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The backdrop debacle
I looked up how much it would cost to print a large (b0 size maybe?) sheet of paper with text and it came out to about $50 minimum at officeworks. I decided that I could print out small a4 sheets (3x3) and arrange them on the paper I have at home. The issues I had with this were that I wanted to fill in the middle and the paper isn’t big enough for that. But it really looks like a science project with the a4 sheets so I’m going to move from that.
Maybe I could draw on the paper instead?
I’ve drawn up one sheet already but had some feedback from Zoe which changed my mind a bit about it. She suggested that the white background wouldn’t look right with my paintings and talked about considering coloured cardboard or a sheet behind them. I really like this idea because I considered painting the wall itself but decided it would be way too hard to paint back to white so this is a good alternative.
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Zoe feedback and new ideas
Zoe thought my mini portraits weren’t a good idea which I wasn’t mad at, I didn’t really want to do them but felt like I needed something to go with my paintings. She suggested that instead I do a backdrop, like a wall of text detailing hamsters eating their babies for example. I like this idea, I think it will make it more obvious that the creatures are cannibals.
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Adam feedback
Use round brushes to blend
Retardant to stop the paint drying too fast
Use green w red for shadows
Avoid pink
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Newell feedback to my idea
Newell suggested I stick to my strengths in painting, that I shouldn't think I need to create something completely new for every project. From this suggestion, I decided that I should make many small paintings as well as my two big ones. I kind of like what I've done so far and don't want to start over but I also felt that just the two wouldn't be complete. These small paintings will be candid portraits of strange animal/ people hybrids. They solve the issues I've had so far (wanting to go with my usual style but also a desire to do something different)
It was also suggested that i incorporate text and writings on cannibalism into the paintings. I like this idea but am not yet sure how this will look
update:
My mum looked at my updated work (13/10) and got sad when I told her I would display the 2 canvases split. As a result of this reaction I’m considering displaying the little portraits around the big landscape.
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Research on Jungian philosophy
When hearing about my idea, my mum brought up Jungian philosophy.
Swiss psychoanalyst Carl Jung used ‘shadow’ to describe the parts of a person’s personality that we choose to repress/ reject. In ‘Psychology and Religion’ Jung writes: “Everyone carries a shadow, and the less it is embodied in the individual’s conscious life, the blacker and denser it is.” Embracing the shadow self can lead to a greater understanding of our whole self.
My mum connected this with my work, claiming I personified the shadow in my disturbing portrayal of cannibalism. The creatures seem to embrace their whole selves by dominating their shadow.
Churchman, Katie. “Embracing the Darkness Within.” 4D Human Being, September 24, 2019. https://www.4dhumanbeing.com/shadow-selves/#:~:text=Jung%20believed%20that%20we%20were.
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Influencing artists
Elizabeth Ranger, Lydia Deetz und Sandworm (2022)
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Visiting the National Gallery of Victoria
Picasso exhibit
I found myself to be very inspired by this exhibit, and the surrealism portion in particular. I've been unsure of how to compose my large painting for the self directed project and found this exhibit to clear up some of that uncertainty. André Masson's The Labyrinth (1938) closely resembles how I'd like my work to turn out. I've never had much consideration for backgrounds, I usually just leave them blank, but I think a subtle background in my work could make it more vivid and look less like the creatures are floating in space.
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Experimenting with composition
Final ??
Have the creatures kind of tumble over one another
The shark’s knees balance on the points of contact with the hamsters
I want them to look kinda innocent too?
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Self-directed project: Proposal
In the animal world, cannibalism occurs in instances of competition, in which the larger, more dominant animal claims dominion over the smaller, weaker one. Infant wedge tailed eagles and hamsters kill and eat their siblings and children to increase chances of survival, female funnel-web spiders, polar bears, and praying mantises consume their own species for the same reasons. The act of consumption, in a general sense, represents power; we eat that which we have power over (e.g. cattle and plants and grains are weaker than the human, thus are consumed by). I want to explore this in terms of myself; I wish to speak on my own domination over my past through imagery of human-animal hybrids consuming their own species.
I find that I reinvent myself every few years/ after I experience trauma. This process of complete change can be compared to cannibalism; viewing my past as the weaker version of myself, I (figuratively) destroy and consume her to survive/ make myself stronger. I want to illustrate this by combining human anatomy with animal features which commit cannibalism (though more subtly than my sketches below), composing them in this act.
I’m not certain whether I should step out of my comfort zone and work at a larger scale, inspired by Del Katherine Barton’s pieces, which would allow me to emphasise the fantastical element of these portraits with more compositional space. I’m used to working with many works at a small scale, finding it hard to invest so much effort into a piece I may not feel confident in. I considered doing this work in this way, with smaller portraits of human-animal hybrids (one per canvas) but think it may be better suited as a larger work.
I will also attempt to use oil paint over an acrylic base layer. I’ve been encouraged many times to attempt this but have always felt more comfortable using only acrylic.
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Approaches research
Subverting the inherent qualities of the medium
Utilizing technology in tandem with painting: taking away the textural materiality of the medium
Breaking from historical boundaries eg. the frame
David Heskin, Keepers of the Colors
Breaks the canvas to create a non-rectangular shape, subverting typical canvas appearance
Extends into space?
Henrik Uldalen
Missuses the ability of paint in history to blend and achieve realism.
The faces of his figures are often obscured by large blobs of unblended paint.
Fusing mediums with light, sound, fabric, air, and smell, expanding your medium in space
Introducing installation, video, performance art into painting practice
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