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Post by doctorlouie on Jan 8, 2019 16:34:50 GMT
When I posted on BCB I was working towards becoming a visual artist. I'd trained (that is, studied for a degree) in Fine Art between 1984-1988 but hadn't - aside from a few bits and pieces - really turned that into anything professional. I returned to making art in about 2003, but still worked in conventional jobs. In 2008 I enrolled on a Masters Degree in Sheffield after doing a bit of arts admin and dipping my toe into making work. I completed the MA and then did a PhD (I'm sure most of the old BCB crew know this from Facebook. Forgive me). About half way through the PhD I dropped away from BCB as I was too busy / too easily distracted*. I completed the practice-led PHD in 2015 (hence doctorlouie) and now work as a tutor at a distance learning college (https://www.oca.ac.uk). I also assess for them and have recently written a Foundation Unit which should be rolled out soon. The best part of my life is that I make work. On the PhD it was drawings (mostly), but I've been making digital collages and paintings since then. Last night I started a '52 drawings in a year' project based on photographs I've taken at an old subscription library I've joined.  Posting images directly to this message board is - at the moment - beyond me, but I'll embed some that are hosted elsewhere... Comments welcome and apologies to those of you who are familiar with what I do.  After Pablo Picasso's 'Guernica'. Graphite on 72 paper panels. Each panel is 21cm square, making the finished drawing 240cm x 120cm.  After Hieronymus Bosch's 'Garden of Earthly Delights'. Graphite on 72 paper panels. Each panel is 21cm square, making the finished drawing 240cm x 120cm. (SOLD). *and the whole 'banning Yellowjacket' nonsense, of course. |
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Post by Half Machine Lipschitz on Jan 8, 2019 20:52:41 GMT
Yeah, those are pretty good I suppose. But have you seen this one that I put on facebook? And I don't even have a degree...  |
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Post by doctorlouie on Jan 8, 2019 20:59:47 GMT
I did an I liked it.
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Post by Half Machine Lipschitz on Jan 8, 2019 21:15:35 GMT
I know. 
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Post by oh oooh on Jan 8, 2019 21:26:15 GMT
That's better than the one I saw on Fb...
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Post by Half Machine Lipschitz on Jan 8, 2019 23:22:48 GMT
It's the same one!
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Post by NarBud on Jan 11, 2019 21:16:31 GMT
When I posted on BCB I was working towards becoming a visual artist. I'd trained (that is, studied for a degree) in Fine Art between 1984-1988 but hadn't - aside from a few bits and pieces - really turned that into anything professional. I returned to making art in about 2003, but still worked in conventional jobs. In 2008 I enrolled on a Masters Degree in Sheffield after doing a bit of arts admin and dipping my toe into making work. I completed the MA and then did a PhD (I'm sure most of the old BCB crew know this from Facebook. Forgive me). About half way through the PhD I dropped away from BCB as I was too busy / too easily distracted*. I completed the practice-led PHD in 2015 (hence doctorlouie) and now work as a tutor at a distance learning college (https://www.oca.ac.uk). I also assess for them and have recently written a Foundation Unit which should be rolled out soon. The best part of my life is that I make work. On the PhD it was drawings (mostly), but I've been making digital collages and paintings since then. Last night I started a '52 drawings in a year' project based on photographs I've taken at an old subscription library I've joined. Posting images directly to this message board is - at the moment - beyond me, but I'll embed some that are hosted elsewhere... Comments welcome and apologies to those of you who are familiar with what I do. After Pablo Picasso's 'Guernica'. Graphite on 72 paper panels. Each panel is 21cm square, making the finished drawing 240cm x 120cm. After Hieronymus Bosch's 'Garden of Earthly Delights'. Graphite on 72 paper panels. Each panel is 21cm square, making the finished drawing 240cm x 120cm. (SOLD). So is your art that you made these famous paintings into many smaller pieces? That have to be fitted back together? Did you redraw the paintings or just a large print you ran off? |
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Post by driftin on Jan 12, 2019 4:06:59 GMT
doctorlouie you have extremely good technique. I would love to have that kind of skill. Sometime very soon I'll post a bunch of my own art on this forum.
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Post by doctorlouie on Jan 14, 2019 13:24:37 GMT
So is your art that you made these famous paintings into many smaller pieces? That have to be fitted back together? Did you redraw the paintings or just a large print you ran off? To answer your question, I take a large jpg of the source image and chop it up into squares in photoshop. I then draw those squares. (I've settled on 21cm x 21cm as I can scan that size at home). When the drawings are put together they make up a version of the source image. There are usually little rupture between the squares that interrupt / disrupt the image a bit. I like that fault or glitch as it reveals the process and - without getting to arty - is where I am. I'm sort of in the way. I'm showing Picasso's work but you get it THROUGH me. All the images I've posted are by me. I redrew the whole things. Here's another. It's sixteen 25cm x 25cm squares, making the final piece 1 metre x 1 metre. The white borders reinforce the rupture / looking though effect. The thing depicted is a Joseph Beuys sculpture / installation called 'Economic Values'. It was shown as part of the Jerwood Drawing Prize in 2015 at the Jerwood Art Space in London (and won a prize). It's currently in my office if you want to buy it...  |
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Post by NarBud on Jan 14, 2019 15:52:40 GMT
So is your art that you made these famous paintings into many smaller pieces? That have to be fitted back together? Did you redraw the paintings or just a large print you ran off? To answer your question, I take a large jpg of the source image and chop it up into squares in photoshop. I then draw those squares. (I've settled on 21cm x 21cm as I can scan that size at home). When the drawings are put together they make up a version of the source image. There are usually little rupture between the squares that interrupt / disrupt the image a bit. I like that fault or glitch as it reveals the process and - without getting to arty - is where I am. I'm sort of in the way. I'm showing Picasso's work but you get it THROUGH me. All the images I've posted are by me. I redrew the whole things. Here's another. It's sixteen 25cm x 25cm squares, making the final piece 1 metre x 1 metre. The white borders reinforce the rupture / looking though effect. The thing depicted is a Joseph Beuys sculpture / installation called 'Economic Values'. It was shown as part of the Jerwood Drawing Prize in 2015 at the Jerwood Art Space in London (and won a prize). It's currently in my office if you want to buy it... Thank You
so is the concept re-interpretation?
Would it work with one of your own self drawn/painted works?
Or what about mixing up everything?
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Post by oh oooh on Jan 14, 2019 16:32:12 GMT
That really is a fabulous piece of art.
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Post by doctorlouie on Jan 14, 2019 17:19:37 GMT
The Beuys piece was an important part of my PhD research and as such was made primarily as a piece of research. That sounds wanky. I was looking into how a certain text that was written to help linguistic translators could be used by people making visual reiterations in contemporary art. There's a lot of it about. Making the drawing helped me understand all sorts of things that are not available to any viewer. The process of making released shitloads of insight for me. For example, the unavoidable distortion that happens between different 'modes' of representation is like the distortion that happens when a text is translated between, say, French and English. THat's not surprising, but it goes a lot deeper. The kind of mark I made seemed to have a kind of rhetorical power, in the way that the sound of a word might within a sentence. I could go on. And have done. What I learned by making these drawings that surprised me is that it allowed me to pair disparate works together (assisted by them being in the same 'language' after I'd drawn them) so that they sort of spoke or interacted with one another. I put the Beuys with a drawing of a Caravaggio and - for me - there's a link between them, Both show a penetrated field (the shelves are seen through and the skin is pierced) and both are concerned with doubt. The Beuys is full of products from East Germany (and they're crappy) that reveal how broken that ideology was. The Caravaggio is of Doubting Thomas. Like I said I could go on...  |
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Post by NarBud on Jan 14, 2019 18:29:08 GMT
Dr. Louie, thank you for your time and explanations.
Would there be greater distortions by transferring from a technique/medium that has fallen out of favor or little used now?
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Post by doctorlouie on Jan 15, 2019 16:57:34 GMT
Dr. Louie, thank you for your time and explanations. Would there be greater distortions by transferring from a technique/medium that has fallen out of favor or little used now? Could be. I've moved on a bit in my main practice, though I still think the careful graphite work will always accompany it. I'm in London this weekend (and have just booked a trip to Ghent / Delft /The Hague) and will probably make some drawings while stood in front of paintings. Partly it's a way of looking harder. |
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