Despite finding this assignment a bit of a long slog, I have received an encouraging feedback report full of pointers and references to try to help me move my work and study forward.
Have a look at the approach of Scarlette Homeshaw.I’ve watched her literally set about her lino with tools. She responds to a previous layer rather than plan! She can have about 20 layers.
I have previously looked at the work of Scarlette Homeshaw and noted the number of layers that she uses; it is encouraging though to learn that it isn’t a sin to respond to previous layers rather than plan each layer beforehand. Now playing with abstract work in my sketchbook, the colours and forms that I am choosing are often in response to those that I have used previously.
I see this as a more organic process and way of working, thinking and assimilating as I work.
In order to move your work forward start to consider what are you making work about in greater depth. What are you trying to say, share, c hallenge or represent in your chosen themes?
Oddly, in my research for Part 4 Collagraph chapter I noted (and highlighted in my notes) a comment by Catherine Headley that she always asks of her students ‘What do I want to say in my art’. So, yes I do see this as something I need to do.
I’d look at the wider cultural significance of the pig and what themes are you developing by choosing the animal, it can be very contentious.
I have made a note to look back at my work when I have time and see how I can develop my ‘pig’ theme. My initial thoughts, with my pig celebrating ‘pannage season’ are more in a direction of exploring the historical customs and maybe folklore from this part of the country.
Some of the pointers to artists that use animals to convey a message aren’t to my taste, but it has helped me to understand why artists may use animals for this purpose. If humans were depicted in such ways (donkey in cage / zebras in the arctic) would we ask questions about the maybe ethical ideas and scenarios that the artist is attempting to portray; as a race (generally) humans do not tolerate animal cruelty, but human cruelty is often ignored and pushed into the background. Just my thoughts!
Have a look at the work of a young artist Fabian Matthias Osbourne, he etches lino and treats it in an unconventional way.
It’s interesting to see the similarities of the surface texture and marks in both his lino and ceramic work. An interesting method of working but I’m not sure I want to be playing around with Caustic Soda at this moment in time.
Have you considered developing your own work into a more paired down abstract aesthetic?
Yes I have thought of this but I am struggling to abstract the relevant parts, here’s hoping that Part 4 will help me along the journey.
Some of Hetty’s work reminds me of David Blackburn.
From David Blackburn I also see Barbara Rae
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