Arthur Hunter Blair is an ar / st who mainly focuses on figura / ve aspects
Critical Investigation
Communication of Ideas and Intentions Reflection on Technique
Anna Batchelor
and bodily parts for his work . The most famous and most common style of art that Blair creates are lino cuts and abstract prints , but he also has several works which were completed with woodcu @ ng to add a varied texture to his pieces . He also incorporates different colours into his work to create more varia / on within his work . He leaves in very interes / ng shadows and dark areas with the lino to add further contrast within the figure . His figura / ve pieces are very textured with the rough lines leC in to add a roughness and abstract look to his work . In par / cular , he uses these dis / nc / ve marks to emphasise the form of the part of the body he is portraying . While adding these marks , he also makes sure to leave out uncoloured lines , so he doesn ’ t lose the shape and flow of the body that makes his work so effec / ve and is one of his trademarks . His colour choices and combina / ons also greatly contribute to the piece overall , as the array of colours set a certain mood and atmosphere that livens up
Overall , I was pleased with my result , as the colour schemes worked very well . All the effects and techniques that I intended to reflect through my work were very prominent . I feel like the varia / on in the two colour schemes in the two prints adds a nice sense if contrast . It also shows the figura / ve aspect very well and all the highlighted and shadowed areas harmonise well to complete the final product .
Valery Bogdanova
For my lino cut , I used a build-up technique where I started by removing the lightest areas of my figure , and cu @ ng more and the shades got darker un / l all the black areas were leC , and each layer was portrayed with a different shade of the same colour which is prominent throughout the whole cut . I also did another colour scheme parallel to the first one , so I came out with one warm coloured output , which features yellows , reds and oranges , and a cold outcome which featured blues and greens . Arthur Hunter Blair ’ s work really inspired me to make my work more coloured and interes / ng , and to add some visible contrasts beKer when the shaded and highlighted areas . He made me understand the figura / ve form a liKle beKer so that I was able to achieve the flowing lines throughout the body to add to the texture of the piece that I was trying to achieve . As we were also working on lino boards and the same oil paints , I used his works to learn more techniques
Isabella Branson-Hammond
Critical Investigation - Warrens sculptures are exuberant , and roughly worked creating abstract forms of the human figure . She is able to bring a dynamic effect to the figures as her sculptures are roughly handled , in unrefined clay . By doing so , Warren ’ s figures are filled with energy which is perfectly suited to the large , strident , rude and irreverent female superheroes she creates . She tackles the themes of sexuality through the use of her female figures , by exaggerating the female features of her sculptures . Both peculiar and disturbing , her sculptures show how obscured the modern day view on women is . In my work I aim to
Reflection on technique We were inspired by Warrens work to make our own version of her incorporate her ideas of enhancing certain aspects of the figure , sculptures that include her themes of femininity . The design for this sculpture incorporates figurative to dramatise the feminine side of the elements they are suggestive of the human form . The material clay lends itself to working in this way sculpture . as it is easily manipulated , reworked as has limitless potential . Some areas of my sculpture are very evocative of the human form and others and very unworked . I was able to do this by leaving the clay in its natural state which further suggests its potential . Depending on how my sculpture is viewed , it portrays different figurative forms , which is alike Warren ’ s sculpture that are suggestive of different figurative works that are also incorporated into one .
Communication of ideas and intentions - Making use of relevant contemporary artists , such as Rebecca warren and her comical figurative sculptures . I successfully produced an absurd response to this , due to the preposterous arrangement and proportions of my figure , where I was able to explore the boundless potential of clay further . Working in this way enabled me to exaggerate femininity of
Lucy Bullock
the female form , which I did by emphasising the curves and displaying a
Jemima Chambers
[ SENSATION :{ STRING _ SCULPTURE }]
= Critical _ Investigation : Fielding _ Brown = Communication of Ideas and
Fielding Brown ' s string sculpture explores the Intentions opposition between structure and disorder . Inspired by Fielding Brown ' s technique in
Although , from a distance , these sculptures may string sculpture , I decided to conduct some look misshapen and chaotic , but upon closer experiments of my own , exploring the idea of inspection , we can see that it is actually manipulating string to emanate the sense of composed of straight , equidistant lines . The distortion . From my first experimentation , I got interesting aspect of this technique is that the to appreciate the idea that a one dimensional whole idea of distortion and the twisting , warping string , when combined in different patterns and effect is based on order and sequence , when these sequences , can create three dimensional forms are often seen as polar opposites . In some ways , and bodies . the idea of order and chaos co-exist and depend on each other , where one cannot create order without
Another interesting feature that I discovered chaos and vice versa . in my first experimentation was the visual effect the sculpture creates as the viewer moves
Another interesting aspect of Fielding Brown ' s BICYCLE WRECK - BY FIELDING around and looks at the sculpture from different sculptures is the idea of omission and deception . BROWN perspectives . Similar to optical illusion , the His string sculptures may show a basic , indistinct different layers of lines pop out at different form of itself if the viewer glances at it briefly . However , in angles . It creates a distorting effect until the viewer order for the sculpture to reveal its details for the viewer to loses sense of perspective and depth , and all of lines realise and appreciate , the viewer must examine the artwork closely become one anarchic entity . This adds to the theme of and thoroughly . In the same way it omits its inner details , the chaos and disorder , as well as deception , how sculpture also possesses the ability to deceive . something consisting of sequence and pattern can Again , the sculpture at first sight may seem seem disordered . chaotic and disorderly , but in fact , it is composed sequentially . It conveys the idea that nothing is exactly what it seems , and though may seem to have basic characteristics , it , in fact ,
STRING SCULPTURE EXPERIMENTATION 1 - MY WORK has a more complex and sophisticated arrangement .
Ryan Chan
Given the recent surge of Covid-19 in the United Kingdom , I found my relationship with sensation challenged . Sensory touch became feared , as-well as human contact with objects and people being prohibited . As I found my relationship with my senses changed , my relationship with my body changed . I found myself restricting my body for my safety , when it was necessary . Over the course of 2020 , I have come to realise the importance of sensory connection in understanding the surrounding world .
I was greatly inspired by Picasso ’ s Guernica . Although the painting depicts the aftermath of the Guernica bombing in 1937 , it reminded me of our relationship with Covid , as Picasso creates violence and destruction , yet there are moments of intense intimacy within the work as the bodies interact with each other . The abstracted forms in Picasso ’ s ‘ Guernica ’ also allude to a sense of intense confusion , very similar to the hostility and confusion surrounding Covid-19 . Whereas the abstraction of the human form and the mass of limbs suggests the perilous state of human lives , swell as our vulnerability .
A starting point for my investigation into sensation was the use of intimacy . Given restrictions on social distancing , I found there was a new fear attached to intimacy , and out bodies had become vessels of fear . I felt inspired by Tijana Radenković ’ s work , as her deeply honest response to our bodies , through her use of bacteria felt much needed in a time when we no longer understand out bodies . The use of growing bacteria creates a visual honesty between our perceptions and the relatiy of our bodies
I became inspired by Ayako Matsumura ’ s use of bodies to depict the human form , her use of colour creates an honest response to the pigmenataion of the body , whilst the function of
creating clothing reminds the viewer of the functionality of the skin , not merely as an aesthetic feature , but as an organ that serves our body a function . The use of weaving the fabrics creates a sense of durability and comfort to the garment , alluding to the idea of feeling ‘ comfortable in our own skin ’, a theme constantly challenged by covid-19 .
Josie Clyne
I am inspired by Edie Nadelhaft ’ s work , as I like her close-up drawing and paintings of the body , The detail and rawness of her artwork creates a sense of honesty surrounding the image of the body . With the focus on skin rolls and wrinkles , parts of the body traditionally looked over by artists . Her use of colours and strong reds gives a bodily element to her work , as the red creates a sense of violence , suggesting a tension between the ourselves and the outside world .
Freddie Davies Sasha Ecclestone