georginaharrisart

Life Drawing to Painting ex.3+4

With these next experiments I wanted to try painting from drawings of new mediums and experiment more with painting more instinctually.Charcoal drawing from life, 20 mins.I picked this drawing because of the tonal detail I made and the notes of colour written on the body, making a pretty comprehensive drawing to paint from. By chance,…… Continue reading Life Drawing to Painting ex.3+4

From Life Drawing to Painting ex.1+2

These experiments are a technical investigation into painting from sketches made from life. I had never done it before so I wanted to see how I would lay the paint down, what colours I would use with the information I had, and what the final result would be. I used a thinned underpainting of Burnt…… Continue reading From Life Drawing to Painting ex.1+2

Artist: Denis Sarazhin

Contemporary artist, born in Ukraine, 1982. Initial thoughts about Sarazhin’s work. chiaroscuro – more recent work interlaced bodies portraits placed figures reminds me of people sleeping – the awkward angles their bodies are in It is hard to describe the way I interact with these paintings, because the mood Sarazhin has captured is not tangible;…… Continue reading Artist: Denis Sarazhin

Visual Mindmap

These are a collection of artists that I have been drawn to over the course of summer. Unintentionally, there are themes that can be seen in this collection of artists and artworks: Content of the paintings People and the positioning of bodies is a key theme. Tender interactions between people OR tender paintings of single…… Continue reading Visual Mindmap

A book I read: Art as Therapy by Alain de Botton and John Armstrong

I read this book over summer and it has really made an impact on the way I view the purpose of art in culture and society. The book is relevant to my practice because it made me think about the purpose of my work. This includes: how the context of my work is interpreted what…… Continue reading A book I read: Art as Therapy by Alain de Botton and John Armstrong

Final Painting of the Project

I walked around the woodland, absorbing the atmosphere and deciding where I wanted to paint. In the end I decided to paint in the same location that I did my last painting. The height and grandeur of the scene is perfect for the atmosphere I want to capture, and it works well having the same…… Continue reading Final Painting of the Project

Adding ink landscapes back into my work?

This A3 test in my sketchbook combines an ink painting of woodland, using the technique I developed last term, with the abstract paintings in acrylic layered on top. Normally I paint the acrylic en plein air, but for the purposes of this test I worked in my studio, from a photograph, because the important test…… Continue reading Adding ink landscapes back into my work?

Wire test for line work

I wanted to make a wire sculpture of the shapes I have been adding to my paintings to help me draw lines with angles that create the illusion of depth more effectively. It is hard to tell whether a viewer of my work would be able to ‘see’ the depth of the shapes I am…… Continue reading Wire test for line work

A1 Experiment

This the space I picked to paint in for the next experiment. Before I settled on this spot, I walked around the woods, looking around lots and thinking carefully about what sense of the space I wanted to capture in the work. I chose this area to paint in because in front of the easel…… Continue reading A1 Experiment

Experimenting

Two A2 pieces completed in the woods. I decided to take more time to do these. Instead of quickly applying paint and moving on, I set myself up in a location more permanently. It meant I could pause and consider more between layers, and could take more time to look and be in my surroundings.…… Continue reading Experimenting