Sprint 2 aim

Main aim of Sprint Two is exploration. Starting out with a workshop focused on the methods employed by Joan Eardley facilitated by Jill Eisele, at St Ives Painting School.

The workshop focused specifically on Eardley’s experimental and indirect methods. I chose this workshop to investigate a) random beginnings, and b)building more ‘feel’ and bodily engagement in the process of painting.

The workshop divided into figurative and landscape, covering her use of collage, as well as vigorous methods perhaps informed by seeing Pollock’s work at an exploration Abstract Expressionist show in Scotland. I’m excited by Eardley’s work, enjoy the physical engagement and the strong sense of characterisation of both place and figure in her work. Abstraction meeting the character-based expressionism of Soutine/Schiele…there is something very present and immediate about Eardley’s work that seems missing from my recent rather measured and planned work. So that’s the task of the Sprint…find ways to bring in that immediacy and vitality.

Documenting the work produced on the workshop

working with Eardley’s images – strong sense of Soutain in her work; caricaturisation; getting a sense of immediacy and the presence of the figure
collage – working with one of Eardley’s Glasgow children and St Ives Windows (the tenements of St Ives has a strong sense of irony…given that this old Cornish fishing village is now extremely salubrious with the property at premium prices). Children portraits moving away from trad. portraiture – effacement and characterisation.

Methods: Graffitti and Collage: text/lettering as image (text in medieval and later painting – descriptive yet decorative); backgrounds lending structure in relation to the random/textural mark marking (edges of walls, doors & windows), geometry creating depth/layered picture planes; reference to photographs (Eardley working with Audrey Walker). Collage as a means of determining composition and form (plus happy accidents and suggestions). Bridging lines to create structure and definition plus calligraphic mark-making. Stencilling and collage was used as in early Pollock.

Pollock Style Posters | Redbubble
EG Pollock’s use of collage/text/stenciling – links between Abstract Expressionism and Geman Expression – Dada collage (Heartfield, Hannah Hoch etc).

What I respond to in the children images is the sense of vitality and resilience shown in the characterisation and rendering of the portraits. There is an incredible sense of energy, despite poverty and straitened circumstances. There is also a sense of the ‘otherness’ of these children – these consciousnesses that are not weighed down by repression and depression. Demon children (Midwych Cuckoos, Good Omens children…children in Pinner’s The Ritual).

Really enjoyed the immediacy of painting like this. Quick, responsive, a sense of vitality built into the process. I like the scratchy surfaces and the depth produced by the layers, along with the random happenstances. The vibrancy of the colour – the level of saturation – speaks of livid life, along with the complexity engendered of the use of multiple layering. Using text in the urban context of these images speak of human habitation and the Anthropocene world – both used as textural layering, as abstract and calligraphic, and its use in more motivated ways.

Sprint 2: Exploring Eardely’s methods in relation to my own work around folk horror to see how it might be used to support the theme. Look more at: Robert Motherwell, Adolph Gottleib, Clifford Styll, Basquiet, and Pollock. Also, note/explore the influence of all these on Bill Sienkiewicz.

Landscape experiments:

Indian ink on arches oil paper – working with Eardley methods
Finding colour palettes (Eardley landscape)
cut-up random marks (sea theme)
Collaged image – painted on (but I didn’t leave enough of what was on the collaged elemetns)
feeling the sea – indian ink of heavy gessoed paper for raised edges
using collage and colour palette identified above – perhaps too tidy, too resolved.

By tanyakrzywinskablog

After working in the computer industry and spending some years conducting research into cinema and digital media, I became convinced that the innovative qualities of videogames as participatory media required closer academic attention. As such I have spent most of my career championing the inclusion of games within the academy, and arguing for games as an art form, a role I continue as a Professor at Falmouth University. Alongside this, and my scholarly work on the Gothic, I also maintain, in various forms, a visual art practice. This blog comes out of enrolling on the MA Fine Art degree programme at Central Sr Martins. It is mainly a record of my reflections on the work that I have undertaken for the degree. After having written about folk horror in games and cinema as an academic, this blog will focus on folk horror as a focus for my art practice.

Leave a comment

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: