Wall Panel work

What went from being a side investigation turned into a consumption of my studio work . Looking at the works with the black background i couldn't help but categories it as galaxy or space looking ,which was unintentional at the time , It got me thinking about the ways in science class or book they would show the galaxy which to me the first thing that came to my mind was a panorama of a solar system or galaxy . With this work i was simply making a work that would be free standing panorama view of these works that depict colour relationships . When creating this structure i realized how hard it was to make the pieces fit back together perfectly and have them free standing in a panorama installation and decided to use tape on the back as a temporal way to see if the work would do what i hoped it would do . From this little bit of spontaneity  of the tape on the back i realized that the way in installed it would make the viewer have a all round view of the work and will be able to see the back aswell . I then thought that ,that could be another interesting idea that the function of the construction on the back is equally as important as the image on the front as the construction on the back  allows the image  on the front to work . the other thing that was interesting was on the front you have a clean image but on the back you have an untidy way of constructing it . From the we can see that the idea of colour relationships and tension have evolved and changed but is still of interest and instigation . 

2nd water colour experiments

As a response to the works that I re introduced to my interest I decided to to some current works where I used the same  colours in my previous  oil works to create new relationships .I decided to do this as a side investigation of my colour tension and relationship works to expand my investigation and explore new means of creating relationships .

1st Water Colour merging

Looking back through some previous works I found this series of works and realized that these works were of interest into what i was currently investigating ,which was colour relationships and tension but talking about them in a different way , what brought these works back to interest with me was the way the colours merged together , the way that the tension that was initially made when the colors were placed next to each other evaporated as the colors merged with one another making the tension vanish . The other thing that interested me was in the works there were areas where different things ,reactions and relationships took place , in some places you have colour almost consuming the previous colour underneath it but only leaving a very thin edge where the previous colour is visible . you have places where the colour is exaggerated and sharper where they meet up with the black background .

Colour Tension

In these three works I was experimenting with colour by layering , colour relationships and the tension colours carry against each other . I had done a few experiments before these ones where I layered colours up to see the relationship the underlying colour has with the colour on top . Through these experiments I realized that the brighter the colour was underneath the more vibrant and intense the colour was on top , Yellow was a good indicator of this as you can see the the horizontal red and yellow stripped work . I also thought that not only would the colour relationship create tension but also the forms on the work . I created very acute angles and and sharp lines with the green on top of the red work  where the tension created also created a pulsing effect when you look at it , the space where the colors bud up against each other expands and contracts as you change your point of focus when looking around at the work . The work with a yellow background and blue organic shape was a direct response to the previous work as i was trying to see if the organic shape of the blue form would still bring up some tension between the two colours .

Progress On Final Panel work #1

progress of my final works , showing the relationships and vibrancy of colours .

http://ronnielandfield.com/1977-1979/

Ronnie Landfields

I like how he talks about his paintings as being interpretive , meaning that everybody will have a different experience to each other of the works .  How his paintings are  ways to trigger those feelings and emotional responses

http://www.jgroshek.com/342/color%20and%20emotion.pdf

very good study on emotional responses to color relationships

http://www.colour-affects.co.uk/psychological-properties-of-colours

A Really good article of colors an their emotional response and effects they have .


Previously I was working with illustrating an event , In fact i was illustrating the emotionlessness  of an explosion in comic book art .how the illustration was simply there for us to see it and let us decide our own emotional response through our imagination of the explosion . However now I want to work with the idea of the emotions of colors and the response and reaction that takes place through our feelings by associating colors with emotions 

 

Extract from Art news --Innes's new works represent a significant departure from his iconic "Exposed Paintings" and are an exciting development in his continuing investigation into the making and unmaking of abstract painting. Innes still methodically prepares the paintings' surfaces with size and gesso (as in the "Exposed Paintings"), yet in these new works, the picture plane is split vertically in half. Innes applies two separate colors across the entire surface and then rigorously removes the paint on one side. This process is repeated, leaving one half of the painting covered in layered, complex color whilst the other half of the painting is cleansed as much as possible back to the original gesso. Inevitably, the cleaned half retains a palimpsest of the colors that were absorbed into the gesso; as a result, the artist's palette exists outside of the realm of traditional painting and instead suggests a far more unique chromatic vocabulary.

In each painting, a thin, vertical line where the cleansed and painted sections of the composition meet visually vibrates with the remnants of the surface's original layers of paint and separates the two halves of the canvas. This line is not created after the fact, but instead is an integral part of the development of the painting. In Innes's own words, "It wasn't sufficient for me to cover a painting in a single color and then inscribe the field with a line. The development of the line had to be organic, and the best way to achieve that is through erosion." 

http://artnews.org/seankelly/?exi=19041&Sean_Kelly&Callum_Innes

Previous works 22/04/12 that relate to my idea of movements 

My Talk week work 

Feedback - The main points on my feedback was that i needed to  explore my ways of presenting the works , making them on different surfaces .Another main point was that that my work had a kind of quirky humor about it and that was something that i could explore more, by making it bigger  it was suggested that those ideas would be more clear .

My Ideas Behind the work - One of the main ideas behind my work was this idea of turning an expressive movement in my application of paint on a surface into an illustration of that expression by outlining and highlighting areas with black .Another idea was this idea of  reality VS Fantasy  by expressions in  comic book art that depict movement VS the movement we see in reality .