From my previous experiments with larger scale imagery I found it essential to not only explore further details of form, but also the general shapes found within gesture. Towards the beginning of my observational sketchbook, I had completed observation sketches from life in predominantly charcoal. As these were taken at a rapid rate, a lot of form was lost. This was due to both the speed of the drawing and the lack of definition due to a soft media choice This lead me to complete some drawings with mainly pen in my sketchbook focusing on the simplistic forms, taken from some of my own photography.
I began completing studies in biro with some aspects of charcoal
retained at first. However, I found myself falling back into the habit of very
expressive mark making with charcoal deviating from my initial study. I decided
to remove all charcoal from my bench in order to work solely in pen. By forcing
myself to define gesture in only line I had a better understanding of the
shapes inside the gestures I was studying. This simplistic format of drawing
the human form led me to a similar style of early cubism. Pablo Picasso's Les
Demoiseles d'avignon (MoMa n.d.) similarly focused on simplistic shapes to
convey the subjects. Similarities from my studies to Picasso's work can be seen
in particular in the studies of arms. Looking at each component as separate
shapes and joining them together at almost narrow hinges.
The
images which acted as the base for my studies of simplistic gesture were taken
from shoots I completed in a photography studio. I took many images looking at
slow shutter speed in order to portray movement. As a result of this some of my
studies required me to layer the same gesture over one another to mimic the
distortion seen within my photography. Despite drawing in the same fashion as
before, comparative to that of Picasso's work, my studies also mimicked that
of Marcel Duchamp's Nude descending a
staircase No2 (Phillidelphia MoA n.d.). Duchamp being also an early
cubist artist, his suggestions to form are far more abstract in
concept comparative to Picasso. Rather than a still somewhat organic
form created from rounded marks in Les Demoiselles d'avignon, Duchamp's Nude
depicts figures in mainly geometric fashion. The image was comprised of twenty
individual positions each layered over one another. Similar by nature
and idea of that of slow shutter speed, here many movements of the model are
delayed to create the same fragmented tone. Many photographers, such as Gjon
Mili, have recreated Nude descending with similar photography effects similar
to what I used to capture movement.
Mili's interpretation of Nude descending takes on
a far more figurative tone. Here you are able to distinguish between individual
positions, this is due to the choice to have some gestures brighter and other
translucent in appearance. This image is comprised of multiple shots edited
over one another to create the illusion of the subjects’ journey down the
staircase. When looking in detail at some of the individual gestures it is
clear to see there has been an aspect of long exposure was used. A ghost
like shadow of the motion can be seen to almost attach to the same limb, this
mimics the fragmented nature of Duchamp's work. Despite my photography lacking
this additional editing process it is clear to see the transition of how I
would be able to interpret this style. A textural way of achieving this
finish would be to layer the same image over itself with prints onto acetate.
Within my first year in art I experimented heavily with the idea of using
acetate prints in order to re-contextualise an image and found the technique to
be something I thoroughly enjoyed.
Upon my
recent visit to the Royal Academy of Arts for the Abstract Expressionist
Exhibition I came across a piece of Mili’s entitled ‘Figure Skater Carol Lynne’
(Light painting photography n.d.). This was a style of Mili’s work that I had
not previously seen however found direct links to the style I am attempting to
portray within my personal investigation. Here Mili has capture the motion of a
figure in a truly abstract format. I took sketches from this work and found how
the image gradually developed further away from human form and more into pure
abstraction. This gave me the idea to use a similar style of photography to
bridge the gap between the human form and abstraction, I did this by using slow
shutter speed and sparklers. Also mimicking the images created by Mili I
decided to look at re-contextualising different photographs using
layering, however using different subject matters. This led to an entirely
different outcome within appearance, however maintaining the
concept of his work. I still found this outcome to be successful as the main
subject for both mages was the same model. This then created the illusion of a
figure moving across the page. To further expand on this technique, I plan to
include observational studies both under and directly on top of the
acetate.
Light Painting Photography (n.d.) History [online] available from http://lightpaintingphotography.com/light-painting-history/
[28 October 2016]
Museum of Modern Art (n.d.) Pablo Picasso Les Desmoiselles d’Avignon [online] available from https://www.moma.org/collection/works/79766 [28 October 2016]
Philadelphia Museum of Art (n.d.) Marcel Duchamp Nude Descending a Staircase No2 [online] available from < http://www.philamuseum.org/collections/permanent/51449.html>
[28 October 2016]