The first group crit revealed severe problems. After installing works on the wall, on the first glaze, they looked beautiful; however, any closer look at the presentation may found the lack of connections between individual works to each other. Without being reasonably organised, it is hard to form a powerful statement from works to support the fundamental idea of the project.
The visual aspects of these works turned out satisfying, I don’t have to worry too much at this stage.
Methods of establishing a connection between two distinctive parts can be various. But firstly I need to settle the way of presenting one of them. Since I have decided to research the second hometown’s impact on the painter, it is necessary to convert individual paintings into a series somehow.
I decided to take advantage of the fact that I process a certificate of a degree in Illustration. The composition of binding works of books always limits its content to be represented in a particular sequence. Plus my proficiency at softwares that used for book art and graphic, size of the watercolour paintings, it seemed a very logic solution. Besides, I never did something similar before: to merge two unmatchable parts with each other.
If I would like to demonstrate the importance of England and Spain as my “Second Hometown”, I will need to express:
-my love of their local landscapes
-that they are my second hometowns persuasively to audiences
-a description of a concept that supportive to the research
Tasks due to be finished so far:
-finding a way to connect these two regions in the book (writing)
-develop the basic sequence(logic) of the book
For a long time, I have been working on the idea of archiving time. Also, I found it fascinating to present work by spreading them on a large, flat surface to ensure every detail can be viewed directly. However, the consistency of time obstructs people to see the whole picture. Whoever lives in this physical world would need to follow the linearity of time. But what if time is not like a running stream, but a silent lake?
In the project Los Fragmentos del Albaicín, there was a little paragraph of writing I did in the Chinese version (It was much more readable in Chinese):
Fragments of the past float on the stream.
He who a desperate fisherman, salvaging them with a broken net.
A wish to examining them once again
before their colours fade, and their bodies crack.
In a world where time is a vast lake,
instead of a stream running to the ocean
Fig trees by the water smile at me
Tomorrow’s church bell is ringing in the replay of the radio
I picked a flower that planted by my child
The first light on the morning
when Columbus met Queen Isabella,
in the lamps on the street, is shining.
The concept is now still unclear, I will need to work on that for a little bit longer.
Access to the project:
Some significant scale works were experimented in this week to see if I can “it go myself”. One of them strangely adopted a Japanese wood carving style due to the utilisation of colour.
I am not sure if human figures should be included in illustrations, but as I stated “I would like to produce the Cuckmere part in the manner of traditional English landscape watercolour painting”, I sense sheep may occupy a significant part in the project; thus time has been spent sketching them. As well as twisted trees, I kept looking for the best image that I could composite. Their spiky trunks and thorny branches built up an interesting comparison with soft grassland that covered the entire Cuckmere Valley. In the first tutorial, my tutor and I developed an interest in seeing twisted natural objects demonstrate a sense of nature in nature. Same as cattle, they may only take one illustration space in the formal outcome, I still have to experiment until a perfect painting was produced.
The lecture on Wednesday introduced how to design a methodology regarding research questions. Despite the necessity of introducing the basic procedure of academic research to MA students, it would never hurt to review it once again.
Since the research proposal of the first unit remains uncleared, and I have decided the project will be discussing the enthusiasm and idea regional painters demonstrated in their works, starting with representative artists located in the intersection formed with my style of painting is necessary. I believe studying in the golden age of English landscape watercolourists could be a useful asset for the unit.
An article regarding the reputable first generation of English watercolourist has been started this week. It will be posted under the article category upon finish.