Key Posts

Artist Statement 

My body of work signifies the emotional attachment to colour and the relationship between colour, emotion, and spirituality. Colours hold a lot of emotion and are used as an object to attach emotions too, They’re also deemed very spiritual as they’re used as an aura that represents the spiritual being emitted from your soul. I use a circle in my work to show the infinite, non ending entity of emotions, colour and the spiritual world.

Documentation 

Field

Contextualisation 

End of year Field

Both my field projects i found challenged me in a way i didn’t think about before. Figurative Modelling challenged me to use my hands in a way that i haven’t done so before and that also made me think about how i also use my hands within my own practice. Even though i don’t use clay i still found the whole experience interesting and tried to apply some of the gestures and hand movements to my work, This proved difficult though as I’m a painter and rarely, if never use clay/ceramics within my practice. Even so, i still found the experience enlightening and was eager to learn a new skill. My second field project of Art and the conscious mind pushed me and my mind beyond what i thought i was capable of doing, even though the material being taught was heavy and sometimes intense, I still managed to make an understanding of it as i found a general interest in what i was learning. I found i could connect what i was  learning in the lectures to my work and apply it to my paintings as i found that the paint become conscious and began to speak for itself, Thus capturing your emotions or even portraying its own? This allowed me to think more in-depth and more critically about my work. having learned about the conscious mind i keep finding myself thinking about it in daily life as well as in my own practice and has influenced me to think differently about how things work and also about the way things are perceived in different or certain situations, thinking this way within my practice allows me to be open minded about the outcome and also the process of which it happens. This years field i feel has helped me improve my technical thinking and broadened my skills to allow me to produce work to a better quality.

Key Posts

Artist Statement

My body of work signifies the emotional attachment to colour and then the immersive empowerment that the colour mixed with others can have over you. I attached my emotions to colours that i have used in my work therefore making my work personal to me, but to have someone else few my work id like to think that they would hold a complete different meaning to the paintings as the meanings that i hold to them. The larger the paintings i feel the more immersive and more of an impact the painting would have over the viewer, therefore holding more of an emotional attachment to them and being able to feel them more. I chose to it in a fluid like style as monets water garden in green was my starting point and i focused on the water of the painting so then started making fluid paintings with attaching emotions to the colours i used.

 

Context –

https://georgiafineart2.wordpress.com/2017/03/23/subject-katharina-grosse/

https://georgiafineart2.wordpress.com/2017/02/13/fluid-pinting-ideas-research/

https://georgiafineart2.wordpress.com/2017/02/13/art-and-the-conscious-mind-connecting-to-my-own-work/

https://georgiafineart2.wordpress.com/2017/03/22/london-henry-moore/

https://georgiafineart2.wordpress.com/2017/02/12/frank-stella/

Documentation –

https://georgiafineart2.wordpress.com/2016/11/05/my-response-to-the-artefactimage-subject/

https://georgiafineart2.wordpress.com/2017/02/13/fluid-painting-my-own-ideas/

https://georgiafineart2.wordpress.com/2017/03/22/fluid-painting-subject/

https://georgiafineart2.wordpress.com/2017/02/13/art-and-the-conscious-mind-connecting-to-my-own-work/

https://georgiafineart2.wordpress.com/2017/03/22/fluid-painting-subject-2/

 

 

 

Art and the Conscious mind/ connecting to my own work.

 

At the start of field and getting thrown in to something i was really unfamiliar with kind of threw me a bit and i found some of the lectures hard to understand as i thought there was a lot of information to take in, in a such short amount of time. The lectures that stood out for me were the self awareness, mindfulness and the unseen, I believe my work to be very conscious of itself, itself being the material which is paint, the paint is painting itself as its not trying to represent anything other than what it is, and its though my conciseness is coming through within the colours because of the link of emotion i connect to the colours, thus connecting part of my mind within the painting. I’m going to continue apply conciseness and my mind within paintings as i think it strengthens my work and allows me to explore it deeper.

Art and the conscious mind/ unseen 9th Feb

 

James Green

Unseen workshop

The workshop with James green I really enjoyed because of the way it was delivered, it was delivered in a way that I understood what was being said and had a genuine interest in what I was learning.

How can art be used to show unseen thing and communicate with unseen things?

I thought this question was really interesting as it made my mind think and was a good starting point to the lecture,

We were giving three key words

Entopic imagery

Hypnagogic Imagery

Animism imagery

 

Entopic Imagery

 

Part of you body to change your vision in some way.

 

We looked at Edward Munich, from the injured eye series 1930

edvard_munch_disturbed_vision_0

Munich had a blood clot in his one eye due to stress so when he painted he also painted the blood clot and in the injured eye series the blood clot looks like a crow forcing viewers to maybe think that that’s what he his actually seeing.

 

Hypnogogic Imagery

Is when you experience visual, tactile, auditory sensory events when your just going to sleep or waking up, so for example seeing a person at the foot of you bed, even though that person is not there it seems very really as though it is.

We looked at some cave paintings from Santa barbera and I found them really interesting because they depicted the vision you see when you close your eyes.

Interesting quote off lewis-wiliiams, 2002: 209-210

The subterranean passages and chambers were the ‘entrails’ of the nether world; entry into them was both physical and psychic entry into the underworld. Entry into a cave was, for upper Palaeolithic people, entry into part of the spirit word. The embellishing images blazed (possibly in a fairly literal sense) a path into the unknown.

 

I really liked that quote because I think it explains so much in very little words.

 

Animism

We looked at masks from tribal culture and most masks that were shown often or not depicted hypnagogic imagery within or on the masks.

We looked at Madge gill that was contacted by a spirit and then kept in contact with that said spirit through drawing.

gill17

We also looked at someone in a similar situation as Madge, and its Guo Fengyi

Who developed arthritis and started practicing Gi Gong and the claimed that her arthritis cleared and she started talking to spirits.

I really like the thought that people have been contacted by spirits and are able to draw and contact them.

UFOs

We then looked briefly at UFOs and looked at a book and an artist called Carl Jung

Robert Urwin, Edgerton.

We then ended the lecture part of the workshop by watching an erry clip from the film space 2001, watching the part where he his hurtling through space and there are lots of vivid colour and shapes, it made you think that might be what space looks like once you’re traveling through there fast enough.

We then made it onto the practical part of the workshop and had to draw out what dream that we remember, doing this activity was harder than I first thought because what I seeing in my head wasn’t what was coming out on paper, but I tried to depict what I was seeing best I can.

Art and the conscious mind/ Self-awarnesof the conscious mind 7th Feb

Rob Pepperall

Self-awareness of the conscious mind

I found this session with rob very difficult as I found I didn’t understand most of what was being said even though I didn’t understand what was being taught I still found it really interesting.

We looked at Lucas Cranach the elder Adam and eve 1526

cranach_adameva_1526_grt

Going back to biblical times where eve ate the forbidden fruit and then became self aware and forced Adam to also eat the forbidden fruit and so he become self-aware, they both then become aware of their nakedness so hid it with fig leaves.

I think this is the only part of the lecture that I really understood and found it really interesting to learn about the painting.

We started looking at locating the self-awareness mind?

 

We have a few self-awareness minds

 

Mind

Consciousness

Self-consciousness

Awareness

Self-awareness

Sentience

 

Meta-self-awareness.

 

We also looked at the mirror test and found that the older you are the more self aware you are.

Children from the age of 18 months are becoming self-aware and notice them selves in the mirror test; this test is also conducted on dogs, elephants, apes and dolphins.

 

We looked at the question such as can robots become self-aware?

What is the self that is aware of it?

 

I found these questions hard to comprehend and understand.

 

As the lecture went on I found it harder to take in the information as I found that there was a lot to take and the material was very heavy.

 

We don’t have access to other peoples mind and vice versa thus making our minds completely our own.

 

Were in an infinite loop of self-conscious as were constantly thinking and not thinking of our selves. But are we really aware of selves or are other people more aware of us then we actually are.

 

Painting becomes self aware, self-conscious.

 

We looked at some artists who tried to depict self-awareness such as Descartes optics: turning the eye in on itself

bartisch-1583-eyesbackinhead

Thinking about this concept interested me and also bewildered me too.

 

We looked at Braque, still life with violin 1909

violin-and-pitcher-1910-2

This isn’t a painting of a violin; it’s a painting of a painting of a violin. Showing the nail holding up the painting in the painting.

We looked at other artists such as Picasso. Joseph kosuth, Jeremy Holzer, Takahiko Iimura.

 

We then came across the question, what would a self-aware artwork look like?

 

Art and the conscious mind/ where is the conscious mind? 24th Jan

I really liked this session as I managed to understand some of the topics to a certain degree and found what we were discussing very interesting.

We talked about the conscious mind was and where we as individuals thought the mind was.

We got asked the question

Where is the mind?

  1. In the brain?
  2. In your body?
  3. Neither
  4. Not sure

I believe the mind is situated within the body and is not only set within the brain.

We got asked the question as well,

Where do you end?

  1. Where my brain
  2. Where my body ends
  3. Neither of the above
  4. Not sure

I believe myself to end in my aura, chakra and soul.

We looked at the painting done by Johannes Vermeer, women in blue reading a letter, 1662- 63 and then asked where do we think her conscious is?

vermeer_johannes_-_woman_reading_a_letter_-_ca-_1662-1663

I believe I see her conscious mind in her eyes, as her eyes are the things that are reading the letter and are taking the information in and the things that seeing it.

Internalism

 We looked at internalism, the idea that the mind is in the brain and that consciousness is going on all over the brain. Studies have shown so far that there is no known location of the consciousness on the brain leaving people to think that it exists all over the brain.

Looked at the quote from Helmholtz

“…There are no colours, smells, tastes, or even objects ‘out there’ in the world; these appearances are essentially subjective…”

I liked that quote because I thought it to be closest as to what I think and found it really interesting to think that you’re only seeing what you choose to see.

We looked at some quotes from Chris faith making up the mind book (2007)

Brain Decoding

We talked about brain decoding but I didn’t really understand it, it didn’t make sense to me and found myself questioning how I could understand what I was learning. We looked at how our brains decode images that are in front of us and then showed the imagery from our brains and the imagery we were seeing and the comparison is amazing.

Externalism

 

The idea that the mind is not in the brain. I liked learning about this topic because I for one believe that our minds are not situated within our brains and is poured out of our being, and is every thing around you.

We looked at a quote from O’regan and Noe

We watched a short clip and had to count how many times a team past the ball back and forth but half way through the clip a gorilla walked through and the background changed colour, because we were focusing on counting the passes we failed to notice what else went on with in the clip and that makes you realise just how much you might’ve missed.

“ A brain is not a brain without a mobile and manipulating body”

Internalism/externalism

Do you have to choose between them?

Boundaries

 

We looked at boundaries and are there really such things or do we just impose such things upon our selves.

Whilst looking at boundaries we looked ta what is a boundary and is a boundary between water and air, water or air?

There are two types of boundaries

Fiat boundary, which is a made up boundary

Bona fide boundary, which is a physical boundary.

Most people think that you paint with lines but in reality things and humans don’t hove boundaries or lines.

Where would you end?