9.45am, on route to college, this time with Dad and dog.
9.30am, walked to college again with Dad and dog.
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The German artist worked in printmaking and stained glass during his early years. Moreover, he's known famously for his abstract paintings and contribution to colour theory. This research focuses on the series of paintings titled 'Homage to the Square.' Working with the same shape and size of canvas for each piece the focus is on the interaction of colour and space. Albers was exploring the relationships that colours cause each other.
Upon reflection, there are similar ideas emerging from restricting my use of colour to blues, whites and mustardy yellows. It's something I'm becoming closer to establishing figuring out as the work is evolving. The practice has begun investigating why these colours work together to evoke the sense of place I'm creating. Which then contributes to my overall understanding of painting as an artist.
Albers insisted his art was not representational but actually presentational. He described colour as being like actors on stage. When used and applied in various forms, like what we see in the Homages to the Square, they take on roles the same way performers do. Albers believed colour interaction could be referenced to human relations to society. He discusses the strenuous task of isolating 'pure' colour by relating the theory to the struggle a person may have with allowing relationships with other individuals or subjects.
This is important for me as an artist to understand colour theory if the paintings I'm working on are to ever become successful and established. I feel as the work is developing through colour and its application through various media my understanding is more solidified. I've been learning how to achieve the desired and correct shades through pressure and mixing. Achieving this means the colours work harmoniously in the way Albers is describing.
Overy, P. (1988). Exhibitions: Josef Albers. Available: https://search.proquest.com/openview/7ddff8ac428efbfbd1f6a2bf42a155f7/1?pq-origsite=gscholar&cbl=2026363. Last accessed 26th Nov 2020.
Albers, J. Homage to the Square: Departing in Yellow. 1964. The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London.
As my works have progressed, I've been holding onto the same limited colour palette. The reason for this was because the colours chosen were to represent the light I was picking up on from the walks such as the morning sun, sunrises, blue skies, cold sun. Through the ongoing process I was starting to realise I was trying to recreate the light rather than structural forms. I realised this through monoprinting, working fast and loose just to try revisit that feeling of the crisp, cold sunny rays on my face. Rather than abstracting architectural forms I was attempting to recreate the climate to enforce a sense of place. Then also determining the time, place and mood of a location through colour and lighting.
To relate this to the English Romantic, he's known for his expressive and controversial use of colour in his landscapes. He used it in such a way to challenge contemporary colour theory. Turner's work really has that sense of place, the viewer is able to understand and grasp the feeling of the locations he paints. Through more practice I would like to reach this point because as an artist, it's important what I'm trying to communicate to the viewer is clear and easy to understand.
The style Turner paints was also noted and relevant to this research. The child prodigy challenged the traditional methods of the Old Masters. His control of the paint which he wipes, blots and scrapes help to push for such atmospheric works. Emerging are these unusual forms and glowing shapes, it's edging into abstraction. Looking at Turner's from various perspectives by turning them upside down lets say; they become these beautiful and sensitive abstractions.
I am able to draw comparisons with the artist's belief also. Turner believed that landscapes could present emotional and artistic meanings. I agree with this since I have such an attachment to my local area that is being used as the subject matter. This is why I have chosen autoethnography for my methodology, I wanted the viewer to learn of my emotional attachments to the locations similar to how the artist has done. Reflecting on my practice it would be reasonable to assume their is a romantic approach towards this project. The viewer is understanding my biased perspective of what I think the area has to offer. They could entirely disagree with my appreciation, but as long as they understand why I feel so passionately about the place and taken something away from it then I believe I've fulfilled my goal.
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