Transference Techniques - 'Biro' and Hairspray

This technique entails drawing using a ballpoint pen and then spraying the drawing with hairspray. This can create various effects dependent on the length of time it is sprayed as well as the proximity to the image. I think the final image that I created was effective as it created a sense of movement which is something that the object is strongly associated with. It also transferred an image to the reverse side of the paper, formed in dots, similar to the style of pointillism, also an effective image.

 

 

Transference Techniques - Acrylic and Print

This technique involved spreading white acrylic paint upon the page and pressing a photographic print, face down, into it. Then, once dried, to rub away the paper, leaving a reverse image imprinted on the acrylic.

 

The above image displays my first attempt at this technique. I evenly and generously spread the acrylic upon the surface which created a full and mostly unbroken, very similar to the original but reversed and slightly discoloured, noticeably on the black areas.

With the second attempt I painted on the acrylic more sparingly, this created an aged effect, looking as if the image had been worn and ripped, or scratched away at, relating to our theme.

Transference Techniques - Sellotape

This technique utilises Sellotape which was layered upon a print (it is necessary to not use an ink jet print as the ink is embedded such that it will not transfer). From which the paper must be moistened and rubbed away leaving the ink transferred upon the Sellotape. Additionally, the process of removing the paper must be mildly gentle as not to remove the ink from the Sellotape.

 

With the image above, the transfer worked well due to me overlapping the Sellotape as to join the Sellotape pieces together to form a sheet. I overlaid this over an ink design although this became ineffective as the colour of the ink was too intense, detracting from the image itself. In order to amend this I would use a more textured background with softer hues of colour which I believe would create a better image.

 

A similar issue occurred with the second image that I created as the dark, intense colour detracted from the image.

Sketches From Gallery Visits

Displayed here are photographs of sketches I completed while viewing the art in the aforementioned galleries; they focus on the shape and form of the subjects displayed in the line of the images.

'Birmingham Museum and Art Gallery' Visit

The Birmingham Museum and Art Gallery first opened in 1885. It is housed in a Grade II* listed city centre landmark building, which I photographed, although seemingly it is hard to convey the buildings splendour and is something that requires experience to comprehend. There are over 40 galleries to explore that display art, applied art, social history, archaeology and ethnography. The art gallery is famous for its Pre-Raphaelite paintings, which are part of the largest public Pre-Raphaelite collection in the world. The gallery has a luxurious air of quality echoed in many of the pieces there displaying a fine quality of artistry reserved for older works and lost as time continues.  

Dante Gabriel Rossetti’s ‘Proserpine’ dated 1874 on the picture although he worked for seven years on eight separate paintings depicting the same subject, although this is the only painting to display Proserpine with red hair. The subject was modelled for by Jane Morris, the wife of the famed artist William Morris, at the time off the painting Rossetti had a love, nearing on obsessive, for her, and she was torn between her husband and newly found lover. The symbolism in Rossetti's painting poignantly shows Proserpine's plight, and simultaneously Jane Morris', torn between her husband, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the color scheme of the piece giving it a very sombre theme.

 

Christopher Nevinson’s ‘Column on the March’ 1915 Oil on canvas. He was strongly influenced by the futurism movement which is evident within the piece, as here he depicts a column of French soldiers as one long depersonalised, linear war-machine. It emphasises how the fate of the individual is unimportant, the jagged lines and muted colours display the mechanical movement of the troops and give a sense of impending violence.

Naum Gabo’s ‘Linear Construction in Space No. 2’ from 1957. Featuring strong influences of constructivism this abstract kinetic sculpture, created from nylon and acrylic, reinvents the idea of sculpture from one of capturing movement to one of creating a sense of fluidity within shape.

John Armstrong's 'Lapping Waters' from 1944, The picture retains a sense of foreboding closely linked to the timeframe of war, in a surreal style.

'The Ikon Gallery' Visit

The exhibited artist at ‘The Ikon Galley’ at the time of my visit was Fiona Banner, of who I have photographed most of the pieces there, within these images I hope to have captured the nature of the pieces and the feeling of their viewing first hand, as well as adding something and capturing often unnoticed vantage points upon the work. I also extensively photographed the building itself as it’s architectural design was as much an art-form as any of the exhibits. Below are the photographs I took of these subjects with short explanatory captions.

https://ikon-gallery.org/

Fiona Banner’s ‘The Bastard Word’, 2007. Created from Neon parts bent by the artist using paper templates, wire and transformers. 100 x 70 cm each.

 

 Fiona Banner’s ‘The Nam Room’ displaying colour variation under different lighting: CMYK vs RGB, created in 2014 using ‘LED lights, dimmer’. Photographed in black and white to display the form alone, of the cutout within the room. 

 

  Fiona Banner’s ‘The Nam Room’ displaying colour variation under different lighting: CMYK vs RGB, created in 2014 using ‘LED lights, dimmer’.

  Fiona Banner’s ‘Work 3’ created in 2014 from glass.  405 x 180 x 120 cm.

  Fiona Banner’s ‘1909-2011’ created in 2010 from 97 “Jane’s All the World’s Aircraft” books. 22 x 35 x 375 cm.

  A student’s varying expression whilst viewing a piece.

  A student creating an observational study of a piece.

  A glass pane formed to amplify the sounds outside the gallery. Seen through the formation.

  A large art installation outside of the gallery.

The enjoyment of the visit was shared throughout.

Although upon remembering the theme of ‘abandonment’ expressions were changed to better conform.