The comments

http://firetruckwentbang.blogspot.com/2011/05/wave.html#comments

http://iloveaep.blogspot.com/2011/09/aep-coursework-2011-dream.html#comments

http://esoile.blogspot.com/2011/08/progress.html#comments

http://crinklejacks-bigartproject.blogspot.com/2011/09/little-bit-of-prep-2.html?showComment=1317117664309#c3559700952272835485

http://cherfolio.blogspot.com/2011/07/colour-pencil.html#comments

http://thecloudsinthesquare.blogspot.com/2011/09/its-very-handy.html?showComment=1317118525300#c1926674325963430259

http://esoile.blogspot.com/2011/09/inspirations-from-sky.html?showComment=1317119091049#c5525321199117111399

http://crinklejacks-bigartproject.blogspot.com/2011/09/right-round-corner.html?showComment=1317119693647#c6232666416936502538

Inspiration: Rene Magritte

Magritte can be said to be my favorite surrealism artist of all time. I admire how he manages to create surrealism with such subtleness, yet not compromising the level of surrealism of the painting. 

Many a times in his works, it is the mere idea and concept behind that works that is exceptional, thought provoking such that it shocks, amazes, fascinates the viewers both at first sight and upon close looking upon. I like how he creates surrealism, not fantasy. In my opinion, surrealism and fantasy are very different ideas. Fantasy can be something out of this world, but it has much less depth and meaning in comparison to surrealism. Although surrealism is commonly explained as an artist engaging with their subconscious and creating works of art. In my opinion, it is far more than that. 

One of my favorites. Unpredicted correlation

 So unexpected yet so shocking. Feels surrealistic and peaceful at the same.

Mysterious although it seems peaceful on the outside, Quietly engaging

I think that these works have gone beyond visual tricks. Visual tricks is something easily achieved nowadays, through photoshop and other mediums. Essentially, the the idea behind the work and the way in which the artist painting style blends in perfectly well with the idea.

I would say that magritte is one of the first surrealism artist i came across which truly inspired me to try creating surrealism. Although i did not indicate explicitly that magritte was a source of inspiration of my coursework, it always existed. Sometimes, we are inspired by things even without us knowing it. 

Initial thoughts on Andy Goldsworthy

Seeing the unpredictability of working with nature with which the artist is seemingly comfortable is is fascinating to me. When i am doing art myself, I has always a serious fear of unpredictability, always making sure that i had the final product in mind. I am truly inspired to be more open to chances and possibilities, allowing art to take its desired form while working with the medium.

I once felt that Han Sai Por work was really close to nature and integrated into nature. However, after seeing how this artist worked with his medium (nature) with such intimacy, I suddenly felt that Han Sai Por's work was much more planned, perfected, or somewhat artificial in comparison. It is hard to say which artist is better at creating works nature related as they simply took on a different approach and view working with nature in different perspective. While Andy use the most organic elements in nature (twigs, stones) and manipulated them mostly with his hands and little or no tools, Han Sai Por used various tools to hammer, chisel and smooth various materials to create her work. 

In my opinion, i prefer Andy's work as it felt that it truly reflected what nature truly was like: Wild, unpredictable, perfection within imperfections. As for Han Sai Por, her works resembles different aspects of nature, and her forms were generally well-rendered, planed, precise. However, it was made her work somelike unlike nature, or rather, too perfected to be nature.

I then went on to think hard regarding whether which kind of art can be truly considered as art? Which kind of art do soce I feel that society needs both kinds of artist, or rather both kinds of art. We need something like Han Sai Por work : structured, perfected, lasting, durable and suitable for display as it was something people can look at day by day as they work, live in their environment. At the same time, it is refreshing and much needed for works like that of Andy to truly open our eyes to nature, it potential, it control over us, rather than us over it, as what we usually believe. It is also a reminder for us to always be open to changes, failures, possibilities and to be accepting and less afraid of it. If possible, even to take it as a chance to learn about ourselves, or through art and nature. 

Another idea that came upon me was to wonder which was the real artist - Nature or us? Upon watching Andy's videos, i dawned upon me the almost inexistant  control we actually have over nature. Similarly, medium, paint, materials and more. We may think that we can control them. However, when you see how nature can be in control of andy's works that are closely integrated into nature : Tides submerging the work, the wind blowing the work apart, this idea breaks instantaneously breaks apart.  

Yet, from a different point of view, nature is the best artist, the one in absolute control. This is shown from the how the sunset illuminates the icicles, making it look profoundly magical and enlightening. 

It is interesting how the artist dealt with colour from sources in nature such as red pigment from rocks, saying how there is a scariness and voilence in the colour red. As he approaches the source, he learns more about colour later reflecting that there is much to be learnt from the colour.

Seeing his work establishes a stark contrast in the type of environments different artist works in. While working in school premises is seemingly Protected, Safe, working in natural environments such as a beach, is breathlessly uncertain yet energetic at the same time. 

His works well reflects how nature is quietly engaging. It also shows the exclusiveness of nature as the artist said something about "land not needing him as he needs it" as he aims to bridge the gap and distance between human and nature. The artist also said that he loves land or rather, needs the land. He sees the coldness in the relationship between people and nature. As he venture into new lands, he feels like a stranger, out of touch with unwelcoming nature.

It is particularly inspiring that the Artist works barehand as he feels that he does not have the sensitivity when working with gloves. Thus, despite the extreme cold, he used to hand, teeth, to work with elements of nature. He also puts in effort to his art effortless - eg: as the sun comes out, it illuminates the icicles.

He enjoys going into the woods to make a piece of work. He seeks to achieve balance in his work, especially when his works collapse time over time as a result the forces of nature. I believe feelings of sadness, amazement is inevitable in his process of creating art: watching his work falls apart under the force of nature, also watching his work being illuminated by nature. He eventually achieved a mastery of balance. Even so, as the sea comes in, his work disappears and he feels that the contact is still strong although he can no longer see his work

His work is recorded through video and photography as his works are short lived and temporal. Access a work through photography is necessary in his case and i feel that it may even be better than first hand experience with the work. This is because photography allows the viewer to view the work in the eyes of the artist himself which will best represent what his work is about. Also, due to the nature of his works, first hand experience is near impossible and even if the viewer could travel the place to view his work, it could have already be altered by the forces of nature.

A question was raised in class about the prevalence of prep work in his art. I feel that the artist did do prep. In his case, prep is about understanding his surroundings as well as carry out trials with his material, redoing once and again after each failure.

The artist also said that "though control is the death of an artwork" meaning that it is important to not fix and idea of the end product and the importance of having the product shaped through experience. This is very significant to me as i am many a times guilty in commiting this mistake in the process of doing art.

I feel that Andy is a creative, inventive artist that is able to make great decisions even with the most unconventional material. He is also very sensitive towards his surroundings, being able to see the "potential" to create art even in the most deserted, remote or seemingly uninteresting environments.

Painting Style For Coursework

I was thinking hard about the style in which i would like to execute my painting. And, I decided to first return to my purpose: What would i want COLOUR to do for my painting?

Upon thinking, i felt that i wanted colour to enhance the black and white, to bring focus to the important parts of various scenes that truly convey the essence of the scene and to mesmerize the viewer in a world of surrealism, efficient and finely executed pen strokes, with a touch of colour about. 

But yet, i do not want colour to overwhelm the painting for i would like to keep the emphasize on the pen strokes. With too much colour, i am afraid that the pen work will dull down and viewers might get too distracted by the colours to truly see beyond the scenes depicted in the painting, thinking that these scenes only exist for visual appeal.

Therefore, i have decided to do a wash, a light wash of watercolour, over certain parts, just to enhance the painting. I will try to be selective and not paint all the parts of the painting. Hopefully, this will do the job.

Inspirations for Coursework Final

1: Chinese Scroll Paintings

Inspired by Chinese scroll, i was fascinated by the idea of the Chinese scroll painting opening up before the viewer, allowing the viewers' eyes to travel through the landscape to pick up the unexpected and surrealistic details. 

 

I will probably combine my five painting linked into one, with there being some sort of connection between landscapes. The size of the paintings will be small so that the viewers can view the landscape at eye level and is able to take in the painting fully, as a whole.

There will be Inclusion of a character engaged in different activities throughout the landscapes. This adds interest to this painting, almost like a story-book. And it also brings across the idea of these landscapes being perceived through my character’s eyes.

Originally, i wanted to do the final as oil on canvas, yet now i have decided to keep the pen works and opt for watercolour and pen as a medium instead as this is more practical for the small scale which i am going for. Also, i feel that the pens works and slightly stylized forms helps to add sparks to the landscapes.  

 2: 

Inspiration: London and Paris trip

The AEP London and Paris was a great source of inspiration for the subject matter of my coursework.

The travel really opened up my eyes to the wonders of the world. More significantly, beyond the land marks and magical, charismatic scenes that were attractive and endearing, it opened my eye to the possibilities of art in our everyday surroundings.

The architecture, the greenery, the people, the food. Everything had potential, and possibilities.

The peoples' great appreciation of art, acceptance towards various forms of art and astonishing enthusiasm towards art motivated me. 

In my opinion, London and Paris were cities that spoke art to me, it embodies art.

After the trip, returning to Singapore, i pondered on the prevalence of art in our country.  In the hustle and bustle of London and Paris, people seem to be appreciative of art. However, within Singapore, there seems to be no signs of such. I think it is important, no matter what sort of life we lead, busy or quiet, we need to enjoy art and feel art in our surroundings. Therefore, an idea came across me to do something related to appreciating art in our everyday lives by learning to see the possibilities to create art in our surroundings. Art is highly prevalent in some societies, less so in some.

TK Sabapathy Talk

Main themes and Topics / Some opinions brought up:

Artist

Little is known about the Artist : 

Indeed, we lack knowledge of the artist many a times and what we know of the artist is just insufficient for deeper interpretation of the work to make connections between Art and Artist.

Is it important to understand the Intention of the Artist?: 

There is always a dilemma whether we should "get inside" the Artist or the Art work first.

Does the best quality opinion comes from the Artist?:

I think that this is not absolute. It is possible to argue against the artist after learning about the Artist’s intent with your own substantiated opinion.

Is the intention of the Artist acting as a restriction/constrain for the individual?:

Through the history of Art, the ambition to make sense does not stop.

Is the intention of the person looking at it equally important?:

There is certain school of thought that discards the Artist entirely in the interpretation of the meaning of the work. The focus is “Me and the work, the work and me” Is this where it all begins and ends?:

Choices an artist makes in making the piece of work may not be just to satisfy immediate need?

Choices here means the choices of resources, determined by predecessors.

Choices made also falls into the domain of intention

When asked what are the joys he experiences as an art historian, he said that his joy is in the act of writing due to his deep fascination with language. To him, language reveals, conceals, operates, impedes, facilitates, postpone things, just like an agency that keeps you in a writing room.

Audience

The artist is primarily the first audience of the work, though we seldom realize that. For example, when Picasso pins up his work and view it from afar, he is presuming the role of an audience.

It is not easy for viewers to be able to discover, come by the physiological disposition, inner emotion. Therefore, how do we relate to the work?:

Is the work the direct cause of what has been disclosed to us? In other words is the saying “The work is the Artist, the Artist is the work” true?:

Why are we as audience so obsessed with meaning?:

When there is a contradiction between the artist’s interpretation and yours, will the artist’s interpretation can change the work for you?:

When somebody interpret an artwork, the person has already internalized her views beforehand based on prior learning and experiences.

Art is firstly about making the visual connection.

Context

Dates are not just numbers on the calendar, they radiate all kinds of other creations.

Nanyang Style

Dates: visit to Bali (1952) Exhibition (1953)

What prompted the visit? What was it from the visit that inspired artists to later create the nanyang style?

How to stitch all these together to make a interesting composition?

A context do not preexist, it is constructive and it brings together data to form a sensible report/account to your own interest/writing.

Interpretation of Art 

one interpretation is the beginning of another

Is there such a thing as over-interpretation? Is there a limit to which you can push things? Interpret too much, too little?:

Does the significance of a work is through the act of interpretation, where to work takes on a public profile, presence, prominence? In other words, until a piece of work is talked about in the public arena, its significance is not yet set?:

 

 Language for interpretation

Can language capture what the Artist is thinking?:

How did the interpretations come about?:

I think some interpretation is begins as thoughts, something internal, but this later takes the form of conversation and writings.

If one is free to interpret, why would one’s own opinion be of interest to someone else? Or rather, how could that be made of interest to someone else?:

When it is fresh, taken from a new perspective that opens the viewer’s eyes

Art made Commercialized, can Art remain purely art? 

For Art, we need to understand that there are many powerful forces at work. Art could be used for propaganda, or produced for propaganda, which is what happens many a times in history.

Censorship Controversies

When subject matter cross certain kinds of boundaries/convention, should it be censored?:

Who decides what to censor?
 

Entry of political regime into art

Is SAM doing well as a guardian? Has it lost its way in what it set out to do?:

This is perhaps due to the lack of art education; this will help to provide directors, curators, writers, publicist, and makers of promotional videos.Art education is Singapore does not allow mid-way house, as is considered unproductive for many.Lack of training for curators as civil service does not recognize Museum workers as professionals.

Does Branding, Marketing and Commercialization brings the collapse of ethics and morality in the world? This depends on how morality is directed into the creative world?:

Globalization

Cultures around the world may have different cultures and rules.

We need to recognize that all artists like human beings are social beings. As social beings, we are aware of the social environment we live in and produce what we produce.

Artists should live out to the maximum of responsibility to self and to the social media. The assertion of individuality cannot be completely suppress by responsibility and it responsibility may not be obligation that suppress individuality.

Ethics and Art

 

Is the immorality in Art? Can it be conceptualized?:

However, we need to bear in mind that aesthetic and commercial are always connected.

However, I would choose to believe that no artist starts with the aim of being irresponsible as artists would then self destruct.

Responsibility present in Norms, Conventions (Outward Bounce Markers)

Closer to body, greater sense of awareness of what is going on.

Further prompting Questions:

Do we expect too much out of art?

Have we considered what do pictures want?

Do works of Art has an innate life beyond what we interpret them as?

Lucia Hartini Assignment

1a) Describe the use of space, colour and brushwork.

This painting depicts an authoritative, challenging, strong, daring and powerful character of Srikandi, a daring female knight character of the Javanese shadow theatre. The figure clenches her fists with muscled hands, her head up with wide-open staring eyes, constituting a strong challenging gesture against the spying eyes before her.

 In terms of the use of space, almost three quarter of the space is dominated by the woman figure right at the front of the painting. There is also a rather distinct diagonal line from the centre of the left vertical axis to the top right hand corner that separates the sky, clouds and sun from the concrete brick maze-like walls in the right. Right behind the figure is a zig-zag maze like brick-wall that continues all the way to the back of the painting, until it is cut off at the end of the canvas.

As for the use of colour, it can be observed that the colours used are rather intense and rich, adding a surrealistic feel to the painting. The female figure’s velvety dress is a dark rich blue, whereas her skin tone is one of olive-brown with some highlights of white and yellow to define her feature under the light. Also, the fact that the female hair is black indicates that she is most probably an Asian. Furthermore the brick walls that appear to be cracking is an intense crimson red of different shades in different areas: red where shadows are reflected are tinged with some black while red where light is shone upon is lighter and brighter, with a tinge of yellow. In the background, the white fluffy clouds lie above and within dark blue skies, while the sun is white tinged with some blue in certain area and the clouds at a higher altitude appears in orange, yellow and white. As for the sight reflected from the figure eyes, the sky and clouds is similar to the background in shades of blue, white and orange while the numerous eyes has black pupils and orange-yellow eyelids. In this work, complementary colours are used (Indigo and Orange) (Red and Blue). When the colours clash and make each other look brighter and cause discomfort when placed together, creating tension in the painting.

Regarding the brushworks used in this painting, brushworks are almost invisible and paint is probably applied to the canvas in extremely fine lines. Lucia Hartini's works have been marked by her ability to transform terror into marvels of yearning or awesome visions, epitomized by a spiraling vortex and meticulously painted waves or skies built up with layers of small and carefully modulated brush strokes.

1b)

This work has many influences behind it.

Firstly, the artwork is influenced by the artist own experience of gender discrimination in the social conditions in Indonesia, where she lives in, where the traditional cultural expectations is that women should obediently and patiently placed themselves as  victims of sexism, and act as an obedient subject to male admonition. Therefore, being a Indonesian female living in such a society, she is a victim of sexism as well. Besides, she is also a victim of domestic violence. Therefore, as time passes, her fears from the suffering she endured her paintings reveal a self that gradually emerged from invisibility into visibility, from fear into grieving and then into determination and confidence, from powerlessness to a recognition of her own fighting powers. Through this art piece, she then explored her empowered moments. Therefore, with her new beliefs that women should represent themselves as autonomous subjects having potential which is different but no less capable than man in this shared world or in simple terms, gender equality, she wishes to express her thoughts as well as advocate as a modern Indonesian/global woman fighting for her right to define her own place in the world through this painting that depicts the confidence and great capabilities within a female figure that dominates the centre of the painting.

Secondly, the choice of the female subject in the painting to be Srikandi as a depiction of a confident woman like the artist herself could be due to the artist’s cultural background. Being a Indonesian, the artist has have known of Srikandi, is a favourite character from the Hindu epic, the Mahabharata, well known throughout Indonesia and taken a liking for this authoritative, challenging, strong and powerful daring female knight and is highly inspired to be like her thus depicting herself as Srikandi. The story behind the character is that Srikandi was determined to become the wife of the Pandwa prince, Arjuna, despite the fact that she was already married to Dewi Sumbadra. Srikandi vowed to stand by Arjuna in battle, impressing him with her loyalty and courage. This she did in the Bratayuda War, slaying his enemies; later she was murdered by poison. Therefore, Srikandi is the archetypical “Warrior Woman” of South-East Asian legend. In this case Lucia painted herself as Srikandi showing how stridently she repels the critical and doubting eyes of society which had formerly rendered many of its women prisoners of tradition.

Thirdly, it can be observed that this work is influenced by the Surrealism movement of the western art world and resembles the style of surrealism artist Salvador Dali.

Surrealism is an art movement concerned with the projection of the subconscious mind and dreams and the subjects matter is often related to dreams and fantasy. Similarly, this painting’s subject matter belongs to the world of fantasy as the female subject having such as vision of the sky and eyes is abnormal. More specifically, this artwork would belong to Super Surrealism , which as a kind of surrealism was based on the irrational combination of unrelated objects and contrasting forms derived from the depths of imagination or the dream world. It was a fusing of the dream world with reality to bewilder the viewer. This is greatly reflected in the work from the great contrast of the soft drapery around the figure and the rough, textured cracking walls as well as the contrast of the fragility and feminity easily associated with a female figure with the strong and firm stance she bears. Despite the figure being realistic, it is mixed up with unreality when the figure possesses an x-ray vision that views the skies and numerous eyes. Furthermore, like in super surrealism, the forms in this painting were treated with realistic, highly academic accuracy using traditional painting techniques, with the figure looking really realistic perfected in almost invisible brushstrokes. Her painstaking attention to the details of painting further suggests an almost obsessive preoccupation with personal reality, at the same time articulating spiritual forces that place her in direct contact with the surrealistic world. Lastly, similar to paintings by Salvador Dali, this work is one depicting a rather hallucinatory and mysterious scene where the numerous eyes seem to be spying and gazing in a haunting way and the background of the clouds and skies being so intensified in colour that it adds a touch of unreality and mysteriousness.  Therefore, with her fusing of past and present, conscious and unconscious in a single blinding moment of clarity, her work seem to be driven by the new spiritual dynamic that has taken her out of the corners of anxiety and depression, which is most probably highly influenced by Surrealism.

A valid interpretation of an artwork is dependent on an understanding of the artist’s intent and the context in which it was created?

Take a position for or against the given topic and support your stand with valid arguments and examples of artist/artworks

 I disagree that a valid interpretation of an artwork is dependent on an understanding of the artist's intent and the context within which it is created. Art, unlike many other academic subjects such as math and science, has no boundaries and no definite answer to it. Similarly, a boundary within which an interpretation of an artwork is considered valid should not be established, or rather it is non-existent.

Firstly, I do acknowledge that Artists definitely does have intent when creating a work, and there is a context within which she created it, upon which the artist would base her interpretation. It would be fair to say that this interpretation is the original intention, but it may not be the only interpretation that is valid.

In my opinion, so long as the viewer is able to substantiate her own interpretation of the artwork with reasons on her own, her interpretation is valid. Despite so, some viewers are not able to point out the reasons behind their interpretation, as their interpretation is solely based on initial reactions and instinctive feelings towards that work. In such cases, although others may not understand her interpretation, it does not deem this interpretation invalid, but rather, it can be considered personal one that only applies to her.

Art is something personal, and it can serve very different purposes for people with different values, aesthetic needs and people living in different context (environment and  time period). When a piece of art is put before the public, it would naturally be interpreted in various ways, and these interpretations may not be based on the artist’s intent and context which viewers initially know not of. Though their interpretation may not be in line with that of the artist, it is not invalid or unacceptable. We should understand that art is flexible and can be perceived from various perspectives, and all these perspectives can be valid.

Taking Jackson Pollock's "Number 1 (Lavender Mist)" for example. To the artist, the painting is created to capture the artist's pure virtuosity of paint handling and to allow to viewer to trace the rhythmic movements in the long arcs, staccato dribbles, or coagulated pools of color that accrue into a rich, shimmering interlace. With this intent, the artist original interpretation of this work would be that this is a total symphonic composition and this speaks of the struggle against alienation, fragmentation and disintegration that displays order out of chaos. However, when this piece of work is placed before the public that may be oblivious to the artist's intent, it is open to various interpretations. Unaware of Pollock's drip technique (action painting), people may interpret this painting as a suggestion of astronomical photographs of nebulae and galaxies. To others, the close up details of this painting may resemble microscopic photos of molecular structures. On one hand one could interpret it is an nuclear explosion (signified by the "explosion" of paint), on the other hand, some may say it is a painting that serves to brings peace to the mind with the soft hues of white, grey and light-lavender that brings a soft tonal effect. As seen, interpretations can be extremely diverse and independent of an understanding the artist’s intent and the context within which it was created. Yet, they are perfectly acceptable, reasonable and valid.

  

In conclusion, Art is about an individual making her own connections with the art. It need not be based on the original ideals of the Artist. As long as the individual feels the unique connection with a piece of art, and wants to interpret it her own way, I would say that she is free to do so and her interpretation should not be judged.

Inspiration: M.C. Escher

Maurits Cornelis Escher (1898-1972) is one of the world's most famous graphic artists.
He played with architecture, perspective and impossible spaces. His art continues to amaze and wonder millions of people all over the world. In his work we recognize his keen observation of the world around us and the expressions of his own fantasies. M.C. Escher shows us that reality is wondrous, comprehensible and fascinating. 

Balcony 1945 Lithograph

 Waterfall 1961 Lithograph

Sitll Life and Street 1937 woodcut

Print Gallery 1956 Lithograph



















The sense of perspective in these paintings are strong and they do make the painting look ingeniously surreal. Also, there are some paintings, like "Waterfall" where you have to take a closer look to realize the paradox in the painting.  When the artist combine two contrasting yet similar objects together, they really bewilder the viewer and makes the viewer wonder whether what he is seeing is the right thing. For example, the unique combination of a table top and the streets in "Still life and Street". I also fascinated by the "pop-out" effect shown in the painting "balcony", it illustrates how we can bring elements in a painting into focus with a simple effect. Without the effect, it is impossible that anyone would be noticing the balcony amongst the many housing units. I interpret this as a "pun" on the subject, since the balcony is an extended of part the unit in reality, and the artist further emphasizes it by making it pop-out.

While I truly fascinated by these works, but I feel that they are really difficult to create, for I would not have thought of such great ideas to make a painting surreal. However, these works do expand my perspective of surrealistic art and probe me into thinking of ways in which an ordinary landscape or subject can be transformed into a magnificent surreal piece.

Inspiration - Ben Heine

Thanks to Xindi for introducing me to this artist/photographer. Upon viewing his works, it really gave me a better idea on how to go about creating surrealistic art pieces, which would be an aspect of my coursework that I have long been wondering how to fulfill.

Scenic landmarks like the Eiffel tower on the left is made surrealistic simply by adding a hand that seems to be lift the Eiffel tower.

 Some kind of contrast and irony exist in this photograph, with the impossible and ridiculous sight of a rhino serous in front of a concrete building. The serious feel that the architecture exudes is largely contrasted by the cartoonist feel from the rhino serous. Also, the "glowing effect" around the building makes the photograph surrealistic. 

 I am perhaps doing a street scene for one of my coursework paintings.
 Dramatic skies can also make a painting surreal.

 This photo is surreal because of the oversize tea cup placed on the streets. I find this method of creating a surreal feel rather familiar. It reminds me of the painting below, done by Rene Magritte, and a photo taken by Rachel when we were in London last May.

Personal Values
Rene Magritte

Photograph taken by Rachel.

The dark ominous sky and dark waters add a mysterious and surrealistic feel to the photo.

Colours, Clouds and the rays of light makes the painting magical and surrealistic.

My Coursework Plan

AEP Coursework

Theme: Travel and Living 

Observation: Nowadays, city dwellers tend to lead a really hectic lifestyle as they rush through their days with work, work and more work. Therefore, it is really seldom that people remember to slow down their pace of lifestyle to pay more attention to the happenings in their surroundings. Naturally, being so caught up in their work, they would not notice the beauty in their surroundings as well. 

Purpose:  Therefore, I wish to create a series of 4 paintings depicting local scenes and scenes from other countries (eg: Europe), with 2 of each type of scenes.

The local scenes are what we view everyday, yet out fast pace of life results in us neglecting to take notice of the beauty present and hidden in them since we often get tired and bored of them.

As for the scenes from other countries, they are places which I personally see great beauty in. I feel that these are the places busy city dwellers should take time off to visit and immerse themselves in; for this would definitely bring them calmness and relaxation as they clear off their cluttered minds to leave some corners for creative energy in their lives. Hereby, my intention is to encourage viewers to be enthusiastic to travel to discover more beauty in other cultures from overseas.

In general, I hope that after viewers learn to “see” the hidden beauty in their everyday surroundings as well as be eager to discover more by travelling, they will realize that life is anything but ordinary. 

Execution: I would like the paintings to be small-medium in size due to the fact that I wish to execute a series of oil paintings instead of just a single work. Also, in these paintings depicting scenes and landscapes, I wish to add in numerous little details and tiny events, so as to bring “live” to the painting as well as make viewers be willing to come close up to examine the paintings in order to see that little events in the painting. The details and events will mostly be unexpected, whimsical and surrealistic ones, so as to add a twist and vibe to the painting instead off just painting standard scenes.  Also, as the audience come closer to view the paintings and realize that there are so much more little sparks of excitement in the paintings than they could not notice afar, they will hopefully, understand how life is similar to these paintings in that sense that you have to slow down and take in the beauty in your surroundings in order to find true meaning in it.

These works will basically be a reflection of mine perception of life. And perhaps, this would be an inspiration for viewers to put down their work and begin their journey of discovering the unique essence of their very own life that is yet to be discovered. 

Medium: Canvas, Oil Paint

Inspiration: THE SKY

P. A. Nisbet

Elysian Fields
Painting - Oil on Canvas 
28 x 24 inches

I would love to have this painting. Upon viewing the layers of clouds above the vast blue sky, I am inspired by the endless possibilities that life presents to us, just like these “endless” array of clouds.

Clouds, such a simple subject. Yet, the artist is able to depict it in such as magical manner. It is amazing, almost incredible. In my opinion, the work is an extraordinary combination of technical prowess and sensitivity to the forces of nature. It is also infused with a reverence for those transcendent moments in which nature asserts it power over man.

Nicole Hyde
Nightfall
Painting - Oil on Canvas 
30 x 30 inches


I love dramatic skies. This painting will stand out against the others due to several reasons. Reasons being, the composition of sky and earth is simple yet alluring. Furthermore, the colour of the sky is ultramarine green, which is unusual and interesting at the same time, brining a surrealistic feel to the painting. The ray of light penetrating through the clouds also brings focus to the sky while the small lighted houses on the ground symbolises life under the vast green sky.

 The artist has definitely explored beyond physical spaces into ones’ inner life. Bridging abstraction and representation, the landscape is a metaphorical musing of a place she wishes to be at. Lastly, the poeticism and drama of skies and clouds combined with the spaciousness of land gives that painting a clearly defined “character”.

Link to Coursework:As I am planning to depict dramatic skies as background in some of the paintings in my coursework, these paintings would serve as good inspiration and guides for me.

Inspiration and Writings: Babara Flowers' Oil Paintings

Introduction on writer 

Barbara Flowers creates art that conveys the same sense of beauty to the viewer that inspired the artist. Flowers' art may include energetic brushwork, palette knife work, soft passages of blended paint or a heavy build-up of paint. She strives for just enough variety without too much unity so as to capture the viewer’s attention.

 

Hydrangeas and Pommegranates

oil, 40x40

This work resembles that of an impressionist. I really admire the "soft" quality in the painting, making the painting a true comfort to the sight. Sometimes, painting simply things is life is truly the most beautiful aspect painters can take. Brushworks are painterly and the colour scheme used is generally subdued as seen from the  white flower, white ceramic vase and the light brown background. However, some brighter colours are such as red for the pomegranates are used as well, serving as a contrast to the light hues elsewhere. I also like how there seem to be rain painted in the background, complementing the simple composition. 

After the Rain

Painting - Oil on Canvas 12 x 12 inches

Another painting that I really like.  I personally thinks that scenes after the rain are one of the most worth capturing as it really has a unique essence to it. Placed against a European setting, the artist uses direction brushworks to depict the people on the street, the muddy water puddles , and even the building. I really like the atmosphere that the artist manage to capture in the painting, as it is truly the "feeling " people get after an evening rain, with the sky being slightly darkened from the rain before as sunlight streams in gradually, the road flooded, the lightings from windows and streetlights lit up, bringing warmth to the scene. It is easy to depict everyday scenes, but challenging to be able to capture the true essence of the scene, which I feel that the writer has really achieved through good control of brushworks and appropriate colour choices. 

Towards Notre Dame, Paris Painting - Oil on Linen   16 x 8 inches Inspiration for coursework This painting brings back lovely memories of our AEP trip to Paris last year. I miss walking through the streets of  Paris on those chilly days. The snap shot composition makes the painting seem really "real", with not artifice of any sort. Also, I like how the painting appear long and narrow, bringing more focus to the beautiful architecture in the surroundings and also gives the audience a better understanding of how it feels like to walk on the street besides those old buildings that are themselves a majestic piece of art. As I will being painting surrealistic landscape scenes for my coursework, such paintings would serve as a good source of reference for me to consider different compositions and subjects for various scenes.