Monday 28 January 2013

Drawing with Charlotte Mann 2

Drawing with Charlotte Mann
Big scale drawing
A group project

We had been told to bring thread and fabric to the class, and each of us brought a chair!
Charlotte told us that as a textile designer you have to learn how to work in different scales. So she gave us a challenge to make a vast drawing as a group.
It was fascinating to work with my class mates.
I really enjoyed the discussions as we shared ideas.
Charlotte came and encouraged us with suggestions. "Add more colour" or "step back and look at the drawing".
We went back to the sculpture and added to our wrapping, and then returned to drawing.
We were really engaged, involved, even excited!
It was comfortable to work in a group- especially working in such a big scale.



Calico for wrapping

Chairs suspended (my daughter Felix's first chair is on top)



Wrapped into a sculptural form using the thread or material we'd brought


Preparing large sheets of paper to draw the sculpture we had made




We each drew a section of the sculpture 



Then we added more images and colours



 Adding colour, we started to have a richer look of the objects we had drawn
Here I am working on my part of this fascinating group project





Overlapping colours and images. Adding colour made the drawing richer and more interesting.





Adding colour



We were working on the wall, The othe group were working on the floor



I went around to see what the other group were doing Here is their work 



An angled view of our finished work


Our finished group work 
Almost like a Picasso!?


Drawing on a large scale

Drawing on a large scale- John Bently

Looking at a small picture and interpreting it on a large scale (A1)
We each drew a given picture and wrote our number on the back of the picture.
We had to draw using just ink. After that we stuck them together with sellotape in numerical order

This image was tiny, about 5cm square.



My image on A1 cartridge paper




sellotaping the images together in numerical order



 Then we rolled up the sello-taped drawings and took them onto the balcony


 Off to the balcony of Chelsea College




Preparing to deploy



It was windy




Laying the drawings out on the snow



Rolled up and put away

I really enjoyed this session because in the beginning I didn't know how to start. It was scary to copy a tiny image onto such a big scale. I spent about 10 minutes just staring at the image wondering where to start. I decided working on the surroundings, and moved onto the image later. I feel I learned how to work on a big scale from a small scale. Some detail was very small and I had to interpret it into a big scale. It reminded me of the Hockney exhibition "the Bigger Picture" in the Royal Academy last year.



Psychogeography


Psychogeography quotes
Here are some quotes I found when researching for the rough guide
 “Psychogeography is practiced and theorised almost exclusively in urban contexts. Sukhdev Sandhu points out that “since the postwar era of inner city neglect and mass suburbanisation, cities have become hot commodities for academic theorists as much as financiers and real estate moguls.” Sukhdev Sandhu, ‘Discovering the secrets of the city’ in New Statesman vol 135 no. 4804, 7th August 2006, p46, as quoted in Walking Silvermines/ a Rural Psychogoegraphy by Bryonie Reid 
 “Dadaism,” wrote Guy Dubord in his foundational 1957 “Report on the Construction of situations”, “wished to be the refusal of all the values of bourgeois society, whose bankruptcy had just become so glaringly evident” on the battlefields of the First World War. [Guy Debord & the Situationist International 2002; introduction p ix]
In the summer of 1957, the International Movement for an Imagist Bauhaus... published singlularly odd map of Paris entitled The Naked City, the creation of which was credited to G E Dubord [ibid p241, map p 242]
Add map p 242
Putting the psychoanalytical couch in the street, transforming the city into an immense divan, a site for applying and realising the slightest desire... [ ibid p297]
Revolution is not “showing” life to people, rather it is making them live [Knabb, ed., Anthology, Debord, “Pour un jugement revolutionaire de l’art,” 15.


Popup project notes


Pop up project notes
We have been asked for the Pop up project to make a selection of objects.
For my Pop-up project I have chosen objects related to my memory, my culture, found objects and my love of natural colours.
Inspiration came from the rough guide project, picking things laying on the street that people had stepped on or thrown away, and the marks people left on these objects. Things fall on the ground, paper falls and people step on it, conkers fall hard and sharp. The conkers leave a mark as they fall, the paper is marked by peoples steps .They are full of memories, like a finger-print on a passport. I imagine all the people who have passed by, stepped on these objects, people from all over the world.  People leaving coins from many countries, dropped by bank machines, in front of cafes, on street corners.
Stage 1
We have been asked to draw the objects in different ways- line drawings, drawings against a dark background, assemblies of objects
Stage 2
Drawing objects and describing them. Texture.
I used the skin of a conker, and the skin of a cassava (the food I was brought up on) to make my marks. I chose a conker as one of my objects because of the sharp, spiky skin and used the texture of the conker with acrylic paint to capture the sharpness, roughness and hardness of the conker. I found conkers on the street under the trees where they fell and hit the ground. I used fallen tree bark- this relates to the memory of the mask- made of wood.
I want my objects to have a connection with each other, with the pavement, with the vegetable coloured soap, with the ground around the tree. The Cassava is a root vegetable. It has hard lines like little routes, like a map and earthy looking skin. I ate Cassava at home every day.
I also used a needle to dip in ink to make fine lines for some of my patterns to express the texture of my object into my pattern drawing. Using the natural colours from my object collection, the covers of my soap packets to make the drawings.
Stage 3
Using your object -Swatch book
Today we are supposed to only use black acrylic paint or ink to make patterns.

Description of my objects
As I am using natural and cultural objects. I have a combination of African vegetables-cassava, pineapple, macabo;  the colourful packets of bars of soap peach and melon, grapes, carrots; a wooden African mask; tree bark,  conkers fallen onto the ground
I used the objects texture to (inform) my choices. I used the texture of those objects for my swatch book drawings.
Conkers sharp, rough as the pavement. Roughness, ground, pavement, scratchy and hitting the ground
Cassava-brown, hard, a root vegetable, earthy, rough skin
Pineapple- rough, spiky, yellow, green, scratchy
Natural soaps, fruits and vegetables, rich natural colours, organic
I wanted to use the brightness of the vegetable images on the soap packages
BaLuba Mask from the Congo- memory, African tradition and culture, wood, carving, art.
The mask has lines like the cassava.

Receipts and money found on the street
Multi-culture- people coming from different parts of the world. The different texts and textures.

Sunday 27 January 2013

Drawing with Charlotte Mann

Large scale drawing with 
Charlotte Mann











Stitching

Stitching
















Popup project



A collection of wrapped objects from my popup project.
I wrapped conkers and tree bark


Popup Project
We had been asked for the Popup project to make a selection of objects.

I chose objects related to my memory, my culture, found objects and my love of natural colours.

Inspiration came from the Rough Guide project, picking up things laying on the street that people had stepped on or thrown away, and the marks people left on these objects.

Things fall on the ground, paper falls and people step on it, conkers fall hard and sharp. The conkers leave a mark as they fall, the paper is marked by people's steps. They are full of memories, like a finger-print on a passport.
I imagine all the people who have passed by, and stepped on these objects, people from all over the world.

People leaving coins from many countries, dropped by bank machines, in front of cafes, on street corners. 



I used my objects to make marks using ink and acrylic paint. I tried to express the texture of my objects by mark making. My objects were hard, and rough and sharp. I tried to get the sense of these qualities, hardness, roughness and sharpness into my drawings for my Swatch book.



I was surprised by the patterns and designs I was able to make just using paper, ink and my objects. In the beginning, I couldn't figure out how to do it. My first drawing just used the object and the ink. It was hopeless (see top left), and I was not satisfied. Then, the more I did, the greater variety of marks, and patterns I was able to get. I really felt satisfied with some of them. I remember leaving the session in Chelsea, and carrying on mark making at home.  I felt more relaxed at home, without the pressure of the timetable. 
I am happier with the pieces I made at home as I seemed to get better results as i continued experimenting.




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Turner Prize

The Turner Prize 2012





Paul Noble has been nominated for his solo exhibition at Gagosian Gallery, London, which brought together the painstakingly detailed and engrossing drawings of the fictional metropolis Nobson Newtown. Undercutting the precise, technical drawing is a stark satirical narrative which unfolds in the micro-cosmos of these monumental works -from the Turner Prize catalogue.

I chose this sculpture because I think this a very clever way to incorporate drawing into sculpture.

Paul noble has referenced sculpture in his work, and his preoccupation with Henry Moore led him to redraw from the six volume Henry Moore Complete Sculpture (1965-88) all of Henry Moores's sculptural output.
These were, to use Noble's own word, 'bellmerised' (after artist Hans Bellmer) - drawn over-lapping with each other to give the impression they were tied with rope. [Turner Prize catalogue]

I looked at the four artists work and was most impressed by Paul Noble's drawings and particularly his sculptures. 
His drawings are full of micro details. I like his use of black and white to create a sense of colour. His drawings are a mixture of sculpture and architecture.
These drawings give the impression that you are nowhere, as if in a desert, and suddenly something appears. It is alien, but it makes your mind work to establish what you are seeing.
They are set in an empty space, and seem to appear from nowhere. Paul's Palace 1996, seems natural yet it is entirely artificial. The background, the natural part, is somehow unnatural. The palace seems impossible a hallucination. But it is fascinating, intriguing.
The shapes and forms in these drawings are incredible, like sculptures.


What I especially like the mysteriousness of this sculpture. When I first went into the room, I didn't know what I was looking at. It seemed like a worm cast. 
The shape is fascinating, the colour, the form, the simplicity, the minimalism.
Somehow he really filled the entire room with his drawings on the wall and his sculpture in the middle.