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.
Comentários