Combination 5

            NO.15

This work is the first one of this semester, I'm still interested in the "composition of fragmentation" idea, the contrast of colourful and black / white, real image and drawing / painting, line drawing and stitching, cutting out pieces etc. Continuing the abstraction of feeling, touching, playfulness, endlessness... atmosphere.

Details

Left side is sawing, contrast with obvious line drawings, it is another paper on the top of the background paper, fold and sew them together.

To the lines drawing and sawing, using family colours. I like the extra string picks pigment by itself and sticks without glue or sewed. 

something about clay 8 (drawing)



Because clay will dry and stable during time period, it is a very material for modelling and making sculpture stuffs, I still didnt give up the "let the melted wax or oil pastels do their own job" idea, also it is a good way to explore the quality of clay, how curve it can stay, how stable it can be etc.

If roll the clay thinner it is less stable, would crack easier.

If roll the clay thicker it is more stable, but would have cracks after it dried.

Anyway Im not really like it, to me it is too boring too quilt, next time I will try less square / more free style...

something about clay 7 (drawing)

It is a wax piece, I just melted the candle and dropped the wax onto cardboard, leave it for a while then peel off it, but need be very careful.

Drop hot wax directly onto clay paper, I thought it would have dramatic effects, the wax would flout by itself to create different shapes, but, kind of disappointed, the hot wax got dry too fast to flout, I have to shake it by myself, also sometimes got black burned marks in the wax.

Lighting the oil pastel let it burn on the clay, cool, it did go directions by itself, as you can see the burning mark is quite nice and unusual, looks like figures, but, also it didn't give me the dramatic feeling as I imaged.

something about CLAY6 (drawing)

How to combine with oil pastels...

Painted the clay paper with different colours' pastels and the pressure will crack the clay paper into small pieces, join them with wax.

Or join cracked thin clay pieces and oil pastel with wax, in the process amount of wax will drop and stick on oil pastel stick, it can be blasting fuse.

Oil pastel contains oil and the wax on the surface can easily lighted, during the burning process, oil pastel stick will melt and drop on waxed clay, giving it colour. (can be slow or fast depends on how long the fire can last)

I tried make the clay base with a notch surround the oil pastel stick, it can last the fire and burning longer, on the stick surface appears air bubbles due the high temperature.

The ash has similar quality as chalk, dusty, fragile and fine.

something about CLAY5 (drawing)

Roll clay onto a print paper to create a piece of clay paper, the chosen of print paper because it sucks water very fast, can make thin clay layer steady.

The rolling process is slow and careful, the scale of the paper let I roll the clay block by block rather than a whole one, so it need cover all the joints. 

Try to keep the surface eventually otherwise after dried very easy to crack from the thinner parts.

Cover all the spots and corners, even out of edges.

Let it dry a while then turn it over, measure the scale with the help of pen and ruler, in the precess of rolling, some parts of print papaers moisted and bracked.

Leave clay paper to open space over night, then tear off the print paper, done.



clay pattens...

Try to combine clay with wax on clay paper.

something about CLAY4 (drawing)

Because clay has similar quality as flour dough, I tried to use rolling pin to roll it on glass, measuring how thin it can be.

Actually it can be rolled extremely thin, but because the pin's pressure the liquid which clay contained come out, make it sticky and its very hard to remove from glass completely.

If the thickness not too thin, its very easy to roll up, soft and changeable.

Thinking if can do something to the pinholes...

when the clay slightly dry, its a good time to model it, itself has supporting.

The colour of clay just too simplex, grey and flat, tried more changeable and more fragile coloury wax.

semi-final

      NO. 14

part

detail

“composition of fragmentation”, it mainly concerned itself with disjunctive compositions and 

diagrammatic fragments, two paintings with different sensibilities are trying to be dominant.

The family colors between washed-paper, the primary color of painting and the string I chose 

were pull and push viewers’ sight, I tried to force some further aspects with the experiences to 

achieve both distance appreciation and view in a close range, the numbers of ways like 

collage, stitching, reconstructing, cutting-out, the comparison between drawing and actual 

images or stitches. The reconstruct process drove whole fragments together as parts of my 

organic artwork.

details

Talk Notes.

I get the feeling that these two works have been jammed together

The sensibility seems very different

Interesting use of black and white images

The cut out trees, the sky

Are  more ordered and controlled

I like substance  of the work and the little squares here, from far away I didn’t notice they were sewn and I thought they were drawing.

You can see the relationship between the paint she has used.

A subtleness  kind of thing

I see the images as diagrams, there is a graphic design context

These images are closed up where the string joins

I would not imagine the colour and the cut outs together

Is it more about the diagram rather than the diagramatic

I find everything interesting but they work as two separate works

It is kind of a mad and I like that

It is the disjunctive  things I like that are really hand done

The work is disorientating, I like the idea but I do not like being forced to look at it

Colours match, ie thread and paint, a family line of connection.

Why the big black mount board

It is a throw back from primary school

It is a part of painting yet it isn’t

The top has a chalky effect to it, they do look very similar but different and I like the idea of each one trying to be dominant

Cut outs feed the idea of it being soft and architectural

Industrial, buildings, electricity, structured, organic intervention

Julie Mehretu

Abstract/expressionism

The hand drawn grid sense of blocks is very soft, the softness is much more ofthe body I 

want to see it playing off against

Grid - For me it makes the most of it

The idea of stitching together and using small thread is interesting.

These are incomparable qualities

The force of the connection.  Does this come with this

I feel like I am looking at a diagram of the internet, this comes with this etc

Force the disconnection, eg Ian’s story about incompatible materials

Deconstructing  the idea of making something completely new

The easy selection would be to pull something out

Thomas Edmonds

I think something else is going on here.  I like the different mosh-ups

my response - I would like to see them as complete opposites

Albert Olan

Placed elements in a violent way.  Play around with scale

Everything within this image is of a certain amount of dimension, getting a push and pull

Julie Mehretu

If the black paper was measured there would be a bit more drama, the more of a thinking about the black paper

How would it be if something touched the image

We may be seeing the beginning of something

Recognise each one of these elements as a thing as opposed to a background and a device

Constructing something

I think there is room for the ........................ to be more coherent

Shergy Jensen

If this is the conversation that moves into the collage of images are from elegant??

Highlight the soft stained  patches and then the tougher lines

This is a very delicate, quite slow, procedure

I feel like it is supposed to be growing out more

It wants to be organic or somewhere else

something about CLAY 3 (drawing)

I was thinking that if the clay would become soft in moist condition, how about totally soak into water...

As you can see, the clay block melted and became little bit sticky, after times stirring, the character is very similar as flour except the amount of thickness is less.

P.S  use hot water can speed up the integration of time.

This is when melted clay and water balanced, very trick and smooth oyster white liquid. 

I added oil pastel ash, it would not absorb, just flout on the surface, very colorful.

Pour the liquid onto a watercolor sheet, it standstills on above and absorb into paper slowly.

I tried shake the paper to increase the speed of absorption.

It was wet, after half an hour (studio was warm)...

Dried and left clay spots, also the oil pastel ash stayed with the trace.

Is there have difference when the order of oil pastel ash into clay liquid changed?

oil pastel drew onto paper already brushed with clay liquid

clay liquid brushed onto paper with oil pastel lines

Yeah it is has difference, the first one stayed but the second one melted and absorbed during more clay liquid added.

Michael Raedecker

Dutch, London-based artist Michael Raedecker good at using mixed media to explore 

familiar places and objects in everyday life. He found them on secondhand books or 

magazines, like bed, telegraph pole, table cloth etc. as a painter he did paintings on large scale 

canvas, but it is interesting to see the medium of embroidery on such surface.

Usually he likes use beige or grey-blue color to explore the nostalgic feeling in his works, this 

kind of color is so ambiguous and feminine, same as the embroidery skill, besides he used it 

in an architectural and masculine way, “Raedecker is brilliant in his combination of what are 

each classified as traditionally feminine and masculine arts”

His solo exhibition “Line-up” 2009 had high commendatory, there are fine string, rough 

thread and hair stitched into canvas over a layer of poured paint, he threw out the idea of 

inwrought pattern combine with painting and the considered construct was fitted each other 

well, also the colors he has chosen can see as a family line of connection, the traces of broke 

up the objects on the surface into fragments can found in details, this ambiguity between 

painting and thread really inspired me.

detail

detail

Palmor, L. (2009). Michael Raedecker: Line-up. Retrieved June 16, 2009, from

http://theartobject.blogspot.co.nz/2009/06/michael-raedecker-line-up.html