OUFA409 FINE ART PRACTICES 3

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My work typically begins with photographs, as from this I am able to capture a moment from an environment, picking up each detail. This allows me a recording of a particular experience, shifting from two-dimensional to three-dimensional thinking. I aim for my viewers to become ‘immersed’ within my work that involves water and light, and using an extensive scale allows to me to overwhelm the viewer physically and mentally. My central themes throughout my work tend to examine bodies of water, thus drawing me towards using glass as visually it almost appears as congealed water.

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My practice is focused on analyzing the relationship between the human mind and space. I constantly find myself being drawn back towards this study, as I am fascinated about the potential of space to dominate our focus to such an extent, our visuals are shifted and transformed – and ultimately estranging us from our surroundings. I was initially driven by a cognitive experience alongside the River Thames, where I found that light had sculpted and redefined the river’s form and shapes, turning into obscure and anonymous spaces. I began to anthropomorphize the water, as it appeared to be spawning an oily and ominous darkness. Water is one of the elements of the earth and we are forever bound as one, however in this experience ironically I was estranged from the body of water. My principle ideas explore the depth and density of darkness in order to reveal to sheer strength and force of water to manipulate our visuals. By examining my immediate surroundings and nature, I am examining an architecture that is disappearing, not fixed.

I find myself as an artist pulled towards multiple methods and processes in order to find the optimum technique of portraying my concepts and ideas. As I stated before, I initially begin with photography, then find myself drawn to three-dimensional work. In this particular project I began to laser cut into wood, which exposed how light can dominate and redefine a space. I was able to recreate the obscure shapes and forbidding dark forms from the water photographs with intricate details. In my development, I laser cut a lino in order to make linocuts, using only black ink on white paper. This created stark contrasts in the prints and allowed me to examine the different qualities and textures of the dark and anonymous spaces. My attempt to congeal water however was captured most effectively with black glass, as by choosing Youghiogheny glass, I was able to recreate the natural ripples and obscure texture created from water.

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I hope to continue exploring the interactions between the human mind and space next year, as I feel there are many different pathways to examine with cognitive space and seeing through a subconscious reality. I specifically aim to look further into phenomenology, and also to advance my artistry of glass and the multiple different methods to create glass, possibly moving towards more three-dimensional pieces.

 

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