Sunday, October 10, 2010
Saturday, October 9, 2010
I wanted to use the new aesthetic I was developing from the weather experiments with figurative work. I found isolating a free-falling figure in a void created a interesting spacial ambiguity and gave a religious tone to the image; which I enjoy playing with especially due to religions involvement with the history of painting. I developed a method for distorting the image to try and achieve the visual effects of the weather data.
I began to experiment with mixing up data and photography to try and create hybrid landscapes. I created a drawing using photography from Wales, a print of St. Martin in the Fields Church and satellite imagery. The painting I'm working on uses an image of the Norfolk coast and a Roman figure from the British Museum together with various weather data.
Over the summer I have been developing my painting using an idea from my theory practice regarding Ruskin's views on expressing nature. Can a Ruskinian vision of nature be achieved through contemporary technologies ability to provide every form of data and visualisation on natures condition? I have been looking at satellite imagery and atmospheric scans to try and create new works inspired by this idea.
My painting practice references elements of the history of painting often in conjunction with subjects that may represent contemporary issues. An awareness of the current climate socially, culturally and politically is a concern as I begin to develop ideas for work. This painting from last year uses Raphael’s classical pyramid composition as inspiration for representing different visions of the hierarchy of the art institution; a pyramid of power and value traditionally assigned to religious figures is applied to this. Contemporary elements are intuitively conjoined with the traditional in the landscape and references from film are also added into the paintings to create a greater metaphorical depth.