ROTATIONAL PAINTINGS :

The moons explored depth, light and rotation, making the viewer reconsider the way they understood the landscape and showing recognition of landscapes hidden beauty. I also wanted the painting to be fun and interactive by making your brain work to understand it.

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OWL PAINTING -

INITIAL CONCEPT and INSPIRATION

this painting is my first illusionary concept, i wanted to create a painting that was interactive with the audience, they have the ability to change the location, environment and context in a easy rotation of the painting. where artists like Rene magritte use perspective to create illusions that can be weird from just one angle i wanted to diversify the viewing dimensions as seen in ..................... painting; where the skull can only be seen from a certain perspective. i wanted to have multiple contexts via multiple angles.

PREP:

My prepatory work for the painting involved going to the coast line around bournemouth and sketching the surrounding area. I feel my painting has benefited from my excursions as i have gained first hand experience of what these places feel and look like. by sketching the ocean and cliffs i gained an understanding of the sharp edges and windswept trees. sketching the sea first hand also helped be release the rigidness of my water drawings beforehand. i saw how the waves moved, crashed and dissapaited and figured out how i could portray their movements through drawing and paint

DEVELOPMENT:

This idea began as a quick sketch in my book, i then made a smaller mock up version using colours i thought would work well and checking out the composition. When creating the larger piece i decided to change the bacground stalemites from human figures into 2 light houses. i felt they related better to the cliffs and water edges they would be close to and it allowed the foregorund stalecmites to stand out more.

REALISATION:

In this painting i hope to protray a variety of potential contexts, locations and figures. You can see the painting through the eyes of someone in a cave (indicated via the stalemites and dark foreground) , enclosing the viewer wihtin the image. The suggested human shape of the stallecmites also helps the viewer relate to the image and feel as through they are looking at someone looking at the scene. (angle A) i have used a more yellowish tone to the foreground as if to indicate sand, linking it with the waves. cliffs enclose the water and a lighthouse standsa alone next to a moon.

(angle B) a slightly closer view of a log in the forground (including more tree browns) in the mid ground lies either a dark lagoon or grass land enclosed by large shrubs.

(angle C) the vertical angle shows a compleltely different concept. An owl stares wide eyed at the viwer clinging on to what once was a stallecmite but has now adopted the representation of a tree branch. the large moon is its belly and the space ship suggesting its beak. the sea, lagoon and mountains now become abstracted trees. the waves now becoming the knots in the tree

 

 

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ADVENTURES

 

i have also been exploring woodland areas. which has been extremely beneficial; not only for subject matter to draw, but for inspiration, ideas and amazing natural occurances. i was told in my tutorials that i need to draw more from real life, so i took my sketchbook out with me.

 

 i really like the naturalness of the trees in this image. by scrapping ink over the back ground i have created blotchy irregular trees. i also like how the image lacks any sort of colour, making the forest look dead or impenetrable .

 one of my favourite paintings so far. i love the vibrant colours against the white and black trees. i originally painted a moon in the background then used the same method as above to create the trees. Again the trees have an organic feel to them, the ink expanding and moving like the trees. The greens and pinks give life to the foreground and create some really weird patterns with the ink.



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Although I really enjoyed creating these first images, the pressure to develop and produce more of these surreal rotational works was proving unsuccessful and stressful; and slowly I began feeling restricted by my originally open brief. To relieve the stress and in an attempt to gain some inspiration I spent my time travelling and exploring my local countryside. During these adventures I was sketching and painting places that I felt evoked emotion and reflected the beauty of nature. (as well as accumulating some funny stories).

When I expressed my anguish at my next critique it was clear from Joel and Lisa’s reactions that they felt my exploratory watercolour paintings and sketches had more professional potential and showed a unique style of interpretation. I was more than happy to take on a new project that I knew I truly enjoyed and understood. This was my chance to explore and appreciate the British landscape; letting me show others the hidden beauty of landscape.

 

 

THIS BOOK IS INCREDIBLE!!! i have read the first section. and its so eye opening, he talks about the images your dreams produce, how they are connected with your consciousness and their underlying symbolic meaning. He also talks about how mans connection with nature is vanishing becasue of our overuling consciousness and need to control our actions. i kind of wish i had read this book at the start of my project, but it seems to have come at the right time to influence my landscape aintings. it has made me appreciate my connection with nature and encourage my creativity.