Greetings everyone, here is an update from last week's studio accomplishment. This painting was displayed in my most recent critique which opened up a good conversation with the faculty. There were lots of questions which emerged from the statement presented prior to the critique. The pseudo-Arabic text used in most of my paintings are dematerialized of there basic function which is communicating. Thus, they function as purely form, on the contrary, these forms function as meditative literally and conceptually. This I realized in the critique presentation/feedback from my audience, how then do these forms function conceptually? This is as a result of the absence of meaning in the pseudo-Arabic text. Below is a peak at what was proposed in my statement;
In this body of work, my aim is to draw attention to the forms found in landscapes and spaces that create momentary pauses which are meditative. Our contemporary sublime is terrifying without the contemporary beholder been afraid of it, especially the technological sublime. Thus, we live in a society where information is assessed very fast, encouraging us to spend more time with our screens and less time is paid to objects in our own surroundings. With regards to the issue of contemporary sublime, these paintings function in between the physical and nonphysical, presentness and presence in relation to the viewer. In breaking this barrier, I persuade the viewers to slow down and contemplate glimmers of calm within the use of chaotic, fluid communication which are purely formal, intertextual and intercoporeal.
Often times, my paintings are inherent of perspectival lines situated within the context of my irregular shaped canvas. The aim of this is to suggest to the beholder what to think or see on a given picture plane. Its more like an In-between place, where these perspectival line becomes very formal or more landscape oriented. In that case, here are some of the artist I found this week and these works do not necessarily share similar aesthectics with my painting. On the contrary, there are certain intextual discursive network my paintings can relate to in these referential work of art. The images below are works of Francesca Woodman, she is an american photographer known for her black and white self portraits. The chosen photography appear unique in relation to my practice because the doors within the photography activates the entire picture plane. This basically happens when I introduce the vocabulary of perspectival lines in my paintings .
"I'm interested in the way people relate to space,... the best way is to depict there interactions to the boundaries of these spaces. Started doing this with ghost pictures, people fading into flat plane-becoming the wall under wallpaper or of an extension of the wall onto floor."
In the previous week, I decided to revisit painting of a rectangular bed which is coming along really good. I am at the point where I transfer images onto the rectangular bed, in the end, there is not way I can absolutely determine what this project would result in. But because I challenged my to be as free as possible, I can only be optimistic about it. Here is an image of a completed project and what the current project aims to be.
Have a great week.
Katharine Conley, Dartmouth College, A swimmer Between Two Worlds: Francesca Woodman's Maps of Interior Space, Journal of Surrealism and the Americas 2:2 (2008) P.g. 236, Accessed April 6, 2017
Greetings everyone, this week had more progression during studio work time. I had all my image transfer resolved on one of my painting, and this altered it a little. I really would not conclude if this is a good one or not. However, there is a lot happening in this painting inter textually. A work of art is inter textual when there is a network of ideas that relates to elements on a given picture plane. Also, I commenced a new project which will be displayed at a forthcoming critique. The new project is a grandeur painting of the sketches I posted three weeks ago here. So the aim here is to find my rhythm again because it has been away for awhile now.
Though there has been a low production of works this term, on the other hand, much thought has been situated in what problem I want my art to address. What makes my painting a work of art and not something that merely looks like art? The big question right! I know and if anyone reads this you would already know where I'm headed with this thought. My paintings are work of art because it relates to certain ideas in the contemporary art scene and it identifies problems of the contemporary sublime.
Usman Oladeinde, Acrylic, pencil, and gloss medium image transfer on canvas, 2017
The artist for this week is Sigmar Polke. Sigmar is Characterized by wit and endless inventiveness, Sigmar Polke created an oeuvre that is wildly diverse in its exploration of mediums and materials. Inspired by his fascination with science and alchemy, Polke innovated techniques in painting and photography by manipulating chemical processes. Life in post-war Germany led the artist to establish Capitalist Realism, an ironic exploration of consumerism using the imagery of popular culture and advertising. In my opinion, I really enjoy how Sigmar incorporates image transfer in his numerous mixed media projects.
Artsy, website: https//www.artsy.net/sigmarpolke
Hi there, I'm an MFA candidate at Georgia Southern University. I enjoy creating and when I'm not, cycling is the therapy. Have a good time reading.