Here is the introduction to my theory essay submitted as part of my MA last year. It helps to ask questions to trigger ideas of how your own practice can be explored through writing. In my MA I discovered writing was a useful method in generating ideas…
Making & Meaning
Deleuze and Guattari compare the generation of concepts to percepts – concepts are built using language (linguistics) to convey meaning, whereas percepts connect the seen to the felt, imagined, and non-lingual. Applying this to an artwork they say ‘the thing or the work of art – is a bloc of sensations, that is to say, a compound of percepts and affects… …the artist creates blocs of percepts and affects.’ Creating an effective translation of the thinking done when making offers linguistic challenges, and likewise complexities come about in explaining feelings generated when viewing artwork. How and why percepts are set up, how affects can be harnessed (using compositional considerations), and understanding the link between act and mind could be at the heart of a robust working practice. In theorising about the psychology of apprehending and making artwork, considerations arise as to ‘How, why, and what does the artwork do when viewed?’ and ‘How, why, and what does one do in making artwork?’
 Deleuze, Gilles, and Felix Guattari, What is Philosophy (London: Verso, 1994) p. 164
Recent experiments on different ‘grounds’ including found MDF offcuts which has been particularly good to work with for scratching and marking – following a visit to Tate Britain ‘Prints and Drawings Room’ to view two Antoni Tapies works.
At my recent group show these three were exhibited – the second of which was sold. The theme was landscape, but not representational. The feeling of being out in the wild enjoying the challenge of escape.
Composite #4-6, 2016, Acrylic on Cartridge Paper, 59cm x 26cm
Composite #1-6, 2016, Acrylic on Cartridge Paper, 59cm x 26cm
Composite #3-6, 2016, Acrylic on Cartridge Paper, 59cm x 26cm
Taking the idea of a place in a landscape and translating this feeling into a painting. Many layers and reworking until the right look develops to the point of being complete. Approximately A2 size and format, acrylic and carbon on paper.
Been recently experimenting with layering with washes of different shades, adding lines (with carbon), some with collage of off-cuts of old watercolour paper – deciding on how to move along with the development of the work.
Somewhere Out There | Acrylic & Carbon on Paper | 45cm x 45cm
Untitled No. 1 | Acrylic & Carbon on Paper | 40cm x 57cm
Untitled No. 2 | Acrylic & Carbon on Paper with Collage | 40cm x 57cm
Untitled No. 3 | Acrylic & Carbon on Paper with Collage | 40cm x 57cm
The second of two experiments, layer upon layer over a collage of work (an old Matisse calendar!). The challenge was finding the image within the layers and developing and uncovering the motif as the process went on.