The subject matter represented within my work, much like the credited artisans sought throughout the blog, questions our relationship with perception. Themes of vulnerability and fragility contort within my assemblage of work. A great deal of my work imitates an artistic portrayal of the characteristics inhabited by the lens of a visually impaired individual. Examples of this can be seen through the majority of my prints, exhibiting the nature of binocular diplopia - doubled vision and the cataracts, alongside the agile, deteriorative nature of macular degeneration, retinal detachment and diabetic retinopathy.
I create juxtapositions using surreal and somewhat ambiguous imagery to conjure a metaphysical response toward my secondary collated research. My work inhabits the lens of an eye ailment, whilst also catering to various forms of impairment.
I employ an automatism manner of working, allowing my work to be genuine within its lucidity and palette. My work bares a synchronic attitude to the use of colour, allowing vivid imagery to protrude from the surface, systemic interactions adorn the surface with no predetermined thought. A provocation toward the viewer, permitting them to establish their own narrative through the use of equivocal compositional elements, I find this to be particularly important for my work to inspire a seminar and stir interest amongst the audience. The equivocation of the works orchestrated encourage the subconscious to deviate and the body to be immersed within synergistic activity. Ultimately warranting a response, within the present, the viewers perceptions become skewed by the use of surreal imagery. There is a dismissal of preconceived narratives, instead the audience are engulfed within a body of conspicuous work and multisensory platforms. Concluding the areas, I have discussed, to eliminate the discriminatory attitudes of the industry, I have recognised that we as artists have a responsibility to work together to be more inclusive, offering multi-sensory and process orientated projects to the public, vouching for the visually impaired and partnering with associations such as The North East Blind Society and Chilli Studios; working consciously to make your work more accessible to the blind will allow the industry to grow and flourish, our time is now.
The processes in which I embarked upon, allowed me to continue to improve my use of relief printing methods using linoleum, alongside blind printing and embossing. I was able to develop my skills in carving the linoleum and distinguishing what number of roll outs or volume of pressure was needed for guaranteed success with application of the medium. Though there have been a moderate number of challenges proposed by the inking plates when there is a larger uncharted surface area to ink, I have found utilising my finger and smudging the wet ink has allowed a number of my prints to appear more crisp. Initially I had avoided this technique as I worried due to relief ink being water based, there would be a risk of my finger oils retracting against the medium and creating visible finger smears/ impressions. Fortunately the relief ink that I use dries matte with an absence of oil residue.
Rather than always working in a traditional manner, I have decided to digitally contort and expand prints, attempt various formats of photography -- Long exposure, bleaching and so on. My interests have always lied in printmaking, prior to the start of the project intaglio processes were a favoured for me; however over the course of my recent works I have grown to prefer relief processes. Being able to command the carving tools to encapsulate my design through the use of lines has resulted in works that portray my subject matter in a bold stagnant manner.
During the printmaking process I had again moderately experimented with screen overlays and holga effects as a means to illustrate the illusion of motion. This last semester I have focused primarily on instigating a way of exhibiting my work with the following values; interaction, collaboration, inclusivity, experience. I have contemplated a number of live outcomes including: Virtually exhibiting as to promote a traditional, mundane method of display through the current setting, following restrictions and safety precautions. Proposing a fundraiser to the RNIB charity which could be held in the North East Blind Society meet up space, something of which could happen during the summer as a separate project to continue my advocacy for inclusivity. The last three live outcomes I have conjured include hand painted simulation glasses imitating the nature of four different visual ailments, though there are only four pairs of glasses, the glasses can be worn and sanitised by the audience, to then wear whilst walking through a space featuring my works, allowing a sighted audience to empathise on a small scale, what it is to adapt to a new perspective. The next live outcome entails the promotion of merchandise, allowing the cause to be seen on a frequent basis.
Lastly I began painting a 1m x 1m canvas titled 'Free Rein.' Paying homage to 'The Queen.' relief print I had composed earlier in the year. The piece refers to literal deterioration of sight, a compass is encapsulated within the liquified eye acting as the new iris, the eye floats ominously over a warped chessboard where the queen chess piece veers toward the audience. The symbolisms embellished within the paint strokes of the subject are directly connected to the nature of 'The Queen.' print, alluding to the spirit of freedom, the blind and visually impaired can be free to circumnavigate the world without worry that their ailment will hinder their growth. I want to promote the sense of freedom, rejuvenation and renewal, an impairment does not determine your ability, nor does it abolish your feat.
Over the course of the second semester, I continued to create an abstract expressionist work using acrylic, inks, expanding foam and polyfilla, using a multitude of mediums enabled me by generating more tactile work. I do not have a final piece or composition to convey the full potency of the project, though if I did I'm sure 'Free Rein.' would be it. Instead I have a collection of prints, acrylic pours, expanding foam & acrylic and polyfilla paintings followed by embroidery, embossing and illustration; each medium acts somewhat as a sub category for each piece, given the body of work produced each composition fits in with a particular series, separated primarily by style and medium. ie the abstract expressionist/action painterly works will be grouped together as a series.
My works progress was at first measured and undeviating due to the restrictions we all faced last year and this year; however, I adapted and overcame any obstacles that I could in order to retain a good studio practise from home. The most evident issue I found over this semester given the pandemic, was a limitation to my resources and mediums as deliveries could take weeks to arrive resulting in slow progress and delayed starts.
However to identify some successful outcomes I would refer to the majority of my prints, especially ‘The Moth.’ And ‘The Beetle.’ I used what I had learnt throughout my project to create a piece that I am content with. The exploration of photo manipulation and optic appearances aided me in the composition and contemporary elements of which could be used throughout the designs displayed over 'The Beetle.' Additionally I have combatted struggles with inking and pressing from home, resulting in a great total of clear prints. I am particularly proud of my 'Courageous Carp.' hand stitched embroidery over canvas given the number of hours put into the composition. The design took 1 1/2 hours, whilst the embroidery, all manually stitched by hand took between 75-80 hours. Had I no other commitments or time restraints I would've loved to create an embroidery series, further elevating the tactility bestowed upon a great deal of my works.
I believe the work I am producing needs to be reflected on and analysed further before the next projects of which will commence during my time at university. I need to create more works that experiment with mixed media and application methods. Fortunately I have ordered some items which will exhibit new techniques, such as pyrography and dissimilar intaglio methods I have yet to try. Unfortunately I hadn't the chance to experiment with pyrography and string art as I had hoped to this semester due to other projects taking extended periods of time, however I will take to using these mediums and techniques in the future.
In the long run I want to continue to compose work that narrates an air of automatism and create for myself… It is difficult to not allow the idea of criteria and marks to affect my methods, I hope that over the continuation to third year, I intend to persist in exploring mediums and techniques without aiming for perfection. I need to allow myself to enjoy the process rather than dread its completion. Elements within my work that require further attention are time management and medium selection. Though I have became adapt in managing my time, this is something I am constantly wanting to improve. I think I have a wide selection of mediums and processes addressed, but there are always more to learn and render.
I would've liked to have seen more quick paced experimental drawings and concepts, though I did conduct a number of participatory activities involving drawing and painting blindfolded, I would've liked to have conducted another where the participants copy what they feel the other party is drawing on them (on a piece of paper stuck to the back of the participator) I feel if I had had the time, this would have benefited my work further from observing the nature of ones drawing as they imitate the lines through touch.
I am content with the outcome achieved, but I feel I could improve by transferring the prints over to different surfaces to print on. Perhaps printing over canvas, fabric or wood to see the difference is ink absorption. If I had the opportunity to continue this project or had an extension, I would explore scale further and finish 'Free Rein.' as well as creating a string art piece over wood panel and a small pyrography composition. As an additional area of improvement I would continue to work on my consistency in the carving process, as I have found consistency has enabled me to have a quicker pace during initial carving sessions.
To conclude, areas of which I feel need improvement are; consistency, time management and inking. I can be consistent when I am in the work flow, but I want to be in the work flow a lot more frequently, allowing for consistent work to push through and grow my body of work. Time management is something of which I always strive to improve as I feel it is the most relevant to a professional world, working towards a deadline, briefing, appointment and such. Though I am relatively good with inking my plates, I hope to continue to develop new methods of pressing/inking to avoid blotting over larger surface areas.
Proposed live outcomes and ideas are shown throughout the blog to refer to. All of which have been discussed extensively, referring to both the advantages and disadvantages. I will however attach screen grabs of publications which include my accepted submission to NYC's SHRINE gallery, featured in Group Show 5, print sale success and my work being mounted in their new home, mock up fundraiser image along with my proposal email which was responded to by RNIB, merchandise and a screen grab from the Instagram takeover, though again PLEASE NOTE EACH LIVE OUTCOME HAS ITS OWN BLOG POST I will leave out the simulation glasses and 'Free Rein.' piece as to conserve room within this post, please refer to their individual posts to see full discussion of ideas.
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