Cyprian - Alison Lambert
Antiope - Alison Lambert
Communication of ideas
Noah - Alison Lambert
Sensation screen 1
MY LIFE DRAWINGS
I have decided to express the
After investigating how Alison lambert
idea of sensation through a
used contrasts in colours and patterns
city centre; more specifically
created in her prints, I tried to adapt
these techniques in both of my own
Tokyo, Japan.
Mono-Prints. The use of different tools
I choose from these pictures
such as nail tips or cotton buds along
as they show an open space
with white spirits helped to create surrounded by tall buildings
gradients of colour as well as very white
and tiny details on signs such
and clean patches of colour. The as writing. The large surfaces
dramatic effect I managed to create
of the buildings with a
came from how bold the eyes were in
repeated pattern were also
my portrait and then in the downwards
look and colour variation for the distinct and incited me to do
in etching so i could include
second one. I learned that printing an
these specific details.
this way enables the artist to express
I got inspired by Cat Poljski,
much clearer and expressive emotions.
Critical investigation
In her prints, Alison Lambert creates a sense of drama and tension around the
looks of her subjects due to techniques she uses in her Prints. The very harsh
whites contrasting to the blacks results in a very dramatic figure created. The use
of her white backgrounds makes the whole figure of the person stand out as she
focuses the attention on the whole figure and not simply the faces of her subjects.
Lambert has tried to convey the raw emotion behind the sitters eyes. From the
painting I used, Rembrandt has also conveyed the dramatic effect of the sadness of
his sitter by only lighting half the face to show the look of despair of the sitter. The
contrasting colours help to get detail as well as bring out the most essential aspects
of the face for emotions such as the cheek muscles, eyes and lips. By focusing the
attention on those, the sitters emotions can really be conveyed as the look is the
easiest way to transfer a feeling or emotion, which is what I have tried to do in
mine
REFLECTION ON TECHNIQUE
Using only charcoal, I completed a series of sketches of the life model, in a range of poses and
from a multitude of angles. To start, in order to build a familiarity with the technique, were
numerous quick sketches as short as thirty seconds, building up to five minutes. These quick
sketches were particularly useful as it meant I wasn’t too caught up in the detail of my lines or the
shading within them. This helped me understand the direction of the model’s outline which would
benefit my later sketches. Using only the palm of my hand, I pushed back the charcoal, muting it
until I could do another over the top. This built up the background of my later, longer sketches and
also integrated with the layers above. For the majority of the sketches, I used only the top of the
charcoal, as instructed, shown in my two works below, and for the later sketches we could only use
the side, creating more impactful images such as the one directly to the right. This was particularly
interesting as it meant taking into consideration the width of the charcoal and the disperse of
who is a Melbourne based artist who creates spacial and
abstracted prints. The way she layered different blocks of transparent colours with a mixture of
thin lines outlining buildings creates a sense of chaos but also clean cuts of the forms. Her large
and bold shapes superimposed onto her more detailed print inspired me to do some sort of
print on top of the etching, making large shapes that resemble buildings with a certain amount
of transparency to be able to see through them.
Michael Goro is an etching artist that creates urban
landscapes and human forms that are “constantly
changing”. He embeds sense of fluidity in his work which
inspired me to incorporate an etching as my main piece.
Reflection on technique
In my prints, I tried to reuse and recreate the techniques that Alison lambert has
used in her Prints. Through experimenting on a simple rectangular plate, I realised
that dragging the card across the ink create a very clean gradient when there was a
little bit of white spirit. I managed to create a very distinctive yet smooth gradient
for shadows on the face, creating a great passage between light and dark.
Rembrandt - Portrait of old man
First colour mono print to
experiment
This huge contrast between the very white and very dark patches creates a very
dramatic stare from the subject as the eyes are a clear and bold stand out from
the face. In my two layer print, I managed to create the sorrow and sadness of the
look by darkening the look and covering so that the eyes could not be seen as this
hid the emotion of the painting. The use of colour contrasts to this darkness to
create a mix in how the print can be interpreted as the warmth of the orange
could be seen as a more happy colour.
COMMUNICATION OF IDEAS AND INTENTIONS
I particularly enjoyed this technique, largely because I used charcoal and quite significantly due to
the enjoyment that comes from the opportunity to sketch a person in real life. I tried to portray
certain aspects of the figure in more detail, focusing on them in more depth. I felt that depicting
only a small section of the body allowed me to see it in more detail and not get caught up in the
different limbs and how they are shaded. This is particularly prominent in the below pieces, though
I aimed to depict more of the model in my works to the right. I felt that although the below images have more shading, those to the right
are more accurate and again branch away from the
In my work, I attempted to achieve the same level of muscular and proportionate
cartoonish style. I feel that through the pushing back of
accuracy, as well as making slight markings on the background. I also However,
layers I created a sense of motion, linking closely to CRITICAL INVESTIGATION
the East Wind God in Gill’s work is riding/ guiding/ lying on a decorative
Saville’s works. I particularly like this style as it shows our Frank Auerbach use of bold, dark lines emphasises the figure, causing it to
representation of wind, and I did not actively integrate a defined prop or sense of
space into the background of my work
habit of being constantly moving, also inspiring ideas as to be raised out of the paper. It also makes the lighter areas of the body more
prominent as there is a greater contrast than if a light background were to be FRANK
used. This is particularly affective in achieving a moodier piece, adding more AUERBACH
MY LIFE DRAWINGS
emotion and expression to the movements. It separates the figure from the
background, which allows it to contain more depth and structure. I
particularly like the loose almost careless technique that he uses when filling
in these encompassing dark spaces as it shows that the focus is on the
figure, rather than allowing for the eye to be distracted by the surroundings.
This places it at the centre of attention. I particularly like his use of bold
strokes as it creates a more realistic mood, whilst still blending in the
JENNY SAVILLE
abstract in the loose strokes. His work greatly contrasts the work of
Jenny Saville, who uses more of the multiple image line drawings I
used as a reference. She opposes his style with her bright images,
going into more detail with the bodily and facial features, creating a
softer outline of each. This allows her work to be more of a realistic
representation of the figure in all its glory, whereas Auerbach
demonstrates is vast knowledge of the human form. Saville’s work
exposes the female figure, creating more obscene images that provoke
Life model, my work, clay
Renaud Bauné
Juliette Briery
Alice Daniell
The process of relief sculpting creates dramatic qualities by subtly
My Photos
emphasising the depth and tone in the subject being portrayed.
My Finalised Painting
There is a high range of depth and height which can be achieved
resulting in a piece with a greater emphasis on the most striking or
significant aspects of it. In Moses Receiving the Tablets of the Law
by Lorenzo Ghiberti, a sense of perspective is achieved through the
use of gradually decreasing depth in the metal as the distance from
the viewer increases. Although the relief panel itself is only a few
centimeters thick, the illusion of a long distance is made through the
use of a contrast in thickness between the figures of the people and
the impressions of the houses and mountain in the background.
Paul Day s relief sculptures focus on intense architectural detail and realistic interpretations. The
aspects of the relevant culture and history. These pieces by Paul Day both present a view of a
long line of people, giving a sense of perspective. The sense of perspective and the sense of a
Communication of Ideas
For my portrait project I decided to choose a photo
that I took during the summer time at a festival. The
photo was taken quite candidly without the subject
impressions of the people behind them and still convey the image of a large crowd.
posing for the photograph to be taken. Despite this the
Communication of Ideas
subjects intense gaze and the intimate angle of the
In my drawn response Paul Day s
photo creates an extremely dramatic piece. I thought
relief sculpture I have drawn a small
that the photo had great potential to be a painting,
Reflection on Technique - Making a relief sculpture
section of the sculpture. I focused
however I decided to edit it in order to create intense
The piece I produced is relatively illustrative, which is emphasised by the contrast
The process of relief sculpting involves controlled pushing and pulling
on the detail in the dark and light areas of the sculpture, as these are the parts which Day
will contrast
have focused
tonal
which serves to further enhance the
of the surface being worked on. The result is a naturally flowing
on making deeper or more outstanding in his movement of the clay.
severity of the subjects glare at the camera. I decided
of light and dark provided by the medium. My intention was to focus more on an
continuous movement of clay, rather than a piece made up of several
to edit the photo so that it’s black and white, I also
intuitive style of creation, rather than the more careful creation of many of my
added extreme contrast to the darker areas of the face
different parts. The
other pieces, inspired by the myths which surround the subjects of these classical
which are cast with shadows. I think the monochrome
technique of relief
Moses Receiving the Tablets of the Law
statues. The illustrative feel which now defines my piece compliments the
handling adds a sense of mystery to the photo and the
sculpting results
My relief Sculpture was more similar to Paul Day s than Lorenzo Ghiberti s, as I used clay to achieve a similar outcome
sitter as certain parts of the subjects face are
intended meaning.
in a less
to Paul Day, while Ghiberti used a molten metal tablet. The Dramatic areas of darkness and depth were achieved by
completely dark especially around the eyes. I think the
geometric result,
digging into the clay and smoothening the surface to make the transition into depth more subtle. The
lightest
areas an intimate nature, given that the
photo
possesses
and more of an
were created by adding excess clay to the highlights, and pushing it outwards to blend with the rest of subject
the panel.
is so close to the camera. Her intense gaze
impression of real
directly into the lens further emphasises the severity of
My main area of concern when creating this print was the composition. The placement of
life.
her glare. To the point where it seems that she is
different elements was crucial in creating a cohesive and impactful piece of work. To do this, I
looking into the viewers soul creating this intimacy.
ensured that there were odd numbers of each element, and that the composition was overall
The black and white edit serves to enhance this by
Communication of Ideas and Intentions
balanced in its ratio of empty space to fine detail. The curved lines of dark colour in my piece
creating a stark tonal contrast hence creating a dark
and ominous atmosphere.The pixelation of the image
are reminiscent of those lines which break up ‘Straslund’ by Heckel - of course the major
When making the relief sculpture based off of a life model, my intention was to produce an
has created an uneven tone on the subjects face which
difference of the piece is the subject and feel. Whereas ‘Straslund’ appears to depict a bleak
impression of her body using the width of the clay to portray the depth of intensifies
the body, the
as cast
well tonal
as range and creates an
landscape, my own work is whimsical, and based around portraiture. The work of Arthur Hunter
interesting
painting challenge. I also cropped the
the light and dark tones I could see. From my point of view the model s feet
were furthest
photo
create
further intimacy and make the sitters
Blaire also had an impact on my creation, his portraits showed me certain methods of creation in
away from me, so I used more subtle contrast between depth and height for
the to feet,
and
face enlarged on the canvas intensifying the sitters
linoprints, which helped me to construct the faces of the statues in my work.
more dramatic depths and heights for parts of the body moving towards the head.
serious stare.
presence of large number of people is achieved through the variations in the depth of his clay
tablet. His use of immense detail in the faces and clothing of the people closest to him to make
Cristina Iglesias
Under this topic of monoprints, I have made two responses:
one for Mateu’s portrait and another that addresses both
Degas’ and Lambert’s work. For
Mateu’s response, I created a
simultaneous clash of colours
and tones in order to best depict
the sitter in his portrait. Whilst for
the peer portrait, I used a similar
but stronger difference shift in
tones, making the mood slightly
gloomier and uncomfortable.
Overall I have learnt that the
technique of monoprinting can
successfully show changes in
tone and depth, allowing for
expressive qualities such as
emotion to pair easily with the
sitter.
Andrew Tam
REFLECTION ON TECHNIQUE
I built up as well as dug into the clay with my fingers and tools to thicken the depth of the sculpture, and
purposely left the body un- smoothened to make the form of the figure more expressive and organic looking. I
think the visualization process of making a relief is very rewarding, as it really makes you study the form of the
model, stripping away the pre- existing ideas of what you think a body looks like to actively look at what was
closer to me and thus projected further out. However, this form of art is very limiting as I you cant apply shade
and shadows to it, and I found it challenging to define the body without resorting to outlining the whole figure.
COMMUNICATION OF IDEAS AND INTENTIONS
For my relief sculpture, I worked from a life model. I positioned
myself near her knees, which made her right knee the closest thing
to me and thus the most projected in my relief. I used my hands and
tools to build up the clay in those areas, while digging into the clay
towards her torso and upper body, as from my perspective, they
were further away. I was trying to experiment with the relief
process, and convey her muscular form without building up too
high. I also wanted to convey the model’s muscular tension from
holding that position for so long, like her muscles are working and
flexing.
Southern Wind, Bath Stone, Eric Gills
http://www.pauldaysculpture.com/
https://www.tate.org.uk/art/artworks/gill-the-east-wind-n04487
http://pictify.saatchigallery.com/349640/east-wind-eric-gill-1929
My work, pen on paper
I used detailed and precise brushstrokes to recreate this uneven tonal range
on the subjects face. I decided to start by painting a loose red wash onto my
canvas using a large brush and watered down red acrylic paint. I chose red as
I thought it would intensify the models glare and contrast the dark tones of
the portrait. I decided to paint the skin in such a way that certain parts of
the red background would come through the skin tone adding to this
pixelated effect the photograph possesses. In order to achieve the
unevenness of the skin tone I used a variety of tones by mixing my two
colours (Payne’s grey and titanium white) I decided to use pains grey rather
than black oil paint to soften the stark tones slightly and add more of a
blue-grey shade creating a smoky effect when blended properly. I found the
dark tone around the eyes challenging to paint, the outline or definition int
these areas are not clear in the photograph due to
the shadow cast on the subjects eye.
Communication of
Ideas and Intentions
Close up Images of my Painting
Nina Mangion
Critical
Investigation
Matisse cuts out pre-painted
sheets of paper into different
variations of colour, shapes
and sizes. He then arranges
them into lively human
compositions. The pieces started out small but
eventually grew in size. His spontaneous
My initial sculptures, above
technique of cutting the the paper also known as
drawing with scissors creates a lively and
Christopher David white
“I am drawn to clay because of its innate ability to mimic a myriad of textures," I chose to research Christopher David white as I admire his ability rigorous
to create wooden
feel although adds a feeling of freedom
texture out of clay, this will be useful in my work as using clay rather than using real wood is less time con-
as
it is and
a one motion capturing the bodily curves.
suming and give me more opportunities to experiment with my work. His works combine
industrial
environmental features into the human figure. The wooden texture of his pieces gives them fragility which
Matisse uses opposing colours creating bolder
reflects the fragility of nature and the human figure shows how we depend on it.
outlines to the pieces which creates more drama
The use of clay also reflects
the fragility of the environ-
as the shape are more
ment as clay is a fragile ma-
terial, which is brittle once
perturbing showing the
fired but at first is easily mal-
flow of the also creating
leable. I learnt a lot from
researching white, as I found
new lines which stand
advice on how to make real-
istic wooden texture.
out showing of basic
bodily features in the
obscure curved
positions they human
sits
Anna Williams
Freud’s etchings show the importance of using
a variety of tones. In his work different levels of
cross hatching allow for different levels of
shadows, contrasting the highlighted pure
white in the blanks. I like the technique the
uses in the second photo, using a thicker patch
of lines to define the face’s edge, I used a
similar technique in my etching, but used it
more as a suggestion, marking around the
face, rather than it’s edge.
Analysis of Portrait
I used very delicate and controlled brushstrokes to define the subjects features and recreate the interesting tonal
unevenness the photo possesses. I used a flat size eight brush to create this effect by making delicate vertical strokes. The
shadow around the subjects nose really creates a three dimensional effect forcing the nose to stand out against the face as
in the photo. The subjects dark and glaring eyes are striking, the smoky effect in the lighter part of the subjects eye
enhances this three dimensional effect as the dark iris stands out against the it. The monochrome palette eliminates
distractions and focuses the mind on the subjects emotion emphasising the portraits dramatic mood.
S ENSATIONS - EXPERIMEN TING
Monoprint describing the figure through colour, line and movement
WI TH MATERIALS
The two images on the right are of Lucian
Freud’s etchings. In both pieces Freud uses
short lines and cross hatching to create
shadows and give the face depth. The dramatic
shadows in the top example, made from cross
hatching, put emphasis on the subjects moody
facial expression, providing the overall piece
with a much darker mood.
The lighter marks of the second piece give it a
more tired feel, reflecting the dreary,
downwards facing look of the man in the
image. The combination of both blank spaces
and loosely packed markings in the two prints
provide them with an interesting, sketch-like
appearance, this technique works well for
giving the faces deep shadows and bold,
defined outlines.
Freud’s intention was often to invent his
pictures through the use of the people he used.
In both of the examples on the right he sets the
tone of his work mostly through the subject’s
expressions, not just through artistic technique.
When doing my etchings I
left lots of untouched areas
to create a large contrast of
light and dark tones, in order
to give my pieces a more
dramatic feel. As I did more
prints I began to add more
into these blank spaces, for
example by removing less ink
from this area when inking
up my plate. The etching
process allowed me to make
this type off development
within my work by creating a
series of prints, developing
one image and idea rather
than recreating an entirely
new second piece.
I was afraid that adding too much darkness in
that area may look as though the subject had a
black eye. In order to overcome this I made sure to blend the darker tones and emphasise
the shadow being cast on that specific area due to the angle of the subjects face and highly
contrasted editing. I think the extreme contrast in tones between the subjects face and
fingers creates an interesting perspective. This contrasts makes the models hands eye
catching which highlights their proximity to the camera compared to the models face and
makes her hands seem even closer and larger than they actually are while making the models
face seem further away. The monochrome handling of the painting also severs to enhance
Tamira Kitchens
Cristina Iglesias is a Spanish installation artist and sculptor living
and working in Torrelodones, Madrid. ‘forgotten streams’ is a set-
off instillations outside the Bloomberg building in London. They
show the place where the river Walbrook used to run. I admire
how she captures the natural environment in a way which is con-
tained in a sleek box, this contrast shows the difference between
what London used to be like verses what it is like now. Her other
works include large installations, built with the architecture of
their location in mind. In this way Iglesias combines engineering,
architecture, art and the natural environment to create her larger
works. I admire how realistic the roots and natural features of
her sculptures are. The Material she uses is bronze, this is due to
the fact that it has to last submerged for long periods of time.
The roots are made in a way which develops layers of matted
shoreline along which water flows and pools. There is great his-
torical value in her work as it recognises effect of human activity
on natural features, even seemingly permanent ones like rivers.
Cristina Iglesias's sculptural pieces combine industrial materials
and natural elements to create unusual, experiential spaces. This
is much like the combination of the industrial and the natural in
Whites works, which is why I chose them both to research for my
project. I hope to be able to recreate the matted root effect
which Cristina uses in her works, but with clay.
The portrait by Lluis Ribes Mateu on the
left is drawn in oil paint and captures the
solemn face of a middle class man in his
60s, directly addressing the viewer. The
dramatic qualities within this piece are
created by the clothing of the man, which
are rather rugged and unkempt. Another
aspect of the portrait that supports this
narrative is his beard, which Mateu draws
roughly with disorganised, short, curvy lines, creating an illusion of
messiness. The expression the man has is one that is hard to read, but
has a sense of despondence. The way his eyes are so deeply covered
in shadows creates a sense of discouragement and depression, as
these dark patches juxtapose the bright light casted on his forehead. I
believe Mateu used these techniques in tone in order to depict a grave
looking man. In my monoprint, I used a similar play on tones by using no
colour at times for light tones, a warm orange for mid tones and a dark
blue for shadier places such as bits of his beard and eyes, thus resulting
in similar effects to the original. However due to the contrasting colours
of blue and orange, I believe my version is slightly more obvious at
depicting the expressive qualities of the sitter.
CCTV, Paul Day
Jamie Ho
Edited Photo
intentions of his commissions are to capture the spirit of the scenes he is depicting, integrating
Tasha Kelly
Bridges, Paul Day
CRITICAL INVESTIGATION
Paul Day is a figurative sculptor, whose work particularly represents Whispering Galleries 2005, terracotta and resin, Paul Day
humans in an architectural space. Paul Day uses high- relief to create
depth in his reliefs, by combining drawn composition with fully rounded sculpture. Day works in terracotta, resin, and
bronze, and his art exhibits his interest in dramatic perspective.
The artist goes beyond the relief process and dramatizes it, by working in high- relief, where the usual background plane is
exaggerated, making his figures project far out off the wall to the point of almost becoming completely disengaged from
the ground. This allows Day to create added depth, perspective, and interest to his work. He layers figures, faces, and
architectural features and sculpts them from dramatic angles.
Day often works on complex architectural spaces and urbanization, and I think he intended to incorporate the symbolism
of perspective in human life into his work, as physical perspective. In Whispering Galleries, 2005, Day depicts thousands
of tiny figures packed into multiple levels of whispering galleries, from a top down perspective- making the galleries and
crowds spiral away towards the center of the work. The amazing creation of depth through perspective drawing but also
through physical depth makes the work very interesting.
My work differs from Paul Day’s work vastly, despite me being in awe of his work. My work is much flatter, especially as
I was using a much softer material; clay. I have little depth, and little background or sense of space. I chose to focus on the
form of the body and left out the space in which the body filled, particularly as I would have had to imagine it.
An investigation into the Visual power of
Relief Sculptures
Critical Investigation
Following my previous successful linoprint, I wanted to further experiment with a
looser style of printing. I had previously enjoyed creating my small test linoprints,
so decided to expand this piece by creating more small tiles which would carry on
the print. Due to the level of detail I included in the first print, I decided to keep
the print relatively small, only carving out five more small tiles. At this stage I
conducted further research into linoprint and woodcut artists. In the work of
Arthur Hunter Blaire and Erich Heckel, I was inspired by the bold use of
contrast, and the ability to accurately depict the subtlety of the human face in
such a strictly black and white medium. I knew at this stage that I would like to
include some sort of portraiture within my linoprint. The more experimental feel
of Heckel’ work inspired a more sketchy nature to my print; I created a quick
thumbnail for the rough composition of the piece, but mostly worked without a
reference. The sculptures depicted in my piece are all from photos I have taken -
most of the photos were taken with a low exposure and a warm colour palette.
Translating their gradual and subtle nature to this medium was challenging.
The East Wind, 1929, Eric Gills
The East Wind, 1929, Bath Stone, Eric Gills
CRITICAL INVESTIGATION
Eric Gill was a figurative sculptor who specialised in stone carving. His work
pioneered a return to traditional craftsmen skills. The East Wind is a 1929 copy of
the 1928 carve relief designs he was commissioned to carve for the new London
Underground Headquarters in St James Park. The work has heavy influences from
English and French medieval sculpture, a style which Gill admired. Gill used
white bath stone, clean, clear lines, and geometric decorative patterns. The
naturalistic yet idealistic depiction of the human form, paired together with the sly
facial expression and creeping hand gesture gives the figure a mischievous and
weird energy that awes yet humours. I think the artists intended to bring the
character of the East Wind, Euros, a Greek God, to life- as the bringer of warmth
and rain, and thus protecting yet sly,
Reflection on
technique
• In my piece I took
photographs of a life model
and from them I used a
cutting knife to replicate the
shapes of the body from
the pictures.
• This was done
spontaneously trying to
capture Matisse’s free style
of cutting and movement.
I used less cross
hatching throughout my
piece, providing less of a
shadow effect over the
main features of the face,
such as the nose. I
perhaps could have
added more shading up
the left hand side of the
face, to create a larger
tonal contrast.
Taking the picture from painting to etching has
removed some of the moodiness of the subject. In
my etching there is less of a variety in tone, this
combined with the brown ink I used has highlighted
certain features more, but also changed the viewers
impression of the subject.
The sugar lift version of my etching on the bottom
left of the page has a larger variety of shades,
especially on the neck, chin and jawline, where the
shadows have been enhanced dramatically.
Georgie Stephens
SENSATIONS: MULTI-MEDIA FINISHED PIECE
CRITICAL INVESTIGATION
Although Richter specialises mostly in oil paint, the loose
brush strokes, vivid colours and the busyness of his
painting Europa — immer Ärger mit dem Sogenannten
has a similar energetic and ambiguous effect on the
viewer to the effect of my multi-media piece which is
layered with colour, lines, shapes and forms. The
business of Richter’s paintings come the bursts of colour
that were applied with spontaneity. This was a common
feature of German neo-Expressionism. The intention of
I n my piece I have tried to capture
the fluidity and
the artist was often politically invoked and rich with
vibrancy that Matisse composes symbolic
throughout
his
meaning,
despite being somewhat abstracted
from with
any tangible
cut-outs. The bold colours contrast
each context.
Communication of ideas
and intentions
other and in addition the cut line This
comes
through
specific
work was invoked the psychedelic scene in
Europe powerful
during the 1980’s. This is expressed in the title of
with the printing technique to create
painting and in the completely abstract shapes and
movement that flows through the the
figures
curves.
forms which cloud the composition. Nothing adds up to
a tangible object and the perspective is ambiguous.
My first print
• However I used this as
more of a stencil instead of
Matisse’s technique of
using painted paper to cut
and then stick down. I
layered mine onto laminate
which I then applied
printing paints to using the
bold colour scheme
Matisse uses by contrasting
primary colours.
On the nose and the right hans die of the face I used
much heavier lines, in a more compact structure to
provide shadows to match the dramatic tones in the
original painting. I have also used dark, narrow lines
throughout the piece to show wrinkles and ageing.
The acidic
My second
print tones of the colours in the painting makes it
burst with energy and flair, making the dynamic of the
paint as it was being applied shown on the canvas
without the paint actually adding up to a tangible figure.
This intangibility and nuance in Richter’s work is
something that I try to achieve in my own. Even in
Richter’s less abstracted works, there is always this
lucidity and glow to the scene which is sided with the
nuance of the scenes meaning or context. This
ambiguity and abstraction is what gives Richter’s work a
mysterious and unsettling effect on the viewer, an effect
which I strived to achieve through my multi-media piece.
The final print
• After the first print I then
layered it with a second
primary colour creating
interesting outlines which
produced a more
abstracted image with
distorted and morphed
body outlines .
Ben Williams
Europa — immer Ärger mit dem Sogenannten (Europe — Always in
Trouble with the So-called), (1999) Daniel Richter
Oil and Lacquer on Canvas
220 x 180cm
REVIEWING, REFINING, REFLECTING
My multi-media piece began as simply a 2D collage with newspaper. I decided that I was going to layer my media one on top of the
other. Each media would bring a new layer into the image which would create the sense of busyness and vibrancy to the piece as
well as abstraction as these layers would be very loosely associated with one another. I layered spray paint to mark the text: Every
touch that you sell is a lie however I wanted the text to be somewhat subtle and buried beneath the following layers of the piece. I
used red and green dry pastel to mark the cress-head figure in right middle area of the piece. The clay that was stuck on to the
board were balls of clay that I had wetted and thrown at the board. Although the wet clay did not stick to the board for long, when
they came off I stuck the clumps of clay where they had landed on the board. In this way, the arrangement of the clay on board
was completely spontaneous. I painted these clumps of clay with black and green oil paint in between the creases of the clay’s
figure to give a sense of depth the clay and hollowness, as if they were shells. It was then I used blue oil pastel and drew another
figure head. I used green and red and purple spray paint as well as green oil paint drenched in lacquer and white spirit. This can be
seen on the top left of the piece, marking the face of a figure.
The energetic process of making this piece reflects in the piece itself through its visible layers of media. The effect of having the
text being buried beneath the layers symbolises how the anger of living in a world that cultivates distortions of the truth, the voice
of criticism is are often stifled. The image portrays an angry outburst which is communicated to the viewer through the punk feel of
the spray paint and the graffiti-like feel to the board. The peel of the newspaper at the top is a detail which makes the piece seem
Urban. The youthful angst that this piece carries is an expression that is beyond shape or form and can only be depicted in a
portrayal of energy itself.
Finished Piece: Every touch that you sell is a lie
Media: Clay, dry and oil pastel, spray paint, oil paint and
lacquer, news paper and acrylic on board.
Dimensions:
Hana Yun-Stevens