During a group discussion with Judith and some fellow peers, there where some outlining points to the project brief that I need to keep in mind for the shaping of my project:
' engage with the professional art world, through a number of platforms'
I have been thinking about this statement a lot within my research and practice. (and how it will shape the work I am currently making). For this unit I am exploring the Norwich Castle Museum, specifically paintings. I am still very concerned with the hidden and uncovering things which has lead me to the investigation of underpinnings.
But why am I so interested in paintings ?(housed specifically in a museum)
I have always been inspired by history, specifically a history of a time which I have never experienced only read about. I find that the work I make is about learning and rediscovering, and most importantly re interpreting the way the subject matter can be viewed. I am drawn towards traditional making process in a contemporary world, to learn and admire the complexity of skill, something that takes a long time to make (slow time).
I investigate these matters by looking at history locally.For instance I look upon paintings in the Norwich Castle Museum, something I have greatly admired throughout previous research, I then find out that there are layers and layers of under paintings and drawings concealed on one canvas (I want to almost make something entirely new with this).
Through this research and new technologies I am able to select my subject, crop, manipulate and transform into drawings, or etchings.
Something that Judith brought up recently in a tutorial is the subject matter of slow time, I seem to mention it frequently within past writings, and I believe this is something to explore, specifically as my subject matter explores the 17th-18th centuries. It is not clear to me yet as to what work I intend to make for this project, I am swaying towards a series of drawings and prints that play to the museum in a contemporary setting, but most importantly suggest that these drawings are selections of under-paintings.... this is something that needs to be figured out.
Why paintings? I am drawn to their mystery, their complexity, the unknown and the craftsmanship, time and how most importantly it only seems to be greatly appreciated in a museum opposed to a contemporary gallery.
Alfeld, M., Siddons, D., Janssens, K., Dik, J., Woll, A., Kirkham, R. and Wetering, E. (2012). Visualizing the 17th century underpainting in Portrait of an Old Man by Rembrandt van Rijn using synchrotron-based scanning macro-XRF. Appl. Phys. A, 111(1), pp.157-164.
Ward, R., Duncan, J. and Shapiro, K. (2016). The Slow Time-Course of Visual Attention. [online] Sciencedirect.com. Available at: http://www.sciencedirect.com/science/article/pii/S0010028596900031 [Accessed 17 Jan. 2016].
Small selection of drawings and prints for ASU2
The outlines for this unit establish a discrete body of work is to be created, alongside research files, sketchbook e.c.t... For this unit I aim to explore how and where my drawing fits into the professional art world, where it should belong, and how to get my work out there. I aim to make these two projects a combination, (meaning SNU and ASU2) because the work I am doing at the Norwich Castle museum also fuels this project. The research will look at contemporary methods of display, involving museums, art galleries and drawings. Most importantly why drawing is a focus to my practice.
I am drawn towards the idea of a publication or the writing of papers to circulate the ways my work has not been interpreted before. A booklet that is easily assessable, perhaps a film of photographic slides. Where is my work being achieved, and how should it be received by others? Thought this unit I think it is important to challenge my research theories into the unknown territory of the underpainting, through collections, how they are housed and how artists respond to them. There also needs to be a significant amount of active research happening with visits to exhibitions.
The work will be investigated and presented through display in the studio and a critical analysis that forms around this.
I believe that the focus of this unit will be analysed by how I display and interpret the work presented for SNU.
Key words: Drawing, Display, Renaissance, Exhibitions, Applications, 17th and 18th Century
Artists of interest to this unit: William Baxter Closson (drawings)
Walsh, K. (1992) Representation of the past : museums and heritage in the post-modern world [E-book + book]. London: Rutledge.
Barker, E. (1999) Contemporary cultures of display. New Haven, Conn.; London: Yale University Press in association with the Open University. (Art and its histories; Art and its histories, bk. 6).