Response to these 3 paintings before I said anything about the work:
Explain why didn’t those experiments go very well.
Responses after I finished the presentation:
- The paintings are good at giving the viewer introspection because your painting feels like your lost in them. But I think that’s a good thing, I like it.
- Have you look at more modern architectural buildings? Or combine modern and old architecture / spaces?
- Do you make your sculptures with an idea in mind of where you’re going to go and paint? Or is it completely random? In which my response that I am matching the sculpture to the woods and not the other way around.
- In response to my answer above: That’s interesting because seeing your work on instagram and in the studio I thought your sculptures were based on trees, looking up at the structure of the trees and the sky and the leaves overlapping.
- Do you think the colours enhance your structures however they sit in the painting?
- Good examples of how religious architecture and contemporary architecture are specifically structured so that light falls in a particular way. Things like Stone Henge was built so that light would fall in a particular direction on a particular day. Jen said she had been in a building that had the same dome (but less ornate) as the painting I included by Panini:
- And the hole in the ceiling was letting rain come through on the day she visited. There was something interesting about the idea of the outside coming in. And with your work and the idea of the inside and the outside I think there’s something interesting about the idea of a pierced building. Artist Gordon Matter Clark (sp?) would cut into buildings, so that the whole building became a sculptural object. Other religious architecture, a church in Bulgaria?, where a window was cut so that light would scan round a particular level throughout the day and spotlight really specific parts of the painting (?) on the wall. Tada Ando (sp?) architect, who slices through buildings as windows and the light will fall and pan across the floor. So there’s loads of architecture and light things that might be really interesting to look at.
- Thinking about this idea as I type this up: The question, where the line between a building/piece of architecture and a sculpture/sculptural object?
- Chris Agne (sp?) running painting workshops for the first year next week. He lives locally, successful artist! He has a process where he paints, and then etches into the painting, with really thin precise line drawings, it might be useful to look at that process.
- It’s interesting when you talk about phenomenology and why is it all contained within a structure. When I was looking at your paintings it seems like you have a frame and then inside it was this structure and inside that, that’s how I looked at it. You were saying you’re trying to put your experience onto it, so I was just wondering about that.
It’s really interesting to see what people thought of my work with and without context. I’m so glad that the feedback described feeling small infront of it, looking up, being lost in the painting. These are all things I want to achieve.
I think it’s interesting that one person didn’t realise the structure shapes were based on cathedrals. Perhaps this is something I could cover more in my social media? It’s great that she thought the sculptures were like trees and the woodland, since the connection between the religious architecture and the woodland architecture is what I was interested in conveying. The fact that the sculpture is interchangeable between woodland architecture and religious interior architecture is maybe a positive thing.
Georgina Harris 