Art
Research and Critical Reflection 3
Themes:
The darkness and luminosity
The imagery
Blurring
This research has been started since when I realised that there was a gap between the picture of the scene I have captured from the real landscape and the recognition of it to me. This also creates a gap between images and ideas. I have discovered that what type of landscape this truly is through the materiality of my practice.
1. The imagery
My practice takes a form of the landscape by referring to a photograph that I take in my experience or a founded image as a visual resource for my idea. Until previous terms ( unit1 and 2), I used to explain that my painting portrayed a story of events, which I had experienced. However, occasionally after I finish my painting, I come up with the narrative for the reason why the painting was made. This is a disconnect from the idea to the work. I began to recognise that visually what I am capturing within the photograph is disjointed from what I sense.
For instance, I mention a narrative of highway, but the figuration of the highway does not appear in the painting of 'Highway in an urban fantasy'. The point is that the landscape of my painting is not about the story captured on the highway. I realised that it is associated with the material nature of my practice like specific colours, the same pigments, and the visual embodiment throughout the artworks. I started looking at the process of my painting to figure out this confusion.
1. The painting process of 'Walk in Darkness'
(watercolour on canvas / 130.0 x 92.0 cm / 2022)
2.The painting process of 'Highway in an urban fantasy'
(Watercolour on paper / 85.5 x 60.0 cm cm / 2022 )
Peter Doig
The subject: the way to approach a visual resource drawing from a photograph and memory
Key takeaways :
It is not a landscape which is imagined or remembered, neither is it telling a direct story. In the darkness, the situation become enigmatic.
Whether it’s a photographic or descriptive approach, a painting can depict an alternative world to real photography.
As individual components, the elements in my work do not hold any special meaning.
In his paintings, the forest, the water, and the darkness are expressed in blue colours.
Doig’s work shows us how far we have come, and how distantly we look back across a chasm at painting, the gulf being photography. The critical commentary on his painting and the interviews conducted with him are an index. First, he paints images with at least umbilical attachments to the so-called real world.
(Refrence: Tate Museum)
It demands attention because it conveys the liberation of “tapping into something that is personal rather than anything else.”(Peter Doig )
There’s so much to look at, and yet it’s so empty and so vague in what it’s depicting,” he says. “It’s so brave in its division of space, and it constantly confuses you because you don’t know really what you’re looking at. It seems to be a constantly questioning painting and, in many ways, incomplete.” (Peter Doig )
I have identified inconsistencies in the process of his imagery from photographs and memory. Through the ideas and spaces which emerging in my paintings, there is a sense of disconnect or disjointedness. I had investigated why this is happening by examining his images.
In his approach to visual resources for his wrok, he says, “I use photography to find connections with an alternative world based on reality”. The sentiment rings true for me in regard to my approach to materiality or images. During the process of my research, I contemplated deeply that the starting point of my work may have begun with an emotional projection of an image which was evoked from my memory.
Peter Doig, Grande Riviere, 2001-2002, courtesy of Victoria Miro
Swamped, oil on canvas. 1990, by peter doig
Swamped: Inspired by a scene from horror film Friday the 13th, first screened in 1980
Tunnel Painting (Country-rock)” 2000’ on the reverseoil on canvas,40.5 x 30.5 cm (15 7/8 x 12 in.) in 2000
Country Rock, from 100 Years Ago series ,Oil on canvas, 2001-2002
Country Rock, from 100 Years Ago,27 3/8 x 39 1/8 inches,Photo-etching and aquatint, 2001-2002
Details:reflection on Peter Doig's work, how apply blues for the forest, the water, and the darkness in blue colours.
2. The darkness and luminosity
My paintings depict multiple layers of darkness. The feeling of light disappearing, the darkness of the early evening as the sun’s light has retreated into the night. In this darkness comes a unique light which emphasises something ephemeral, yet all the embodiments of light within the painting are almost identical. Light can be embodied in water or the moon, or it can appear as a pale light in the night sky. This is more important than the thing itself, this is not merely a river or a moon but something greater. It is another fantasy or reality, representing a psychological and unconscious connection to light and darkness.
Even if there is no direct narrative which is being related, there is definitely an emotional aura in the landscape of my work. Subconsciousness, darkness, invisibleness, forests, these are places in my works where transformations occur.
I wonder what these repeated embodiments are, what is actually illuminating the landscape, where is it coming from, what kind of light is this and what type of landscape this truly is. These questions keep echoing.
Rene Magritte
The subject: the ideas of darkness and lightness
Key takeaways : the symbolism, atmosphere, an imaginary space
In my practices, while the representation of darkness and lightness dose not distinguish contrast clearly, it reminds me of Rene Magritte’s painting which which depicts the relationship with the unconscious with the ideas about these elements.
In Empire of Light, numerous versions of which exist (see, for example, those at the Museum of Modern Art, New York, and the Musées Royaux des Beaux-Arts de Belgique, Brussels), a dark, nocturnal street scene is set against a pastel-blue, light-drenched sky spotted with fluffy cumulus clouds. With no fantastic element other than the single paradoxical combination of day and night, René Magritte upsets a fundamental organizing premise of life. Sunlight, ordinarily the source of clarity, here causes the confusion and unease traditionally associated with darkness. The luminosity of the sky becomes unsettling, making the empty darkness below even more impenetrable than it would seem in a normal context. The bizarre subject is treated in an impersonal, precise style, typical of veristic Surrealist painting and preferred by Magritte since the mid-1920s.
(Reference: Solomon R. Guggenheim Museum website )
“The Meaning of Night disturbs in the way it portrays the fear of what happens at night, especially in that darkness that lies within all humans, and our sleeping shadow selves that come alive after we close our eyes in the dark.”
(Reference: www.Rene-Magritte.com)
The paradoxical coexistence of light and darkness may cause confusion and trigger enigmatic emotions. But contrary to this argument; “ With no fantastic element other than the single paradoxical combination of day and night, ”, I think the ways in which we express matter can also cause fantastical emotions. It is the perception of these contrasting expressions, of sky and earth, which cause a bewildering sense of disorientation. As if looking at a place which can never be reached, the imagery evokes a sense of mystery within an uneasy atmosphere.
Moreover, by removing the image, it is possible to distinguish the basic information which is targeted and obtain an extension to the method of representation. In my view, it’s not only the size of the canvas but also the flattening of the image which leaves only minimal information for us to recognise its forms. This allows the audience to engaged in the painting and look into its spatial dimension.
I have discovered that the flatten representation of the imagery of my work and the absence of figures further strengthen the sense of immersion in the landscape. The further direction of my practice is thus rendered the expansiveness of the landscape and its spatial dimensions along with my imagined painted secrets hidden in the painting through the physical expansion of canvas. This can be opened to a space where audiences feel as if they are staying in an imaginary scape which seems to be somewhere in existence.
René Magritte
Empire of Light (L'empire des lumières),Oil on canvas,76 15/16 x 51 5/8 inches (195.4 x 131.2 cm),1953–54
Le seize septembre, Oil on canvas,(115 x 88 cm),1957
The Banquet,Oil on canvas,97.3 × 130.3 cm,1958
3. Blurring
Gerhard Richter
Gerhard Richter, Uncle Rudi, 1965, oil on canvas, 34 ¼ × 19 ¾ inches (87 × 50 cm), CR: 85
Gerhard Richter, Herr Heyde, 1965, oil on canvas, 21 ⅝ × 25 ⅝ inches (55 × 65 cm), CR: 100
Gerhard Richter, Aunt Marianne, 1965, oil on canvas, 39 ¾ × 45 ¼ inches (100 × 115 cm), CR: 87
Gerhard Richter, Liegestuhl Il (Deck Chair IN), 1965,Oil on canvas, 39 ⅜ × 78 ¾ inches (100 × 200 cm)
I tried to make my paintings flatten and dull but it has not succeed as much as I expect. Since I keep highlighting a lightness somewhere while painting. I started to figure out what sort of the landscapes are through this process.
The subjects: blurring
Key takeaways: flatten , distancing ,imprecision , uncertainty , memory , blurring, unconsciousness, composition
What is a blur? It's a corruption of an image, an assault upon its clarity,the blur serves as a perfect general metaphor for memory,
"I blur to make everything equal, everything equally important and equally unimportant,"
(Gerhard Richter)
"Their horror," Richter says, "is the horror of the hard-to-bear refusal to answer, to explain, to give an opinion." The pictures, ultra-loaded as they are, reject any attempt to bring their subject matter into focus along perspectival lines of ideology or pathos or transcendence.
(Gerhard Richter)
(Reference:https://amp.theguardian.com/artanddesign/2011/sep/22/gerhard-richter-tate-retrospective-panorama)
Gerhard Richter's work has a clear reason to be drawn from a photograph. In my view, he seeks to project the personal story behind the photograph and put into the work his memories and desperate emotions derived from it.
In terms of utilising a photograph, my practice does not project personal narratives from these imagery of my experience. I doubt that Gerhard Richter's practice allows a viewer to engage in a place of his artwork. I believe that blurring is a way of expressing a psychological backlash against the inexplicable, incomprehensible thing that is triggered by the object or memory. Which reflects the view of Powers of Horror book by Julia Kristeva.
As Gerhard Richter noted, blurring is an expression of incomprehensible things, inaccuracies, uncertainties, and temporary imperfections – i.e., ambiguity causes problems of viewing behaviour.
To me, the application of blurring to images started with a sense of distance. This is not about collapsing the image’s representation. My painting is always a long-distance composition, which reflects the physical and psychological distance I hold when observing the scenery in the painting. But in my painting process, I've tracked what such constant repetition and factors suggest.
(According to Julia Kristeva ; For the human, horror quickly pushes simple disgust out of the picture: a corpse unexpectedly encountered may be disgusting, but soon the primary raw emotion is one of horror and fear)
I consider this atmosphere is an incomplete space that could not be fixed and expressed a blur that was slightly out of focus. This is also linked to why I am fascinated by watercolours. Watercolours is able to be modified again and cannot be completely solidified. The physicality of this variable material was to leave room for further revision so that I would explore the ambiguity of such imperfections. But I kept emphasising the water, the moon, and light. Water is a metaphorical symbol to express an incomplete space which cannot be fixed.
. "Their horror," Richter says, "is the horror of the hard-to-bear refusal to answer, to explain, to give an opinion." (Gerhard Richter)
While the expression ‘blurry’ is also a metaphor for memory, it is also a way of expressing fear of things which are hard to face in this writing.
Sarah Woodfine who is an artist and educator based in London spoke “There seems to be something to have happened or which is happening here” this perspective of my practices lingers in my mind. As a defence mechanism against the fear I didn't want to confront, I have masqueraded this place in mysterious through the language which it shows. Without revealing this directly in my works, I liken it to other symbolic embodiments such as forest, water, and darkness and lightness, colours, light and darkness, the way of expression, the pigments. In addition, my landscape painting where spatiality is important – not a painting that explains or describes a story which is focused on an object – expresses a sense of incompleteness and is a process of removing fear.
I consider that my painting represents a hidden space. This space cannot be separated from me, and this place is a scene that represented the inside of the fear and despair. Therefore, I understood why I felt isolation and pain in the process of painting. And the sense of fear and unwillingness is also linked to the way the painting is expressed by limited colours, media, and continuous the figurations of the practices. Because the psychological fear of such a place couldn’t not be defined exactly and because I didn’t realise how to express it, I depicted an imaginary place as like a garden where spatiality was important. the photograph is not connected with the imagery of my artworks.
Since the expansiveness of the landscape and its spatial dimensions along with my imagined secrets hidden in the landscape is important, I have decided to try to paint my practice flatten with minimal information of identification for the embodiments and without detailed descriptions of these elements.
Silke otto- knapp
Silke Otto-Knapp White lilac, 2009 watercolour on canvas 140 x 120 cm Photo: Marcus Leith Courtesy of greengrassi, London
Silke Otto-Knapp White lilac, 2009 watercolour on canvas 140 x 120 cm Photo: Marcus Leith Courtesy of greengrassi, London
Silke Otto-Knapp, Islands, 2013. Watercolour on canvas, 140 x 160 cm. Photo: Anders Sune Berg. Courtesy of greengrassi, London.
Grey Garden, 2003,watercolor on canvas,32 x 38 in. (82 x 96 cm),acquired in 2004
The subjects: discussion on the material nature of my practice.
Key takeaways : the utilisation of watercolour , the application of pigments, the experimentations of material.
Otto-Knapp has developed a unique style of watercolour painting. She paints forms and figures by applying layers of watercolour paint to a canvas and then carefully washes them away. The pigment from the paint floats on the surface. Otto-Knapp moves the separated pigment so it settles in other areas of the canvas. As she repeats the process, layers build up, creating a dark background. The outline of her erased images gradually emerges in contrast to this background. Otto-Knapp then uses brushes, sponges or her fingers to control the variation between light and dark, defining the figures more clearly.
(Reference: Tate Museum)
Silke otto- knapp's use of watercolours on canvas in particular has inspired me to test material experimentations of watercolours and enabled me to extend my understanding of the materiality for my practice, since I used to paint on paper.
Rather than expressing the landscape in the painting as if it was non-representational, I have referred to the blurring that layers build up using watercolours to represent imperfections.
Silke otto- knapp’s works render in black and gray watercolour pigments, whereas I set a limit on the use of similar toned colours such as dark blues, greens and white since I was trying to look into a psychological connection with these colours, which I always choose. I applied pure hues to the canvas and blend them together through building up layers of watercolour.
4. The colour
The subjects: what is relationship with my practice.
Key takeaways : relationship with colour from my paintings in terms of psychological aspect.
Through the use of similar toned colours, the dark forest, with its shades of blue and green, come to reflect something more than sky which it is perched beneath. In all my paintings I have chosen the moon or water to represent the colour white in its fullest sense. So whether it’s a river, a cave, or a moon, all come to be perceived with a certain similarity. To me, this was the most important thing. I recognised a psychological connection.
Claude Monet
Reflect on the exhibition: "Monet - Mitchell" at Fondation Louis Vuitton in Paris on October in 2022
Key subjects: colours , transformed feeling or sensation
Key takeaways: impression, sensation, the persistence of visual sensation , the memory of an emotion evoked by contact with nature
Monet and Michel have different way to approach reflection on the materiality of the colour between immediately sensation and feeling of memory. The two artists sought to fix a sensation or a feeling, that is, the memory of an emotion evoked by contact with nature and transformed by the memory. I focused on how they employed the numerous hues of blues to transcribe the memory.
CLAUDE MONET
1.Nymphéas, oil on canvas,1916-1919, Musée Marmottan Monet, Paris
CLAUDE MONET
2. Coin de l'étang à Giverny, oil on canvas,1917Musée de Peinture et de Sculpture, Grenoble, don de 'artiste en 1923
CLAUDE MONET
Les Agapanthes, oil on canvas,1916-1919, Musée Marmottan Monet, Paris
CLAUDE MONET
Le Bassin aux nymphéas, oil on canvas, 1917-1919, Private collection
CLAUDE MONET
Nymphéas avec reflets de hautes herbes, oil on canvas, 1897, Nahmad Collection
CLAUDE MONET
Nymphéas, étude, oil on canvas, 1907,Musée Marmottan Monet, Paris
Joan Mitchell
Key subjects: colours , transcribed memory reflection on colours, being abstract, brushstrokes.
Key takeaways: feeling from her memories, transformed by the memory.
Joan Mitchell: Paintings, 1979–1985
My paintings repeat a feeling about Lake Michigan, or water, or fields... It’s more like a poem... and that’s what I want to paint.”
JOAN MITCHELL, IN FILM "JOAN MITCHELL: PORTRAIT OF AN ABSTRACT PAINTER"
( Reference: Joan Mitchell Foundation )
“The years 1979 to 1986 swelled with ambition—for art, not career—and the achievement in her work manifested a metaphysical depth born of a life surveyed, prompted, but not determined, by loss and death…. Mitchell's paintings reached a new expanse, even as she grew more present in and anchored to the concrete details of her life.”
—Katy Siegel, Research Director, Special Program Initiatives, San Francisco Museum of Modern Art, 2021
Joan Mitchell established a singular visual vocabulary over the course of her more than four-decade career. While rooted in the conventions of abstraction, Mitchell’s inventive reinterpretation of the traditional figure-ground relationship and remarkable adeptness with color set her apart from her peers and resulted in intuitively constructed and emotionally charged compositions that alternately conjure individuals, observations, places, and points in time.
( Reference: David Zwirner)
(Photos taken by myself on "Monet - Mitchell" exhibition on Foundation Louis Vuitton in Paris)
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