What makes a rock treasure?

Well today in the studio I created two new boxes. I am continuing to work with wax as my main medium for reasons previously stated, though my technique changes with every creation.
In the above piece, the base of the box was lined with various materials such as clay, seeds and a PVA mixture that added a plastic layer. I then poured wax to fill the box and proceeded to work and remove some wax. I think the use of layering creates links to the theory behind my work. Focusing on nature and how a landscape can change over years I feel the layers tie links with the layering of the Earth's surface, the way in which new buildings are built and older are buried, so does the wax become the soil and the clay that was once on the surface, such as many ruins, becomes clouded and lost.
My process also relates to archaeology, I dig into my artwork and discover things that had become lost. I think this adds to the ideology of what history is, after all without evidence history is just a story. It's this idea, or justification that times were different, and I relate this to the emotive senses of historical places. When approaching a historical setting the emotions fight, it is hard to grasp a sense of history, I think humans are beings that live in the moment, we are aware of history but for many of us it does not seem real. I am interested in in the way we interact with land when we know that the place is rooted in history. We pick up a rock from Pompeii and we have found treasure, but we walk past rocks outside our door everyday. What is the attraction and why? Is it to pay homage, respect or is it out of a sense of awe? These are key questions that I deal with within my practice.




As well as tying links between layer and landscape, I see another aesthetic link to the landscape. The surface of my artworks resemble the surface of a landscape, this was unintentional but funnily enough also unavoidable when working with wax. When looking down onto a piece of artwork it is clear to see the links between the contours of the wax and that of the Earth. How do I feel about this? Well this 'happening' is what I would refer to as a beautiful accident. I had not set out to achieve this but now it seems part of the work. I find it strange how sometimes the medium informs the artist of the ideology, but this dialogue is part of being an artist and I find that is always best to listen to the artwork.
I have talked a lot about wax... but what about paint? Well I have used earthy tones of diluted oils over the top of my work, currently I am more concerned about staining the wax rather than painting it. I am simply readjusting colour rather than fussing over painterly techniques. I tend to let the paint drip over the work, allowing it to seep into crevasses within the wax, it is a very free process. I place the paint at point A and it finds its own way to point B. Again, I could relate this to nature and landscape in the way in which old ruins become invaded my nature (the rain, sea and vegetation) but again I'd like to note that this link was not premeditated but it was only after completion of the artwork that I realized the link. Also, I would like to express that the ideas I have about my work is very much my own personal interpretation, artwork has a way of showing different concepts to different people and it is important to me that the audience are able to connect with the artwork in a way that they deem appropriate.
So, here I am again with the question what next? I feel that the boxes are not fully resolved yet, there are secrets yet to be unlocked, so I will continue to create until I find what I'm looking for... Whatever that is! I've also been working on a large scale painting (soon to be uploaded) that still needs to be completed. Many posts lined up over the next few days so keep reading on... as always comments would be great, feedback is always appreciated.

The doomed landscape painter

When reading an essay on drawing landscape by my tutor, and artist, Davis Walker Barker a sentence seemed to jump out at me, "there is too much to see and grasp when making a visual account of first impressions let alone taking an image beyond that first stage." This seems to sum up my current problems with landscape. The landscape is vast and highly detailed, it would be impossible to create an artwork recreating such awesome imagery. For me, I realize, it is about taking what you need from the land, maybe some forms and colours, but mainly its about the experience. The way in which we, as humans, are drawn to nature, our own personal feelings and interactions with the landscape intrigues me. As children we explore the land, its seems to me that as we age we become more fascinated by our surroundings and my artwork serves as a reflection on this process.



So this is my latest artwork. It is a wooden box with a base of clay with photographs pressed into, it has a thick layer of wax with areas removed to show the base. On the surface i applied oil paint in areas or pressed paint into the wax using a spatula whilst it set. Basically, it is a multimedia piece. So what on Earth is it all about... Well, I can give no distinctive answer to that question, but there is certain links that i can point out. Firstly, the photographs in the base of the piece are of the ruins at Lindisfarne priory, being placed at the base of the artwork there is only parts of these photographs on display. I feel that there is dual reasoning for why I did this, there is links to archaeology, these photographs, in a sense, are buried within the artwork and this to me is suggestive of the way in which ruins are discovered. I also find it interesting that the photographs are unrecognizable, it is extremely difficult to guess what the image shows. I think this adds to this sense of ambiguity that is attached to places of historical relevance.
I really like working with wax as a material. As mentioned previously, the way in which wax can distort and cloud imagery I find very interesting. I also like the physicality of wax, the different ways in which you can work it as it hardens. It is a forever changing process, and things are only possible during short time windows when the wax is in the right state to be worked i a particular way. There is something quite 'alive' about wax, whether it is the way in which it changes over time or the textural quality it really does seem to be an intriguing substance.
There is minimal painting in this piece, mainly due to the fact that I didn't feel it was necessary. Through the paint there are suggestions of colour and forms, I personally see links to the the sea and architecture but this is a personal reflection and I imagine everyone would make there own connections.
I think it's time to get back into nature now, next step is on location drawings...

My Non Answer

Its seems that up until now I have been searching for an answer that can't be found. I now realize that this is being an artist. There is no such thing as an answer, an issue can never be fully resolved, there is only development. Now, instead of seeking conclusion, I will explore, question, experiment and gather information.




So today in the studio i began to make boxes. I think there is something quite interesting about placing material in a box. It adds a sense that the object is precious, I see it as a way of paying homage or memorial. Another reason why I moved away from painting on canvas is due to my interest in the physicality of materials, I like the way in which we can interact with objects, they are things that we can pick up, move around and place in different contexts. Of course, placing something into a box plays upon the idea of context, it changes the way in which we view the artwork both on an emotive and physical level.



This box contains leaves and wax. It interests me due to the sense of ambiguity, there are subtle implications of the forms and colours but the wax acts as a mask, or maybe the word cloud would be more suitable. I like using natural forms, and I think in this piece the use of fallen leaves also ties into my interest in history and past, capturing something that has been. Its this sense of preserving a place or experience in both time and space. So... what next? Well I intend to look further into issues relating to place, history and experience, although it seems to me that these themes run parallel to each other.

Object, Image, Space

Okay... well this is my first blog so I'm not really sure where to begin...
I'm in my second year studying a degree in Art and design at the University of Leeds. This semester we were set a project focused around object, image and space. All of these issues are major factors for an artist to consider when approaching creating a piece of art.
So where do i place myself in relation to these issues....
As a painting student, I find the word object to have several interpretations. Painters often reproduce or interpret objects onto a canvas, such as still life artists such Van Gogh, or the futurists that focus more on the way we interact with objects and portray them from as many viewpoints as possible. Object making may be an interesting study. How can a painter make an object? It seems to bridge the gap between painting and sculpture, for example hybrid paintings.
The sense of making an object, I feel, turns the artwork into something precious, an object is something that you can pick up and interact with, it becomes more than just art.
-Image, in the broadest sense, is essential to not only artists but to every living creature. It is suggestive of sight and the senses. So how do I relate my artwork in terms of image, well as I deal with contemporary art my work is abstract rather than figurative. Image, to me, is the study of colour and form, how different elements work together to create a harmony or dissonance. Image is a very powerful tool for artists and designers alike. Through image we can target certain issues, and a particular audience. It can make the difference between irony and humour, to be happy or sad. An image can inspire, such as the paintings of the 'sublime.' Or it can shock, such as adverts for child cruelty or animal abuse. The image really is a powerful force.
-Space. This is my favourite issue. I think it is the ambiguity of the word that draws me to it. What is space? For a start space is everything and nothing, it is everywhere and nowhere. I think this is why artists are drawn to the topic. Where do i place my work and interests in relation to this issue? Well my interests always seem to center around nature and history. I think both run parallel to each other. The idea of history, I feel, captures a strong sense of space. A particular event or situation has a slot within space. When i visited Lindisfarne and Bamburgh in Northumberland over summer the locations had a real sense of history, not just because of the ruins or castle's, but there was a solemn beauty to the space, it was as if the space was occupied by the rich history, the memory.