - For my final piece, I might want to consider making the shadows solid and defined, rather than sketched.
Wednesday, 12 September
In today's class, I wanted to experiment with different mediums and techniques again. I really enjoyed the use of collage from my previous experimentation, so I further implemented this again, along with with the use of color pencils as another medium. I also used charcoal again to create shadow and depth. Although, instead of patterned paper I used plain pink-colored paper to resemble the favorable tone of the pomegranate, as well I randomly stuck pieces around the pomegranates to experiment with the use of shapes and abstractness;
FINAL PIECE
INVESTIGATION
PIECE #1;
Figs reunion, 2012. Guilia Bianchi
Initial Response:
Introduction:
The first piece I have decided to look into is an oil painting titled 'Figs Reunion' by Guilia Bianchi, made in 2012. I chose to look at Bianchi's artwork as I was very intrigued with the use of color and texture to create this still life composition. As well, I found it very interesting to realize that even though her style is creating art with a disheveled look, the audience can still easily make out that the subjects are fruits, which I thought proved the old perspective of still life representing objects in their true exact form - which is essentially what I am attempting to explore through this unit. This idea and technique is also something that could definitely inspire my final piece.
Visual:
When I first viewed Bianchi's artwork, I was intrigued by the complementing colors, as well as the interesting textures created with the oil paint. At first glance I could easily make out that the work was depicting figs; which I felt was due to the colors with the contrast of the dark skin and the red fruit. After a first impression, I felt that my attention was always being directed to the parts of the composition that showed the inside of the fruit. The shades of red and orange elegantly stand out amongst the simpler dark and lighter tones.
Memory/ Experience:
This composition definitely reminded me of my recent summer trip to Turkey. We spent one day walking through the food markets, in which they sold these rather large figs that I had never seen before; I was always used to buying small and expensive figs, so it was a luxury and treat when I did get them. Once we bought the figs we immediately ate them, and enjoyed the sweetness and juiciness of the fruit. I feel like this composition accurately captures the beauty of the fig, and brought me back to that memory.
Contextual Understanding:
The Artist:
Guilia Bianchi was born in 1990, and currently lives and works in São Paulo, Brazil. As a student, Bianchi studied fine arts at FAAP - Fundação Armando Alvares Penteado, in 2008. As an artist she investigates the "relationship between eroticism and food within the language of painting" (The World's Leading Online Art Gallery. (n.d.)).
She has participated in numerous exhibitions and worked with many famous artists of Brazilian painting; including Henrique Oliveira and Paulo Whitaker. Currently, she is working with a group of other artists, with the artist Thiago Honório and Ana Paula Cohen as the organizers.
Background:
In a personal context, I believe that since Bianchi studied fine arts at a qualified school, and worked with many important artists, she was able to develop multiple perspectives and styles of art, which allowed her to develop her own style and interest in her artwork.
In a wider context, I believe that since Bianchi studied and no lives and works in Brazil, that she was exposed to different Brazilian styled art work which has been a specific art style since the 16th century, when Brazil was established. For example, the use of color is an important aspect of Brazilian art. Hence, the cultural influence of her environment could impact her artwork.
Associations & Influences:
Bianchi is associated with still life paintings, generally with the use of objects as subject matter.
Ideas and Intentions:
Guilia Bianchi utilizes her style of still life to investigate a relationship between food, eroticism (a quality that causes sexual feelings) and intimacy as a metaphor for human relationship. In a pictorial view, Bianchi also appreciates the feelings of lust, taste, and love evoked from her artwork.
Formal Elements:
Guilia Bianchi, Figs reunion, 2012. Oil on canvas. 1,20 x 0,8 m.
Subject matter:
A arrangement of figs, some cut or whole, against white background. Artists attempt at creating a relationship between food and intimacy to allude to human relationship and connection.
Composition:
Majority of canvas taken up by subject of fruits. Central point is directed to the cut-open fruit subjects. Background is not important, only for purpose of contrast. The composition of fruit is made to look effortless but is carefully placed to highlight color contrast.
Materials/Techniques/Processes:
The artist has created the artwork entirely out of oil paints. This could be due to their versatility; oil paint stays wet longer, which allows the artist to constantly revise the painting as she works on it. As well, for this reason, it is much easier to blend colors together. This way, Bianchi was able to create a beautiful blend of colors throughout her painting.
Colour:
The use of red and dark blue and green shades creates a strong contrast that allows the subjects of the painting to stand out. As well, with the use of a white/ cream background, it helps to further draw attention to the subjects. The use of shades of red and dark blues and greens adds a feel of elegance to the painting.
Mood/ Atmosphere/ Environment:
Elegance, Serenity, Lust, Gentility, Sophistication: the artist is creating an elegant and sophisticated mood and atmosphere with the use of color and technique to supplement the idea of human intimacy.
Shape/form:
Subjects in painting are round pear-like shape, with the use of shading to define this.
Space:
Objects arranged in painting to give sense of distance; farther objects are smaller, whereas closer objects are larger.
Size/Shape:
Artwork is sized 1.20 x 0.8 m. This impacts the way the artwork is viewed, as if it were smaller, less attention would be payed to the detail and technique.
Pattern:
General repetition of round shapes. Artwork is disheveled so there is no consistent pattern.
sources:
https://www.saatchiart.com/giuliabianchi
CONCEPT
CONTEXT
TECHNIQUE
PIECE #2:
Still Life Ingredients, 1979. Patrick Caulfield
Initial Response:
Introduction:
The second piece I have decided to look into is a screenprint on paper titled 'Still Life Ingredients' by Patrick Caulfield. I chose this specific artwork as I was captivated by the use of color and the contemporary style of an age old form of art, still life - the subject matter of the artwork is traditional, but it is the manner in which he depicts the objects and scene that add "new life to the still life". This is a big part of my project in exploring the ways with which we can transform a still life and make it much more charming and interesting than an exact replica of a scene. The modernity of the piece is definitely something I am willing to consider in my final artwork as well.
Visual:
When I first viewed Caulfield's artwork, I was drawn to the pattern and layering of colors and line and how precise the whole composition was - my reaction was one that made me want to take a second look at the artwork with more focus on the composition. The layering of the shadows of leaves and flowers drew my attention the most. It contrasted very well with all the other subjects and added an aesthetically pleasing pattern to the artwork.
Memory/ Experience:
When I first looked at this artwork, the modern and animated-like style of the piece reminded me of the cartoons I would watch as a kid, and the comic books I would read.
Contextual Understanding:
The Artist:
Patrick Caulfield was born in London, but grew up in Bolton in Lancashire, until him and his family moved back to London after World War II. He left school and worked in a design department of Cross & Blackwell, which followed with three years national service with the Royal Air Force.
In 1956, he went to the Chelsea School of Art and in 1960 he undertook postgraduate studies at the Royal College of Art, where he started to become identified as a pop artist.
As an artist, he would try and modernise or modify themes of Western Art; including still life, the interior and the mediterranean view. His artwork includes bright commercial colors with thick black outlines; which for a time, was seen as a symbol of him and his style.
Background:
In a personal context, there is not much information about events that may influenced his artwork, other than the numerous art and design groups he was apart of.
In a wider context, I believe that since Caulfield went to multiple art and design programs
Associations & Influences:
Caulfield is associated with digital screenprint, still life artwork.
Ideas and Intentions:
Patrick Caulfield was interested in the work of the surrealist artists. He liked to put everyday objects together to make something playful and unusual at the same time - with the intention to make the audience question what they are viewing.
source:
https://www.tate.org.uk/kids/explore/who-is/who-patrick-caulfield
Formal Elements:
Patrick Caulfield, Still Life Ingredients, 1979. Screenprint on paper. 533 x 537 mm.
Subject matter:
An arrangment of pots and vegetables against a cream background. Audience looks through a window to shadows of organic shapes of leaves and branches, with culinary ingredients and objects in the foreground. Caulfield is able to keep his subject matter traditional, however, manipulate the way he depicts them, with a more light-hearted and comical manner.
Composition:
Whole canvas taken up by subject matter and range of colors of patterns. Lots of definite contrast between objects with very little evidence of depth - confuses audience and adds complexity to artwork. Composition of pots and vegetables made to look effortless but is carefully placed to highlight shape contrast.
Materials/Techniques/Processes:
The artist has created his artwork with the use of screen printing which is a printing technique where mesh is used to transfer ink to a canvas, blocking certain areas acting as a stencil. This contributes to Caulfield's passion in contemporary and precise artwork with defined lines and shapes.
Colour:
The use of black and blue with hints of red, green and yellow creates a strong contrast allowing the composition as a whole to stand out. With the use of a cream background, color and shape are able to be even more prominent.
Mood/ Atmosphere/ Environment:
Whimsical, calm, harmonious, serene, playful: the artist is creating a composed yet playful mood and atmosphere with the use of colors and pattern, to supplement his whimsical nature and interest.
Shape/form:
Shapes within the print are varied, mostly with round edges. Although there is use of shadow, this is not to define shape, but more for technical purpose.
Space:
Perspective is limited due to the close-up composition. Piece is mostly taken up by shape and color with minimal background.
Size/Shape:
Artwork is sized 533 x 537 mm. This impacts the way the artwork is viewed, as if it were smaller, less attention would be payed to the detail of shape and pattern.
Pattern:
Use of organic pattern is evident. No other consistent pattern, but repetition of round edges is apparent.
sources:
http://visualarts.britishcouncil.org/collection/artists/caulfield-patrick-1936
https://www.bookroomartpress.co.uk/product/caulfield-patrick-still-life-ingredients/
https://www.tate.org.uk/kids/explore/who-is/who-patrick-caulfield
CONCEPT
CONTEXT
TECHNIQUE
FINAL THOUGHTS:
Both artworks I looked into represented clear yet unique styles of still life. Through this investigation, I was able to generate a good understanding of how still life can be manipulated into many more styles of art. This motivated me for my final still life piece. From Guilia's Figs Reunion artwork, I really appreciated her technique with using lots of paint and then blending different shades together to represent the inside of a fruit. Since my still life will depict a fruit as well, I am definitely considering this technique. With Caulfield's screenprint, I acknowledged his use of color, and just what impact the use of heavy contrast can have on an artwork, which I definitely want to incorporate in my own product. From both artworks, I recognized the use of an off-white background to make their artwork more organic and softer, which I really admired and want to implement in my final product.
RESPONSE TO INVESTIGATION
Now that I have experimented with and looked at different styles of still life, I am able to create a final piece that represents my understanding and my own interpretation of still life.
Sunday, 16 September
In today's lesson, I began to create my final still life piece that would depict the same pomegranate composition from my experimentation. I began by drawing the outline of the pomegranate shapes so that I could begin painting the background with an off-white color (taken from my investigation), as well as did some paint sketches of how I want to incorporate the use of heavy acrylic for the fruit of the pomegranate;
Wednesday, 19 September
In this class, I started to add the collage component to my art piece, by using a red flowery pattern for the skin of the pomegranate. I had a few different patterns that I went through and held against the photograph, but the red pattern matched the color theme of the composition, and the flowers added bits of brighter colors to the piece that complemented well.
After the lesson was done, I decided I needed much more time to work on my piece, so I took it home and worked on it, so that I could bring it back finished for sunday's lesson.
Here is my final and completed piece:
REFLECTION
Through my final piece and process, I have attempted to expand the boundaries of the still life genre, by depicting a still life composition in a new and different way. Through my experimentation, I chose to use collage for parts of my composition to highlight color and use of different textures and patterns to create objects. Through my investigation of Bianchi's "Figs Reunion" oil painting, I was inspired to experiment with the use of mixed paints to create layers and swirls of color, which still clearly represents an object (in this case the fruit of the pomegranates). Through my investigation of Caulfield's "Still Life Ingredients", I was able to value the use of color and the power of contrast on the mood and feel of an artwork; I wanted to incorporate this into my artwork by using beautiful shades of red, as well as including dark contrasting shadows. Lastly, from both artists, I recognized the consistent use of an off-white background in their artwork, hence I wanted to incorporate this into my final piece, as I believe it softens the artwork and gives it a more organic feel.
Through my experimentation and investigation, I took a risk by exploring new techniques and methods of creating still life artworks; this includes the use of collage in the abstract context of a fruit composition, and the technique of mixing paints to represent a fruit in an unnatural way.
WWW
1. My artwork used a combination of acrylic paint to create the main detailed parts of the composition, as well as the use of collage to create the more solid parts, where I could incorporate abstract pattern.
2. The use of color of the main composition is pleasing to the eye and creates a pleasing look that compliments well with the collage pattern. As well, the combination of the shades of red with the off-white background gives the artwork an organic and gentle feel.
EBI
1. Use of space of paper could have been appreciated more; there was a lot of empty space and the focused composition seemed squished and cramped.
2. The representation of depth through shadow could have been more evident, with more focus on the direction of light and the attempt to make the objects in my composition look spherical.
PHASE 2
Ten object portrait:
For my ten object portrait, I have chosen to depict my older sister. Here are the objects I chose and what they might symbolize about this person.
1. Vinyl - Dad influence
2. CDs - Dad influence
3. Plastic Flowers + Vase - Appreciation for aesthetics, love for plants
4. Paint Brushes - Artistic personality
5. Embroidery hoop - Artistic personality
6. Necklaces - Sentimentality
7. Dr. Martens (shoes) - Old-fashioned style
8. Skateboard - Active personality
9. Stones - Nostalgia
10. Friendship bracelet - Sentimentality
With this I created a composition and photographed it from different angles;
How many 'objects' do you own? What counts as an object? What do they 'say' about you?
In my opinion, I define an object as an inanimate material that an individual can interact with. Inanimate means that it does not have qualities associated with active or living organisms; this is because I would not consider humans or animals as objects. However, the exception would be with organisms such as plants, as I would consider them "objects", although they are living organisms and do possess qualities associated with that.
With this definition, I can assume that I must have quite a lot of objects, although, I do not interact or use all of them, and instead hold on to the same objects for a long time. Therefore, if I were to count every object in my room along with all the objects I individually use outside of my house, I would say that the count would probably be no more than 1000 objects. Amongst all these objects, I believe that each one definitely reveals something about myself, and the objects I carry with me and the objects in my room are a good reflection of my personality.
An interesting form of art that we have looked at during class is the act for artists to "unload" their objects and possessions, eliminating any attachment to objects, and allowing for a sort of detox or cleanse in their life, where they destroy all of their objects in an attempt to let go of any "emotional baggage" they have towards that object. The discussion behind this act has a lot of meaning and represents an extremely deep topic of thought.
For example, in September 2006 designer-label addict Neil Boorman burnt all his branded possessions. He then wrote a book about his experience called 'Bonfire of the Brands' - https://makewealthhistory.org/2008/03/17/bonfire-of-the-brands-by-neil-boorman/
As well, in July 2009 the artist Jasper Joffe put up everything he owned for sale in a show called 'The Sale of a Lifetime' - http://artdaily.com/news/31989/The-Sale-of-a-Lifetime--Artist-Jasper-Joffe-will-be-Selling-Everything-he-Owns-in-a-Sale-with-a-Difference#.W-6CVZMzbq0
While Boorman's idea is similar to Landy's Breakdown (which we looked at in class), as they are both destroying their objects, Joffe did it in a different way where he was getting rid of his objects, but instead of eliminating them completely, he passed them on to other people; which I think is a much nicer way to go about this act, as it could be as if he is letting his objects free, and not destroying them and ending their existence.
Mind Map response to statement of inquiry:
From this mind map, I generated the understanding that objects hold a connection with a person; this could be an emotional connection, such as nostalgia, sadness or grief, or it could be a connection to our true selves; our personality, and what objects reveal about a person's personality. As well, the quantity of objects reflects aspects of a person.
STATEMENT OF INTENT
For my final piece, I intend to create a painting depicting a composition that reflects my sister. From previous understanding in this unit of still life artwork, for example looking at Guilia Bianchi and Patrick Caulfield and then creating my own still life art piece, I believe I have a good understanding of how an artist can represent objects or scenes for aesthetic appeal or for hidden meaning. As well, by individually looking at James Rosenquist and his oil painting Orange Field, I enjoyed reading about the purpose of his artwork; to take a meaningless object and give it meaning. As well, I loved his use of brush strokes and colors to make the simple object visually attractive. From the 10 object activity, I was able to gather objects that characterized my sister. Through this activity I recognized the recurring theme of sentimentality- the act of being sentimental, which is a feeling promoted by nostalgia, and can often cause people to become attached to different things, in this case, objects. Hence, I intend to generally depict my sister as a sentimental person, by representing how objects that seem meaningless to others have extreme meaning to her, due to the context surrounding the object; including memories, stories, or feelings/emotions. Through experimentation, I will decide what object or objects that may be, however, I intend to re-use previous techniques, including painting and collage to create this artwork about my sister.
I will know I have been successful when...;
1. When use of color and medium can be utilised to allow an audience to appreciate the object depicted, despite knowing its context.
2. The object is able to reflect the trait of sentimentality within my sister.
EXPERIMENTING
Wednesday, 10 October
Once I established my statement of intent, I wanted to experiment in the most basic way possible, just to get an idea of the path I want to take further on. I thought of this as my plan for my experimentation, due to how simple it was. As well, instead of using paint like I would for my final piece, I simply used graphite pencils and color pencils just to experiment with color shape and shading. I looked at the composition photographs I took earlier on and chose two objects (the necklace and the shoes) to sketch out ideas for.
necklace sketch
shoes sketch
BREAK FOR FIGURATIVE DRAWING AND SCULPTURE SUB-UNIT
Sunday, 28 October + Wednesday, 31 October
Following the break we had for the figurative drawing and sculpture sub-unit, I decided that I wanted my main object to be the shoes that I photographed in my 10 object composition. In these two lessons, I was planning out how I wanted to depict the shoes in my final piece and what other extra components I could include. With this I would be able to take some photographs of the shoes themselves in those positions so that I could have a reference image for my final piece.
Sunday, 4 November
Over the weekend, I managed to take some photographs of the shoes (which my sister put on and positioned in different ways). I was able to get a range of different options that I could pick from. Once I chose the image I wanted to refer to, I began sketching and practicing to paint the shoes in the position I chose.
*CHOSEN IMAGE*
Wednesday, 7 November
From the previous lesson, I felt it difficult to paint and draw out the shoes from the image I chose, so in today's lesson I did the same thing, but used a different and more accurate method. I used charcoal on the bottom side of the print out image, and then traced the shape of the shoes on to the paper, so that my drawing was correct in terms of dimensions. This was much easier than attempting to complete it freehand.
Also, in this lesson, I focused on trying to develop the shine of the shoe, which ended up not being visible, and is something I will try to improve on, as I believe it is an important part of my final piece.
11 November - 18 November
Now that I had a somewhat good idea of how I want to depict my final piece, it was time to finish up with experimentation, and begin the making of the final piece. Throughout this period of days, I followed the same process as my experimentation, taking into consideration the areas that I wanted to improve on for my final piece. I paid close attention to shine and to the different colors of the shoes in order to make the shoe as realistic as possible. At the end, I managed to paint the shoes, which I would further cut out for my final piece.
Monday, 19 November
In the last few steps to finish my final piece, I cut out my painting of the shoes and simply stuck it on to the canvas and added collage pieces; I added black paper for contrasting purposes against the white background, as well it gave the shoes depth and almost acts as a shadow for the shoes. I added flowers to satisfy by statement of intent where I wanted to add the aspect of collage to my artwork, in this context I feel it simply frames the more important part being the shoes, and is also one of the objects that I previously listed to represent my sister. Here is my final piece;
REFLECTING
The aim of this project was to explore the idea that "our relationship to the objects we choose to surround ourselves with communicates information about us"; How objects are a connection with aspects like our personality, our hobbies or interests, or even more so who we are as an individual. Through my artwork, I wanted to explore the idea of objects having an emotional connection with someone; that someone being my sister. While my sister holds many objects, and has observable connections with almost all of them, I decided to choose one main object to summarise the emotional connection she may have with these other objects. I depicted a pair of shoes that she has that I personally believe she has a sentimental attachment to; this could be due to the boldness of them, and how assertive they are. This style of shoe is quite outdated, even the brand itself, yet she wears them deliberately and with confidence. Hence, I wanted to represent this sentimental trait of my sister, that I believe is an important aspect of her and is one that many people have, but only the ones who spend time with them are able to see how they may hold on to and keep safe specific objects.
To create this artwork, I strangely went through a rather rocky process to complete my final piece. I often found myself frustrated in creating this art piece, and rather disorganized throughout the whole process. For example, I found it difficult at the start to paint the shoes as majority of the shoes were black, and working with "different shades of black" was quite difficult, as well the shiny aspect of the shoes were something that I was not yet familiar with, thus it took quite a few tries before I was able to finally achieve these aspects. Nonetheless, I worked through these obstacles, with my own experimentation as well as time and patience. I also often questioned whether I was providing a resolution to the statement of inquiry, which caused me to rethink my ideas and my statement of intent. Although, by looking at other artists, as well as taking into consideration the other projects we did in this unit, I became more comfortable with my decisions, and I was able to depict the main object in a way that I was satisfied with.
Although the visual aspect of my painting was decided upon by myself, I did get inspiration for the purpose of my art piece from James Rosenquist (as discussed in my statement of intent), where he explored the idea of taking meaningless objects and giving them meaning through color and magnitude. I related this idea to my visual aspect by expressing how an object that may seem meaningless to an audience, has a lot of meaning to the individual of that object, due to the context surrounding that object. I did not implement his technique of utilising magnitude to enhance this, but I did appreciate his thought of depicting objects in art.
Although I felt that my final piece was rather rushed, I still believe that my use of color to depict the shoes, and the colors of the collage flowers and black paper I added around the object was thought out well, and worked really well in my final piece. I was satisfied with how realistic I was able to represent the shoes, and how overall, there was a clear appreciation of aesthetic. As well, besides my final piece, I now understand the value of experimentation before creating a final piece, as I do not believe I would have been able to paint the shoes the way I did, without experimenting first.
Through peer feedback, there was an acknowledgment of aesthetic, through specific uses like the flowers and the style of shoes, as well as my ability to represent the shoes as realistic. Although, it was also seen that the background of the painting was not entirely white, which was taken as distracting and took away from the main focus. I completely agree with this feedback, as I was utilising a pre-painted canvas, and it was difficult to completely block away the blue tone that was underneath it, which is why there is a slight darker tone under the white. As well, personally, I feel that in general, the main message and purpose of my piece in being able to communicate an aspect of my sister may not be as clear when viewed by an audience. I could possibly improve in this area by including more objects (that represent my sister) that can be easily linked to certain emotions or contexts, and thus the message is understood more by a viewer.