Sunday, 29 December 2013

The artistically unintentional sculpture


I went to a warehouse to find a brand part/piece of metal to put through a destructive process.



I picked this distinctive silver chimney part.



It had been hammered and flattened, the marks made turned out how i wanted, jagged and offset.

I will progress by drawing and making marks using the sculpture, drawings directly from the sculpture and using the sculpture as a piece by itself with work in its space.

Tuesday, 24 December 2013

Quick update: Artistically unintentional Sculpture and Marks

Im going to go to where my dad works to find and make sculptures by putting fresh pieces of raw metal/material through the destructive process of a scrapyard.

I will then use this battered raw material/s as sculptural peices and make work from on paper maybe printing or drawings with them.



Updates soon

Saturday, 21 December 2013

Summary of idea and Non-artistic intentions?

I'm looking to record or generate marks made without artistic intention or an arguably non-artistic intention. Represented with the aesthetic of automatism.

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Immediacy propositions and Mark making

In order to problematically solve my idea I must record or generate marks without any artistic intention and present them with an automatism aesthetic.

Some quick cheap ideas of where marks fall without artistic intention

>Blood spatter
>Footprints              
>Raindrops on a window          
>Creases on bed sheets  
>Bruises scars on the body

Its difficult considering mark making this broadly because its everywhere. Almost infinitely.

So what i'm looking for is maybe something that has a intention that is peculiarly related to an artistic intention in idea.

For example there are more specific intentions and more just pro life containers;

Specific: Blood spatters might have created with the intention to attack or to kill.
More general: Footprints made when walking to a goal.

Although intention to kill could also be distinct in a bigger goal. Its still a more magnified intention.



Wednesday, 11 December 2013

Personal Statement / Immediate drawing and idealogy

I’m applying to study fine art so that I can continue developing my contextual awareness and understanding whilst actively producing work.

My initial project involved the unreliability of memory. Using pen and paper I produced drawings directly from memories at an almost manufactured rate. I looked at how the intention and automatism in the drawings varied between the different frequencies of memory; from recent memories of metaphysical feelings to distant, hazed mental images of places or famous artworks.
After previously touching on automatism, I came to the realisation that I never totally let myself go to the process. I always retained a degree of control, exploring narrative content or anchoring the work in a conscious response. This motivated change and I relinquished the restriction imposed by the automatist process, instead wanting to explore themes that revolved around a premise of uncultured production without intention.

I decided now that the pregnancy of my work would be uncultured, in the sense that it wasn’t tied to previous predefined art practice. I am to produce immediate drawings, responding to an ever fluctuating environment and sense of self. Drawings that principally skip the baggage of psychoanalysis associated with automatic drawing or outsider art equally associated with what can be first described as naïve. This work is neither of these things, I would reflect the aesthetic of automatism without engaging with its intent.

I am aware that an important element of this work is its eventual existence within a gallery space. I dealt with this issue recently whilst exhibiting in a local shop with other members of the FAD. I selected to completely cover a wall in the space with my drawings, inspired by an Exhibition of David Shrigleys I went to see in Manchester, “How are you feeling?”

You can find all this and updates on my blog:

Robertjbury.blogspot.co.uk

With my time I play online games competitively, which resulted in a recent visit to Amsterdam so I could meet friends I've made in these games over many years . When I'm not online I read, favourites include Bukowski and Nietzsche. I am motivated and constantly produce work. I am excited by the opportunities university will offer.

Wednesday, 27 November 2013

Blackburn Town Exhibition attempt

I recently put my drawings up in an empty shop our course rented. They came together in the space really well. I put them up in manor of David Shrigley's "How are you feeling?" Exhibition I went to see in Manchester.




Putting drawings/photographs together creates different meanings than when they're alone. The mixture of original, printed unedited scanned, automatic and more intentional drawings came to great effect.

I had a critique with a visiting lecturer from Chelsea, Sean Dower. We discussed automaticism, what worked, what didn't. Artists suggested included André Masson and Austin Osman. I've decided that original drawings and scans mixed together were enough. No changes of colour in the future, no changes in quality of paper. Ill stick to black and white for now I think, pen on high quality paper. I'm thinking of putting up scans of the same image on the same wall.

Wednesday, 13 November 2013

Joan Miro/David Shrigley

After a recent tutorial with a visiting lecturer Pattie Ellis, the improvements i have made has been a suggested artist (Joan Miro), addressing my screen prints and a small idea related to David Shrigleys drawings.




His paintings and drawings are automatic. His work upsets some of the visual elements of a finished painting.

Pattie noticed and suggested not using default printer paper. The Small idea related to David Shrigleys work is that he uses high quality paper. With the contrast of his whipped one time drawings on such nice paper is a kind of witty way of pulling his work up to spectrum of higher art. I will be using paper. I had gone to see his exhibition "Who do you think you are?" in Manchester before hand so I was familiar with his work.

Saturday, 9 November 2013

Edvard Munch, suggestive painting

My work is similar to Edvard Munchs because we both draw/paint the lines and colours that effect the inner eye, from memory without the details in front of ourselves. This is the reason for their obvious emptiness.


"Anxiety" 1894


"Golgotha" 1900

Tuesday, 15 October 2013

More suggestive drawing, in coloured felt tip pen

Felt tip pen on paper, A4 21 x 29.7cm


Felt tip pen on paper, A4 21 x 29.7cm

Felt tip pen on paper, A4 21 x 29.7cm


Friday, 11 October 2013

Suggestive drawings, suggestive content Friday 11th October

A4 21 x 29.4 cm, Pen on paper

A4 21 x 29.4 cm, Pen on paper
A4 21 x 29.4 cm, Pen on paper

A4 21 x 29.4 cm, Pen on paper

A4 21 x 29.4 cm, Pen on paper

A4 21 x 29.4 cm, Pen on paper
A4 21 x 29.4 cm, Pen on paper


A4 21 x 29.4 cm, Pen on paper



A4 21 x 29.4 cm, Pen on paper
A4 21 x 29.4 cm, Pen on paper

A4 21 x 29.4 cm, Pen on paper


Wednesday, 9 October 2013

First selection of suggestive drawings in pen

A4 21 x 29.4 cm, Pen on paper
 
A4 21 x 29.4 cm, Pen on paper
 
 

 
 

 
 


A4 21 x 29.4 cm, Pen on paper
 
 

 
 

 
 

 

Wednesday, 25 September 2013

Working with symetry/Effect of image on the eyes (Therapy)

Me working with poster paint
Scanned/edited:
Poster Paint 42 x 29.7cm, Origional
Poster Paint 42 x 29.7cm, Vibrancy decrease
Poster Paint 42 x 29.7cm, Saturation decrease

Example of suggestive drawings, in pastel

Oil Pastels 29.7 x 21cm
I used distinctive composition and colour involving lots heavy black to break up the vibrant impact of the other blues and oranges on your eyes.
 
Oil Pastels 29.7 x 21cm
Using distinctive figurative composition again, this time only putting minimal suggestive colours in.

Monday, 9 September 2013

Mechanized painting, "Spin painting"



What I'm looking for here isn't necessarily the content of these works, but how they were crafted. Annick Gendron used industrial wheels to spin paint on Plexiglas.

"Spin Painting" Oil on Plexiglas, Annick Gendron 1969

Damien dropped paint from above in a constant drip onto rotating shaped canvases below. Although these examples may look similar, he produced many different paintings on a manufacturing scale. His technique gave a very different effect from one to another, he probably changed the rotation of the canvas, the speed that the paint was released, the time it was released and i guess the type of paint itself. Although most produced were using "Housegloss".
"Beautiful Helios Hysteria Intense Painting (with Extra Inner Beauty)" Houshold Gloss on canvas, Damien Hirst 2008
"Beautiful Quetzalcoatl Dsyphoria Painting" Household Gloss on canvas, Damien Hirst 2007
"Beautiful I see darkness painting" Household Gloss on canvas, Damien Hirst 2007
"Beautiful Missiles and Rockets and Misery and General bloody destruction painting" Household Gloss on canvas, Damien Hirst 2007
"Beautiful Var Pyromania Intense Painting" Household Gloss on canvas, Damien Hirst, 2008
"Beautiful, Black and White shattered Inside my Head Forever Painting" Household Gloss on canvas, Damien Hirst, 2008