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(1985) ARIKHA, London, New York, Tokyo: Molborough Galleries, p.23, 24, 25,
27, 78, 79, 80, 81.
Brown,
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(2006) Tracey Emin, London: Tate Publishing, p..
Godfrey,
T. (1990)
Drawing Today, Oxford: Phaidon Press Limited, p.15, 16, 32, 33, 38, 40, 41, .
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S et al.
(2006) The Portrait Now, London: National Portrait Gallery Publications,
p.21, 68, 69.
Mallock., T. P. (1989). Tom Phillips: The Portrait
works. London: National Portrait Gallery Publications.
Plotkin, N. (2010 ,
October 3rd). Painting Perceptions. Retrieved from
http://paintingperceptions.com/figure-painting/euan-uglow
Tusa, J. (2012,
December). Transcript of the John Tusa Interview with Frank Auerbach.
Retrieved October Last updated in 2007, from BBC Radio 3:
http://www.bbc.co.uk/radio3/johntusainterview/auerbach_transcript.shtml
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Wednesday, 26 June 2013
Megan Rodgers - Bibliography
Tuesday, 25 June 2013
Megan Rodgers - Evaluation
Immediately
after the FMP launch presentation I asked one of my tutors Richard for a
tutorial to reflect on my work so far and how I can progress. We discussed my
strengths – exploration of subjects, quantity of work produced and my drawing
technique. We also looked at aspects for further development which were working
up in scale and being prepared to re-work my drawings.
My
initial idea was identity and looking at my relationship between me and my
family. I experimented with exposure on manual setting to produce blurred/
distorted images so that I had something to work from. Also I made a short film
of my brother to take stills to draw from, looking at the relationship between
me and my brother. This lead to my tutor showing me the artist Richard
Billingham. I didn’t follow through with my plan because I didn’t want to work
from images, I wanted to work from direct observation.
I
travelled down to a UAL drawing conference at The National Portrait gallery in
London with Jamie which explored how individuals both in and outside art, use
drawing. I found Ali Mawle’s and Colin Wiggin’s discussion inspirational. They
talked about the work of Jenny Saville. Taking inspiration from masterpieces,
she made reproduction drawings after Leonardo’s ‘The Virgin and Child with St.
Anne and John the Baptist’ I learnt that this work was about her experiences in
motherhood. Multiple impressions are drawn, erased and super-imposed. Their
relationship is expressed in a series of dynamic poses and it shows how Saville
struggles to keep control of her struggling child. They also discussed the work
of Frank Auerbach in particular, the drawings he made of the artwork around The
National Gallery which were short studies. This work is now displayed in the
Galleries café. I was inspired by these drawings especially Frank Auerbach’s
because I felt I could relate to his drawings by his use of materials. I had
already known about Frank Auerbach because I saw one of his self-portraits in
the National Portrait Gallery earlier in the year which is what I think
inspired me to do my self-portrait.
I
feel like my work started to progress further after my self-portrait and after
my experience at the drawing conference because I think they both gave me more
confidence in my passion for drawing. This is when I began working larger in
scale. I also began thinking about how I could move my project further by
asking other students to pose for me who were willing, as I had been drawing
mostly at home. I realised I had been drawing family and friends because it was
an environment I felt most comfortable. Drawing others at college had its
challenges because I had to adapt to much shorter poses as I work from
observation and I can’t expect students to pose for long periods. However, I
did go back to drawings and re-work them. I find it much more interesting working
from observation because I think it gives the work a more personal insight as I
learnt through reading ‘Tom Phillips Portraits’ book. He practise's over many
sittings as he is a slow worker, which gives him the opportunity to get to know
his subject in depth; their personality, moods and expressions because over
many sittings the sitter will start to relax into a natural pose. However my
drawings are more immediate.
I
began to look at other ways of drawing. I drew with wire from observation in
the life drawing class which lead me to make portraits from home as well. I
took professional images of these in the photography studios which I used to
support my drawings for my entry into Wimbledon college of Art & Design.
After
working with wire in two-dimensional form I felt confident in experimenting
three-dimensionally. However, I made a small clay figure just to get used to
working with other materials first. My plan was to make a large wire sculpture
of the human form after researching into some of Antony Gormley’s wire
sculptures. Before this, I tried using thin wire to make a large sculpture from
observation of one of the other students in hourly sessions but it didn’t have
any support at all. Rosa Verloop is a sculpture artist who works with stuffed
stockings and twists them into a human figure. I was inspired by the textural
qualities and began experimenting with the heat gun over tights on a ball of
wire mesh and soldering onto wire however the solder wouldn’t stick.
The
copper wire mesh became the best option because of the support. I was able to
photograph the life model and worked from the photographs that I had taken at
the different angles I needed. The head
had enough support but as I progressed onto larger parts of the body, I started
to lose the support. I asked my 3-d tutor and she suggested trying to
manipulate the body more like I did with the head. I struggled and started to
think I was too ambitious. I placed my sculpture in different parts of the
exhibition space and found that placing it onto a plinth against a wall gave
the sculpture more support and experimented with spot lights. The spot lights
made the sculpture glow and gave an effect I liked so I decided to leave the
sculpture and consider it finished when lit.
We
had a budget for framing in the exhibition and agreed on 2xA0 and 1xA1 because
I needed large frames for my drawings. I knew that I would need a large space
for my three frames and sculpture. People who needed booths got their spaces first
because they needed certain spaces to accommodate their work. The show was
successful because it was curated by staff and students rather than everyone
just being given a space or a board. This allowed us to learn about preparing,
curating and hanging an exhibition. This final learning will prepare us for the
next level at university.
Megan Rodgers - Proposal
The UAL
Foundation course has provided me with the opportunity of experimenting in
different pathways within art and design. The course has expanded the way in
which I can present my ideas and concepts including editing photographs and
drawing with light in photography, using drawing in scratch film, screen
printing and dry point print and etching, and observational drawing in the life
drawing classes.
I have decided to
focus mainly on drawing on the course most recently because I consider this to
be a media I have found most interesting to use. I have experimented with a
number of different subjects, materials and processes so far. I went to a farm
and made drawings of animals and then developed them in to print and used them
as a subject for further drawings. I also worked in the life room drawing the
figure and extended this by making drawings outside of college of my family and
friends.
The Final Major
Project will allow me to use skills I have learnt and build on them. I want to
continue with observational drawing of the human figure and portraiture.
Initially using photography as a starting point to produce drawings, I aim to
ultimately make large scale drawings and paintings which will be the main focus
of my final exhibition. I could also develop from drawings further into 3d and
drawing with other materials.
Some struggles I
may come across throughout my project might be working out of my sketchbook
onto a much larger scale. I feel the subjects and media I have chosen to use is
quite accessible because as I will be working on portraiture and there are
people there who are willing to be drawn. I will be able to buy materials
easily by ordering online, for example or visiting the local art sale. I will
use a variety of techniques and materials. Initially photography and then
collage, drawing using oil, acrylic, charcoal and painting in order to further
develop and explore my ideas and images.
I will research
into the work of a variety of artists whose work is concerned mainly with the
figure including Frank Auerbach – quick drawings, Marlene Dumas, Tom Philips,
Richard Billingham, Elizabeth Peyton, Alice Neel, Jenny Saville, Cecily Brown,
Tracey Emin, Sarah Lucas, Gillian Wearing, Sam Taylor Wood. I am currently
researching into the work of Richard Billingham’s photography ‘Ray’s a laugh’
and his video ‘Fishtank’ - he records his close family. Gallery visits will
also help me with research into my project.
I will reflect on
my work using my notebook and blog. Also tutorials with my tutors and crits
with other students will help me progress further with my work.
Thursday, 20 June 2013
The Shop
Everyone who was selling additions helped set up the shop. We displayed the work in the technicians room next to the exhibition room because his workspace had alot of surface area for our frames. Me and a friend brought two other tables in at the back of the shop and covered them with canvas and arranged our work. Some of the A1's were placed on the floor because they took up too much space of the tables.
I decided to display my folder of drawings for people to buy at a negotiable price.
Around-
£30 for A1
£20 for A2
£10 for A3
Everyone agreed on 75p for the postcards -
I made screen prints of three of the animals I had drawn because I felt these would be the best sellers. Pigeons, cow and goats prints (drypoint/ screenprints) All prints at £30.
Wednesday, 19 June 2013
The exhibition
I feel very pleased with the outcome of my exhibition. I feel I have improved considerably since last year. The whole experience has helped prepare me for moving onto degree level and has boosted my confidence. I now have understanding of the amount of time, effort, organisation and planning that goes into running an exhibition show and I feel my passion for art has grown. Huge credit for my tutors for their encouragement and support through all the challenges I have faced this year.
When I brought the dry-mounted drawing back from the framers Jamie thought that It should put into the gallery. Jamie and Jo helped hang my work. We also thought that we needed to fill more space at these sides of my space because I was worried about there being a huge empty space next to my other drawings. I was Initially going to have my sculpture at the bottom of this space but found a more suitable place. The 3-d qualties flow into the textile project just behind the board. The sculpture is also in a space were people can pass it without any distracting then from the work on the boards. The sculpture is noticable from across the exhibition room because of its glowing qualities.
When one of the students hung her large framed photographs, I was worried about the reflections caused by spotlights over her photographs. We adjusted one of the lights so that the one facing towards the photographs were hidden behind my sculpture.
When one of the students hung her large framed photographs, I was worried about the reflections caused by spotlights over her photographs. We adjusted one of the lights so that the one facing towards the photographs were hidden behind my sculpture.
Framing Work
Wednesday - Exhibition day
Before going to IKEA I had already researched into the sizes of the frames and mounts. I knew that the mounts in the frames I wanted would be too small so I rung Abdul the framer from Tilt on Saturday to ask if he would be able to crop mounts and at what price. He said just bring them around with the artwork to do it. Costing at £4.99 per mount.
Framing last pieces of work. We went to IKEA Monday to get the frames but we couldn't get the mounts cropped until today because Abdul was busy yesterday. Our mounts needed to be cropped to the least amount of overlap.
A1 paper size: (w)59.4 x(h)84.1cm
The mount size was:
(w)49 x(h)69cm
Me and a friend worked together because it would make framing these large frames easier. This included taking off the board at the back, wiping away any dirt, taping artwork to the mount, signing and dating, putting the mount and board back into the frames and closing them.
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