Tady to je:
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| Olejové barvy na MDF |
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| Olejové barvy na MDF |
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| Olejové barvy na MDF |
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| Olejové barvy na MDF |
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| Olejové barvy na MDF |
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| Olejové barvy na MDF |
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| Sítotisk a fixa |
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| Sítotisk a sgrafitti |
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| Můj prostor na výstavě se sketchbooky, experimenty a portfoliem |
Koho by to zajímalo, tak tady je hodnocení celého projektu v textu, kterým jsem své dílo prezentovala:)
Presentation of FMP – Zuzana Rogers
BTEC LEVEL 3/4 FOUNDATION DIPLOMA
(ART & DESIGN)
The aim of my project has changed a bit since the
beginning of the project. Originally, I wanted to look at my face as a set of
features and simply try to learn to put up with my own face. By having a mirror
on my desk constantly, I was forced to face
my face, what it looks like and recognizing the tiniest features of it. I
thought that would have made me to either accept my face, or start to hate
it.
Instead, as the
project evolved, it became not only about the face as it is, the “outside” and
me liking or not liking it. I realized that self-portraiture was a very
intimate thing and I simply could not try to detach my face from me, my inner
self, any longer. Suddenly, the majority of the project became about me. While making the self-portraits, I
was not painting them for public “consumption”. I was not trying to share my
inner ideas, thoughts, pain. Instead, all they were supposed to show was that I
come in every day and I look the same, but I am not the same. The rest was all
only for me; the inner struggle while creating them. That process became a way
to explore myself more; not only physically by observing my facial features,
but psychologically by thinking what kind of person is linked to the face. It
became sort of a therapy.
My inspiration was mainly Frida Kahlo, whom I have always
admired. She accepted herself as she was in her paintings, and I believe it was
a way of expressing emotions for her. Halfway through the FMP, I realized I
learnt that I wanted it to do the same thing for me and serve as a way of
expressing my emotions (maybe not as straightforwardly as Kahlo´s work).
I have researched
many artists throughout the whole project, but as I have said earlier, Frida Kahlo was my main inspiration
together with Ernst Ludwig Kirchner
and Emil Nolde. The reason for that
was the fact that they all very well managed to express their emotion in their
works. Also, the way that the German
Expressionists exaggerated shapes resonated with my conception of the FMP.
I wanted to focus on the facial features as a combination of shapes and create
a collection of work based around that. The outcome for my practice was a
decision to understand my painting as “this is what I saw and how I felt about
it”, rather than just “this is what I saw”. I realized I couldn’t separate
emotions from the painting of my own face.
At the beginning of
the project, I wanted to focus on primary sources. I visited Jan Saudek´s and Tim Burton´s exhibitions and I realized I needed to plan less and
be more spontaneous while making creative decisions. I was still very much
interested in the shapes and shades, and while doing research on The Bloomsbury Group, I became fascinated by colours and the use of
complimentary colours. I expanded on that by inquiring into Henri Matisse´s and Andy Warhol´s work.
I also visited BA Fine Art Painting 2014 Degree Show
in St Helens College, which was very helpful in realising that painting is a
therapeutical process for some people and gave me more determination to open up
more while creating my artwork.
When it comes to the
screen printing part of my FMP, my biggest influence were Tracy Emin and Jean Michel
Basquiat. Their use of lettering encouraged me to open up more about
showing that my work is not just about depicting myself, but also about my
inner self.
The photographic part
of my project was inspired by David
Meanix´s work.
Throughout the whole
project, I experimented with many different
techniques. I used plaster for “photo
sculpturing”, machine embroidery,
screen print, sgraffito and paint, all
as a part of a layering process, which corresponded with my theme; there are
different layers of me and it is only up to me which ones I will show and which
ones will stay hidden. Influenced by the German Expressionists, I experimented
with ink and gouache technique, which
produced woodcut-like pieces. The second direction of my work was oil painting, where I was working
simultaneously on six self-portraits. Oils are traditionally linked with
portraiture, and it is a medium that allows constant change. That is something
that I appreciated, because I was using very bright and unusual colours. That
became an obstacle; one day the colour seemed right, and after a few days, I
didn’t feel like it reflected what I felt in the photo. Oils let me rework on
top of what I´d already painted and build layers.
I have created a collection of work, which is part of
the exhibition. I have picked my most successful works, which I feel are
results of good research, persistent effort and experimentation.
One part of my work
is six oil paintings on primed MDF
board. That material produced the best results for me in the past and I simply
prefer its robust feel to canvas. I painted all of them over four weeks, and I
was implementing all the research onto them. I soon realised that the process
of painting was not just a painting; it became more to me and I was very
protective over the unfinished paintings. This was not the first time I worked
with oil paint, so I did not need to experiment as much with the technique
itself as I did with colours and the actual subject of the painting. If I could
change something, I would try to create a series of self-portraits painted in
not such a neat manner; I would use impasto and sgraffiti more. However, I
don’t think I would change the outcomes themselves; I like them the way they
are, because I know there was lot of struggling during that process.
The other part of my
work is two prints of photographs of my face, which I turned into a stencil by
adjusting threshold levels in Photoshop. Before I printed, I painted onto the
canvas simple outlines of my face. After the print, I decided to use lettering
within the prints. In the first case, I simply scratched into the print
(sgraffito), in the second case I used fine liner to write into the light
areas.
The only thing here I
would change is the size; I think A3 or A2 would suit them better than A4.
All the work produced
was influenced by all my research. I was really trying to link the research to
my own work and get inspiration from the artist´s approach.
If I had a chance to develop this project, I
would definitely experiment more with lettering, even within the oil paintings.
I would try to go to London to visit the National Portrait Gallery, and I would
also try to look at different ways of approaching self-portraiture.
