Making process | Seol A Min

The process of my material experimentations

Key subject: the material experimentations

Key takeaways:

Using different media for my artworks : watercolours on canvas

The expansion of canvas size

Re-consider using different mediums and my painting process : medium, pigment , mood , emotion, texture, applying paints.

Feedbacks for unit2 :

Consider further how audiences meet your work. Critically reflect on the relationship between your ideas and concepts and material making.

How can you further explore this process of layering and how could the layering process further clarify ideas about imagined paradises that as you say also ‘accompanying contradictions of sadness and discomfort’.

Keep testing out your ideas through material making and further experimentation: re-consider using different mediums

discuss the material nature of your practice

Feedbacks for the exhibition in July:

My practice has nothing to do with the highway and park directly.

The idea which I derived from a picture and the thing which doesn’t connect to my painting.

Why the imagery of garden of my paintings look constructed, pretty, luxurious and does not feel a sense of sadness or disconcertedness?

Feedbacks during unit3:

what is it about the same colours that you're choosing these greens and purples and blues? What does that relate to? Historically? What does that relate to?

looking up the theory behind those colours and the relationships in landscape that connect to those colours.

looking at research around purple, green, blue, they are colours that are much more to do with landscape nighttime.

There is a disconnection and disjointed in your paintings that you're capturing.

Considering my painting process : medium, pigment , mood , emotion, texture, applying paints.

The expansion of canvas size

Subconsciousness, darkness, invisibleness, forests, these are places in my works where transformations occur. where is it coming from, what kind of light is this? What is the landscape of my painting is about ?

Why I have decided to start to depict my painting flatten and blurred ?

The process entails an initial application of gesso followed by experimental watercolour layers.

The painting expression is actuated by reactions between paints and surface that the paints are applied on. Since the materiality of paper is susceptible to water. It is not easy to repeat the process of building up layers of wtarecolours on paper. In terms of mediums and methodology, I have tested how the pigments react on surfaces comparing cotton and linen canvas. I considered that the material experimentation of media led me to develop a new way of working with watercolours .

First of all, I experimented with how watercolours work on the paper, the linen and the cotton canvases by using gesso which is able to fix paints on canvas.

Silke otto- knapp

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.

I have not made much progress in terms of the expansion of the canvas since when I decided to explore to subject's matter for my practice through the materiality, It was not enough to get my understanding of this process.