new idea!!!!!!!

i am off to work on the idea!

it involves objects coming from the walls, like wheels or cogs that have materialisted throught the wall.

Mario Merz
Feb. 26-Jun. 18, 1989



Mario Merz was the Italian artist's first major solo exhibition on the West Coast. Commissioned by MOCA to do a series of installations during a month-long residency, the artist created igloos and large-scale tables from local materials such as glass, neon, wax, and metal. The exhibition, curated by Mary Jane Jacob, was organized in collaboration with the Incontri Internazionali d'Arte, Rome.

When researching on my degree show space and how the paintings can provoke certain signifing meanings: i found Mario Merz. His igloo shapes that are made from a range of materials caused me to see them as half sphreres comeing from the ground.

This idea of a shape embedded in the groud surrounds the way in chich bubbles are formed within institutions. This bubble is firmly exiting the floor which signifies the point of bursting.

Another thought is the way the paintings will be visible. All the works will face outwards creating a surface of faces. The eyes all being closed seems like the anticpation of waitng for the bubble to POP!

I want to present two groups of paintings. The first is the 40 students all painted from small passport size photos. The second group is the 10 members of The Joy Collective of which I am apart of. They are painted from life, each member of Joy sat for a maximum of 3 hours. Some where completed in one hour.

These two groups: Student & Joy

Student becomes an object that is joined together by its structure. This object will reference the institution and the collection of people under its control. Joy will represent the collection but be guided by a contrast of design and form.

Such contrast:

point
small / big
volume
planes
light / dark
weak / strong

These contrasts will make the presentation of the paintings on the wall / space or none or both.

installation

gerhard richter

research

The circle

power pow

Hieronymus Bosch 1450-1516 -The Bosch Revolution of 2001

http://images.google.co.uk/imgres?imgurl=http://rolfgross.dreamhosters.com/Bosch-Web-2005/Images/ThePedlar.jpg&imgrefurl=http://rolfgross.dreamhosters.com/Bosch-Web-2005/TheShorterBosch3.html&usg=__PavZFnv5IPYDDoCRV-EGprunz0k=&h=648&w=638&sz=86&hl=en&start=7&um=1&itbs=1&tbnid=wVM8sy2o8pIj2M:&tbnh=137&tbnw=135&prev=/images%3Fq%3Dtraditional%2Binstallation%2Bmethods%2Bof%2Bpaintings%2Btondo%26um%3D1%26hl%3Den%26safe%3Doff%26client%3Dfirefox-a%26hs%3DsF%26sa%3DN%26rls%3Dorg.mozilla:en-GB:official%26tbs%3Disch:1

http://rolfgross.dreamhosters.com/Bosch-Web-2005/TheShorterBosch3.html

Raphael

The circle is opulent. A eternal line of desire.


:
"most interested in the works of British Rococo and Romantic artist Thomas Gainsborough (1727-1788), the de Brécy Trust was established to take charge of his Old Master and Modern drawings, etchings, paintings and prints, making the benefactor's collection available for future generations to study. Vigorous research to authenticate the de Brécy Tondo as a work by Raphael continued for some 24 years."
ref http://arthistory.about.com/od/renaissanceart/l/bl_debrecy_tondo.htm
de Brécy Tondo,
15th-16th Centuries
Oil on canvas
Diam. 95 cm
© The de Brécy Trust

Andy Warhol

a traditional way of installing a large amount of portraits in a space. The portraits are viewed as if viewing mugshots or identity line ups. This instantly urges the viewer to question the individual, and surreptitious dialogue is formed.

The subject is passive and demands the viewer to force a relationship making the painting a dominant factor in creating narratives and connections.

Colour Compostion

Johannes Itten was a teacher of design and colour at the Bauhaus. His theories on colour have inspired many of my works. I have made these smaller versions of each portraits inorder to experiment with the colour composition and relationships between each painting. There are a wide spectruum of clour and i want to make sure that there is adequate thought gone into making each painting work together aswel as individually.

ALL PORTRAITS SO FAR

Alex O'Rouke



Ashley Cooper



Belinda Lawrence



Brett Macpherson



Chris Chapman



Chris Soul



Chris Wittington



Dee Brien



Harriet Dhivar



Hazel Tremellen



Ian Denne



Jade Turner



Jessica Crookes



John Clements



Jordan Ring



Lauren Harrison



Lizzie Beamer-Rimmer



Louise Green



Lucy Greenfield



Maggie Cronk



Matt Redman



Nicole Cudsen



Pat Grindley



Patrick Wilkins



Pete Walsh



Rhys Ellis



Sam Worthington



Sarah Wilk



Will Grey

The Cube

The destinction between painting and scultpture is the dimensions in which each exsist. Painting is a 2-dimensional image. 3-dimensions are created in painting by tone, depth and colour relationships. When you apply paint to a surface you have to go under the surface to create the 3-dimensional illusion. With sculpture it is seen in 3-dimension. However, when sculpture is viewed as a photograph then the work itself becomes 2-dimensional. With painting you can use various tricks to show form and the viewer might not pick up that the anatomy isn't accurate. One tool is the use of colors to distract the eye. Whereas with sculpture, the only color is the shadows created by the material itself. It can be viewed from all angles to see if it truly is accurate.


Painting is in 2D and sculpture 3D. Painting is one degree, one angle. Sculpture is 360 different "paintings" all in one piece of art. 360 degrees.



The idea behind creating a painting/scultpture is to explore the uses of colour and shape in both media. Sculpture and structural crafts have provided painting with its very foundations. Despite their differences, both Michelangelo and Leonardo both were of the Florentine tradition of painting which would eventually be eclipsed by the Venetian way of handling paint. Both were contour oriented in the crafting of their paintings. This "structural" approach to painting has much in common with sculptural ideas. By combining what is found in the colour and structural experiments the end result will evolve into a multi-faceted piece of work that denotes several meanings.



The concept for the cube came about when I decided that i would not hang my paintings on the wall, like tradition suggests I do. I played about with placing them on the floor and hanging them from string. These experiments turned out to creat a murky cloud over the idea. I chose the Cube as it would enevitably lead me into a realm of shapes and forms that could be manipulated and arragned according to the concept.



The Cube will have structural identity. The interior will be constructed by Triangles. The exterior will be made up by the painted cirlces. These three shapes are the basis of architectural study and design work. This fitted well with the experiments in colour I started doing with the portraits. By allowing the shapes to act as their natural form the expanse of other forms being made is vast.

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Chris Chapman - 1 hour