Curses, Rites, and Questionable Offerings: Art of Folk Horror
S4: pursuing the figurative fugitive
As a result of working in a confined area (unable to go to the studio because of fierce winds). I did some drawing from film, using immediate methods (ie charcoal, watercolour etc).
These are far looser than the oil-based images, freer in terms of mark-making, more fugitive and evocative, more atmospheric. What is it about my use of oil that makes it too ‘tangible’, too present? Am I using too much paint or not enough paint? Even the charcoal drawings that are dense, dark, and more solid in terms of application (see below), seem more fugitive, oddly suggesting an alternative dimension.
The question is, how can I do this with oil paint? Next set of experiments defined!
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.