21/3 - 27/3 :: Week summary.

★Trip to London .
★Change in process confirmed.
★Forever exhibition.

Artist to look at.

Also during my tutorial, Derek wrote down a couple of artist images to look at:

 

Hieronymus Bosch - The Garden of Earthy Delights.

"Without a doubt, The Garden of Earthly Delight is one of the strangest paintings in the long history of art. Hieronymus Bosch, who executed this enigmatic work in the early 16'th century, has been acclaimed as an early explorer of the unconscious mind, praised as a forerunner of the 20'th century Surrealists, and also condemned as a madman. 

    Hieronymus Bosch (1450?--1516) was born in the town of 's-Hertogenbosch in the Netherlands, and although he spent most of his life in this provincial environment, his fame as a painter of obsessively detailed and disturbing religious works spread throughout the late Medieval world. His paintings are filled with apocalyptic images of hellfire and damnation, and seem to hint at other, incomprehensible terrors that burrow far beneath their overt eschatological  concerns into the subterranean depths of the subconscious. You may view one of his best known paintings, The Garden of Earthly Delight, by clicking on the thumbnails at left. (Downloads are a little slow, but the images are large and of good quality.)
        The symbolism of this remarkable triptych appears to be right out of a nightmare. A multitude of figures intertwine in such fantastic and intricate patterns that the eye becomes easily confused by the complex imagery. People mingle deliriously with plants, animals and monsters, and all are leaping, dancing, running, copulating, defecating, and tormenting each other with an almost convulsive frenzy. 
    The three panels of The Garden of Earthly Delight depict man's fall from the Garden of Eden and illustrate the hellish fate which awaits those who succumb to sensual temptations. The right panel shows Adam and Eve standing with Christ in the primordial paradise, but even here the modern interpreter encounters disturbing elements. The strange landscape in the distance and the odd behavior and appearance of some of the animals indicate that all is not quite what it seems even in Eden. The central panel illustrates all the carnal pleasures of worldly existence. Humans frolic with animals and other hybrid creatures in a frantic debauch of nightmarish intensity. The third panel shows us the torments of Hell, and here Bosch demonstrates his dark genius for devising instruments of torture. People are being cut, sliced, burned, skewered, and devoured by a horde of demonic monstrosities while the eternal fires of  the pit rage undyingly in the background.    Theories regarding the deeper meaning of this startling imagery abound. In 1947, German art historian Wilhelm Fraenger argued that Bosch belonged to an heretical sect called the Adamites which performed secret, orgiastic rituals. These clandestine rites, according to Fraenger, were portrayed in some of Bosch's paintings. Another opinion claims that Bosch was an alchemist, and that he incorporated alchemical allegories and symbolism into his works. Carl Jung viewed Bosch's startling symbolism as ultimately deriving from the collective unconscious. Dirk Bax and Walter Bosing  forgo psychoanalytical interpretation, and contend that the bizarre imagery used by the Netherlandish painter only seems mysterious because it is all based on parables, puns, and folk tales that are obscure or totally forgotten by us today, but which were commonplace and easily understood by 15'th century viewers. The most recent theory, propounded by Lynda Harris, claims that Bosch was influenced by the doctrines of the Cathars, another Medieval heretical movement.     Today, our initial reaction to this lurid triptych is typically one of revulsion. Both its subject matter and its obsessively detailed composition make it repellant to contemporary tastes. But there is also an undeniable fascination. The painting seems to challenge the viewer's ability to visually comprehend all its confusing intricacies. Most people are left with the impression that they have missed certain details, and typically remark, after subsequent viewings, that they see something different each time they examine this work. An acquaintance of mine actually developed the irrational conviction that the figures in the central and right panels had moved to different positions every time he studied the painting, and swore that new figures appeared from time to time. Although this type of delusion is rare, it helps illustrate the impact which Bosch's work can have on the imagination.     The Garden of Earthly Delight, now displayed in the Museo Nacional del Prado in Madrid, Spain, is undoubtedly a disturbing thing to behold, but this has not prevented it from being widely reproduced and successfully marketed. It continues to exert a powerful fascination even though the worldview which inspired its creation lay 600 years in the past. "  Miller, W. M. Unknown. Online. [Available: http://hassan331.tripod.com/Bosch/Garden.htm ] 

Richard Dadd - The Fairy Feller's Master stroke (1855-64)

"Richard Dadd painted this work in the Bethlem Hospital where he was sent after murdering his father and being declared insane. The scene was drawn from his imagination. It shows the ‘fairy-feller’ poised to split a large chestnut which will be used to construct Queen Mab’s new fairy carriage. The style, subject and shifting scale of the painting all contribute to a sense of the fantastic that fits the critic Herbert Read’s idea of an imaginative tradition running through to Surrealism in the early twentieth century." - Tate collection [Available: http://www.tate.org.uk/servlet/ViewWork?workid=2979&tabview=text ]

While looking at this piece I found this link , revealing a poem that was written by Clare Pollard. Clare Pollard has published three collections of poetry, the latest is titled 'Look, Clare! Look! (2005). Her first play was performed at the Royal Court in 2004 and she is currently writing her first novel. 


I think Derek got me too look at these paintings because of their pure bazarness. They are both very busy, full of colour, drama and weirdness. Which I think links to my book in many ways; in 'The Demon Girl' the demons don't see the forest where they live in a normal way. Like how me and you see a forest. They see it through colours of purple and blue, not your average browns and greens which we would see. 

"Confuzzled" i.e Confussed!

Well, where to start after the whole fruit tattoo embargo, which in all honesty I don’t believe will work; because the images I have come up with so far are quite detailed and are A3 size which is bigger than the surface of a standard fruit (ie orange, grapefruit etc). Trying to tattoo one of my illustrations onto a fruit would be like trying to put a full sleeve tattoo onto half an arm.

Throughout my tutorials the one thing that as been mentioned thought out them all except my tutorial with Johnny, is that the tutors have not been fans of my painting style. Even though I’ve doing it for year, got commissions and never had any complaints. Yes, this is my first time using acrylic inks so It as taken some adjusting, to create the effects I wanted. So my first few illustration (from previous blogs) and the one that follows below was not has good as they could of been.

After Pete stated that he did not like the painting style and we came up with the tattooed fruit idea, I have been left feeling frustrated. Even though I loved the idea of tattooing for a project, after thinking about how it could work more in detail, it wont! The only way it could work is if I selected small sections form each illustration to tattoo onto a piece of fruit. My only reservation with this is that you would not be seeing a full illustration just a character or  a small part of the background; so would this really be illustrating the book?

The following painting style came about when I was chopping up my illustration to see if just seeing certain sections would work. Around this time I had a visit from the parents. My mom was looking at my work and suggested me just painting the outline of my illustrations. (See below image).

 

I know it is not just the outline I’ve painted. I did to start with but I felt like it wasn’t enough. The forest didn’t appear heavy/solid enough.

I really like how this style turned out so I went on to re do one of my other illustrations. Before I completed that illustration I had another tutorial with Derek.

Tutorial with Derek - Well this was frustrating. I had not seen Derek during this project so he had know idea what I was doing with this project. I proceeded to tell him, how I got started and what had happened. Before I  could get half way through what I was saying Derek interrupted, to go on for over an hour, with a few moments of me trying to explain. A few ideas got thrown about about doing more in photoshop to create the images. He wasn’t keen on the painted images either (He said I’ve never done any painting before so why know?, well yes I have just not for uni! Even had commissions and had my paintings displayed in a couple of exhibitions outside of uni. I haven’t done any photoshop stuff either but it's ago to do images that way!!)
Another idea, because Derek liked my illustrations as line drawings. I came up with the idea of having the line drawn illustrations and transferring those drawings onto the body with carbon paper (like you would before you tattooed an image) and photographing them. 

I came away more frustrated and more confused than I was before having the tutorial.

After a day of not knowing where to go next, I decided to try the transferring onto skin and photographing them. The below images are the results of this experiment.

I only transferred Rae’s wings, because they are quite detailed so it would give a good indication of how much of the detail would show up once transferred to skin (and not touched up) and then photographed.

I have mixed thoughts with this, I like it because it looks like a tattoo (which is my obsession) but does it work as an illustration? Would this work in a book, and could it be sold or published as the illustrated version of The Demon Girl? I am not sure.

I really am unsure on where go from here. There are a few different processes and ideas, but with me having mixed opinions and thoughts on all of them, I don’t know which one would be the best one to use. I am also not completely ready to give up on the painted illustrations idea.

I have also just been informed by my housemates Becca (who is also on my course) that her tutorial this week was not about her FMP but about which pieces of work would be good to use for the degree show catalogue. We have a double page spread each to show several pieces of our work, which all have to be flattened and CYMK set. Derek did not discuss this at all during my tutorial, so I only know what Becca as told me. Luckily I know how to flatten images and set them to CYMK. I’ll have a play around, select a few pieces of my work and then try a speak to a tutor during next week to sort it out.

Let the stress continue! 

14/3 - 20/3 :: Week summary.

★ Fighting with paint.
★ Confussed - Tutorial with Derek.
★ Artist to look at.
★ Change in process.

Forever exhibition

Just thought I would drop a line to let you all know about an exhibition that I am taking part in, back in my homeland.
It will be at the custard factory in Birmingham. It's an exhibition that as been organised by Dawnii Fantana, Claire 'Lulu LaRocca' hearne and Jo Farn! (You can find them on Facebook).
The exhibition is made up of many artists who are influenced and inspired by the art of tattoo - many of the artists who are featuring are tattooist however there is also photographers, illustrious, street artist, jewellery designers and more.

The exhibition is for one night only - 27th March. Make sure your there to enjoy the art, live bands, burlesque dancers, hula-hoop performer, and cake!

Please check out the Facebook link below check out the artists and their work!

FOREVER EXHIBTION

Hope to see you all there on the night let's make it a good one!!! :)


Even though this exhibition is not a direct link/influence to my uni work, it does play apart because the work shown in this exhibition was created by me, just like uni work is; and they both inspire each other. I am my work and my work is me.

My illustrations posted...

The author of The Demon Girl - Penelope Fletcher as posted my illustrations on her blog!
How fab is that!  She's genuinely a nice person.

Check it out by clicking on the following link.

FICTION FIERCE BY PENELOPE FLETCHER


What else is there to say - just AWESOME!!!

Peace.

Brain truly frazzled….

If I wasn’t stressed enough I defiantly am now. Saw Peter today for a tutorial  about my FMP. He didn’t like the process (painting with acrylic inks) I was using to create my images. He wants me to find a process I’m more familiar with.
After a long discussion, we came up with tattooing fruit. Obviously tattooing is my obsession (as Pete so put it), so I am familiar with the process - I’ve been doing it on people for a year and 4 months now.
What has fruit and tattooing got to do with The Demon Girl. As I have stated in previous entries, The Demon girl has strong tattoo influences throughout the book; mainly through the characters, with details of their tattooed/marked bodies.
I now plan to take my previously done illustrations, chop them up to create smaller illustrations that will fit onto a piece of fruit, so it will allow me to tattoo it permanently onto the fruits skin.
What relevance does fruit have to the book; well there aren’t any fruit trees in the grounds of the temple (human territory), so fruit is seen as a luxury and impossible to get. There is a moment in the book where one of the cleric’s comes into the classroom eating an apple and you zone into Rae’s thoughts, about how did the cleric get hold of such a rare item; a piece of fruit and that he must of done something or known someone to be able get hold of it. I do think you can tell from her thought’s how she envies the cleric, not because she wants to be a cleric (in fact she seems to be developing having little respect for clerics) but because she desires that piece of fruit.

I spent the afternoon after my tutorial researching typical meanings/symbols that fruit can represent, in order to create links between those meanings/symbols and the story.

Fruit and there common meaning/symbol.

Apple:
Temptation, Forbidden fruit/love
China: Peace, women's beauty, joy, fertility & youthfulness.
Greek: Magical, golden, believed to taste like honey.
Mythology: Eternal youth, gluttony & immortality.

Fig:
Greek: God of Wine, Drunkenness and sexual desire.
Buddhist: Enlightenment.

Pear:
China: Avoid separation, friends/lovers (Should not be divided and pears should not be divided them.)


Plum:
Chinese: Early beauty.
Buddhist: Enlightenment, absence of desire & suffering.
Asia: Young women, abundance & earth bounty.

Oranges: 
Love & marriage, “golden apple” , Strong fragrance.

Blood Oranges: 
 Death.