Part 2. Project 6. Research. Domestic Interiors.

Richard Artschwager

‘Interior I’

http://www.tate.org.uk/art/artworks/artschwager-interior-i-p77154

‘Interior II’

http://www.tate.org.uk/art/artworks/artschwager-interior-ii-p77155

Both of these pieces capture my imagination – I love Interior I for it’s movement and energy – it feels lively, mysterious and moody – and it also appeals because it is an etching which obviously brings with it the opportunity to ink up intaglio leaving as much or as little plate tone as desired (something I enjoy working with).  Interior II appeals to my desire to connect with an idea, something more abstract within the subject.  I am interested in this being one of a series of drawings done of the same objects but presented in different ways.  It feels as though there is an intention to play with concept – it makes me want to feel my own responses to the images – and in that way I am an active participant with the artwork which is an idea I would like to pursue further. This is also an etching and drypoint – a method of drawing that I am interested in pursuing because of the experimental way one can approach each created image.

William Savage

http://www.williamsavage.co.uk/image/bothy

I love the fractured elements of this painting – reflections, the passage of time, connections with other realities.  I am displaced as I try to work out the images before me – and in pursuit of understanding I am drawn in and involved. I am transported into the scene as I mentally wander around the complex images and try to make sense of what I am seeing. The materials are simply described as mixed media so it is difficult to really get a sense with these images of the way they have been created – however, I really like the idea of layering within the image and will consider how to approach this using the mixed media approach.

David Hockney

‘Walking past 2 chairs’

http://www.tate.org.uk/art/artworks/hockney-walking-past-two-chairs-p20117

An interesting image as it is highly stylised.  The textures and colours add to the dance between the foreground and background – neither particularly stand out and yet everything really captures me in the same moment. Again, another print but this time a lithograph which is something I have yet to try.

Harold Gilman

http://www.tate.org.uk/art/artworks/gilman-study-for-leeds-market-t00143

Whilst this isn’t a domestic interior, it is an interior of sorts and one that is stunning.  I am really interested in how to translate the extraordinary feat of the way the ceiling is drawn into my own work – it is a reflection of the work of Gego, the ongoing dilemma I am facing of ‘line as object’.  I want to find a way to bring the energy of this kind of drawing into my own. Ink and graphite on paper – a way of drawing that requires discipline, commitment and a serious level of accuracy.  This prompts me to want to bring that kind of meticulous element into my work without losing the creativity and flow – something that is an ongoing struggle so far!

Patrick Heron

http://www.tate.org.uk/art/artworks/heron-harbour-window-with-two-figures-st-ives-july-1950-t03106

Ethereal, fluid, abstract and yet also recognisable – this image again shows me that I connect with art that I can be involved with.  My eyes want to take this all in, to discover the textures, colours, forms and feelings within this painting.  I find the play on the dimensions really interesting – it appears flat and to have depth at the same time. Oil paint and charcoal – an interesting combination of materials and one I wouldn’t have naturally thought of putting together.  It reminds me to experiment, to be unexpected and to challenge my own preconceptions of what works well.

Sabine Moritz

http://www.tate.org.uk/art/artworks/moritz-shower-with-table-t13945

Bleak, sparse, daunting – this work takes the interior onto another level – my primary response to this is an emotional one – I am forced into a feeling state as soon as I see this image and I am interested in the way that it is possible to transport the viewer in such a way. I am interested in the way that subject matter/colour/composition can be used intentionally in this way – it is something I haven’t considered before – to figure out a feeling response that I would like to evoke in anyone viewing my work and integrate that with my choices about how to approach the image.

Edwina Sandys and Pierre Bonnard

http://www.tate.org.uk/art/artworks/sandys-couples-p06529  http://www.tate.org.uk/art/artworks/bonnard-nude-in-the-bath-t12611

Two very different bathroom views, both with unusual perspective and composition.  Sandys image is very much reflective of its era, however, I am interested in the jaunty angles and the simplistic take on, for example, the book and cats.  It is another lithograph so I am interested in the way this kind of printing works as the layers of colour are really well put together and crisp.

The Bonnard image immediately draws me in because of the torso in the bath – I have to work out who it is – there is someone else in the bathroom too – why are they in there?  It raises questions for me and also makes me feel uneasy as the angle of the bath almost looks to be downhill. I also like the somewhat ethereal, slightly disintegrated quality of the background part of the room and the limited palette choice for the figure in the bath and bath.

Context

Artschwater, Hockney and Sandys all fall within a 10-12 year bracket during the post-modernist era.

Heron painted the above image at the same time as Jackson Pollock was working on his drip paintings, and after Matisse had started painting his bold, heavily patterned, partially abstract interiors.

Moritz’s piece is produced at the time that the Young Britsh Artists had just had their first exhibition at the Saatchi Gallery.

 

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