Part 4, Project 3: Installation
Aim: An installation drawing positions the viewer in a completely different way to the way the viewer looks at work on a wall within a frame. Continue reading “Part 4, Project 3: Installation”
Aim: An installation drawing positions the viewer in a completely different way to the way the viewer looks at work on a wall within a frame. Continue reading “Part 4, Project 3: Installation”
Aim: Drawing in a favourite or inspiring place can be very rewarding, but a great deal of translation goes on – in terms of scale, for example, as well as the information from other senses than the visual which is harder to convey. Continue reading “Part 4, Project 2: Interacting with the Environment”
Aim: The aim of this exercise is to open up your mind to new possibilities in terms of understanding what line can be. Continue reading “Part 4, Project 1: Found images”
My tutor asked me how my parallel project may change from being focused on industrial buildings by looking at John Virtue and Mandy Payne. Continue reading “Research: John Virtue and Mandy Payne”
According to the BBC News website (14/07/2020), a new artwork purportedly to be by Banksy, was removed from a London Underground train. Continue reading “Review: Bansky’s ‘If you don’t mask – you don’t get’”
Aim: Select a piece of music (preferably classical or at least rhythmically complex) and allow your movements to be affected or generated by it whilst producing a drawing. Continue reading “Assignment 3”
In 1953, Robert Rauschenberg asked Willem De Kooning for one of his drawings. Amazingly, he agreed. Rauschenberg then proceeded to rub out De Kooning’s drawing and exhibit the resulting near blank sheet. Continue reading “Research Point: Erased De Kooning”
Aim: this project is in some ways the antithesis of the previous one. Last time, you used an object to draw ‘for’ you; this time you’ll allow your own emotional responses to direct your physical mark-making. Continue reading “Part 3, Project 4: An emotional response”
Aim: push the concept of marks as a tracery of movement to its logical conclusion by making marks incidental to your own movement. Continue reading “Part 3, Project 3: Drawing ‘machines’”
The Abstract Expressionists’ use of gesture was caught up with notions of authenticity and even of purity of intent. Continue reading “Research Point: Abstract Expressionists”