elenalilyclara-blog
Elena Lily Clara Barber
Chelsea College of Art - Fine Art [email protected]
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Untitled
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https://issuu.com/drawingcenter/docs/drawingpapers36_stageofdrawing
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https://lisson-art.s3.amazonaws.com/uploads/attachment/file/body/582/NEWM_1987.pdf
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I have always understood drawing to be, in essence, the materialisation of a continually mutable process, the movements, rhythms, and partially comprehended ruminations of its mind: the operations of thought. Drawing by its nature suggests an intimacy of engagement where the eye of the beholder, tracing and following the hand of the drawer, is forever caught in the spaces of action and event.
(Newman in Avis Newman and Catherine de Zegher, ‘Conversation: Avis Newman / Catherine de Zegher’, in Drawing Centre 2003, p.67.)
https://www.tate.org.uk/art/artworks/newman-the-wing-of-the-wind-of-madness-t07164
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25/04/19
Drawing on photoshop. Overlaying marks on drawing with chalk on black paper. Repetition of marks in different medium.
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Avis Newman (British, born 1946). Configuration of no-thing. 2007–
Newman’s Configuration of no-thing is provisional in arrangement; it appears to be endlessly reconfigurable. The artist has described such works as neither “constructions” nor “compositions” but “configurations allowing for the work not to have an absolute fixity.”
Depending the space i get, the layering of the paintings could be really interesting. I really don’t want to present them in a straight line, i need them to be able to be having a conversation with each other and be in a more varied manner than that. Therefore the marks will be seen in a kind of repetitive manner as appose to reading as a series / piece of writing. I would like the viewing to be more varied, drawing the viewers eyes to different parts of the works, therefore making the experience more whole consuming and less rigid in its presentation.
Layering - Layering has always played an important factor in my work, through collages of image. Explored in Interim.
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Tutorial with Mary 24/04/19
The fragility of the marks and the illusiveness of them is really portrayed through the projection of my drawings on the canvas. The notion that the marks can disappear at any given moment and then reappear is indicative of my the process of my paintings. The recycling of material and content that is constantly fluctuating states and standing in this fragile boundary between fragmentation and abstraction. The concideration of just showing the projection? However I think its showing my process too much and it would reveal the happening of the marks themselves. I like that they are these illusive and unknown things that one doesn’t know how they became on the surface canvas. I hope these marks will look placed and composed however i need there to be an sense of freedom and fragility to the painting.
Avis Newman - The fragilely and temporality of marks
Struan Teague - Configuration of paintings
Wolfgang Voegele
How i can achieve the graphite chalky effect with paint - Large oil bar? The fragility of marks however done with conviction and confidence.
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ARTUNER is happy to announce ‘Come Close & Step Back’ featuring the work of Pia Krajewski at Künstlerhaus Bethanien in Berlin, which opened on 11th April 2019 and will run until 5th May.
Curated by Jurriaan Benschop, the show displays Krajewski’s work alongside that of Irina Ojovan; both artists are presenting their work as a culmination of their Winsor and Newton artist-in-residence programmes at Künstlerhaus Bethanien.
A panel discussion will also take place at 4 p.m. on 27th April 2019 at Künstlerhaus Bethanien (Kottbusser Straße 10) to coincide with Gallery Weekend Berlin. In a conversation with the show’s curator, Krajewski and Ojovan — together with ARTUNER founder Eugenio Re Rebaudengo — will discuss how contemporary painting changes amid glocalisation, social media and increasing mobility.
Pia Krajewski explores sight and touch through painted intersense analogies, creating a haptic world that envelops viewers in a curious process of discovery.
Below, an excerpt from the show’s press release details the artist’s practice as explored in the exhibition:
To grasp the paintings in their full scope, the viewer has to move closer to and further from the canvases, collecting sensations of texture and touch from close by, or seeing the overall image from a more distant perspective.
The paintings of Pia Krajewski present us with close-ups of figurative motifs such as a piece of rope, a vegetable, or a pine cone. Krajewski treats such motifs with an abstract eye, rearranging them and reducing their forms to essential lines, curves, and a play of light and shadow. Through blowing up details in size, and through modeling, she highlights their plasticity.
Meanwhile the way the paint is applied produces flatness, and counteracts the illusionism of the image. Areas where two colors or shapes meet attract special attention, as that is where weight or gravity is evoked, and an ambiguous spatial orientation within the painting is defined.
Pia Krajewski completed her master’s degree at the Kunstakademie Düsseldorf in 2018, where she studied with Dietmar Lutz and Andreas Schulze. This exhibition represents the culmination of her residency at Künstlerhaus Bethanien as Winsor & Newton artist in residence.
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Cropped images from drawings - potential scans for book.
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http://alexmarcopublications.tumblr.com/
Alex Marco publications.
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http://alexmarcopublications.tumblr.com/
examples of publications from Alex Marco.
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Proposal for paintings.
Starting with my drawings, one mark leads to another mark and it continues from there. Drawings from memory or visual representation of something that is in front of me. They then develop and get fragmented and cropped digitally. Obscuring them into more abstract and formal images. The constant recycling of my practice ensures my work is constantly moving and being influenced by various different stimuli.
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Collections of stones from Cornwall beaches. 15/04/19. Interested by the neutral earth tones. Providing me with an influence for potential colour combinations for paintings.
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