Critical analysis.

Critical analysis.

I feel that within the artists pieces the larger the scale the marks began to get lost in the sheer size of the piece. When scaling up the form of the images the artist should have also scaled up the materials used to paint onto the surface. On the smallest of the artist images brushes were not used and with the larger of the pieces the mark making process was completed mainly with brushes. The changing of equipment made the mark making flow unnaturally throughout the pieces. It is also felt that due to choosing to complete the final image as a middle painting, meant that the marks were almost forced to work in between the two styles, which made the outcome less successful. If the artist was to produce a trio in future they should begin with either the largest or smallest piece and work from this to ensure fluidity. 

The element of colour was explored with the most strength throughout the pieces. Beginning with a clear colour theme of warm harmonious hues, with the contrast of harsh black tones and more cool tones yellow. These small sections of yellows contrast with the small sections of purple hues within the piece. Complementary colours are explored widely as they make the image more visually appealing. Small flashes of complementary colours even is a more subtle way to incorporate this idea within a painting.
 The artist also tried to link to theme their other pieces follow. By basing these images on an observational sketch of family members. Using the acrylic transfer technique on two of the pieces with images of the first piece showing a trace of the original within the others connecting the trio. 

Looking around the exhibition pieces there was mainly a connection with other artists exploring the genre of abstract. Firstly, looking at Anika's pieces, which were situated on the same wall. The layout of Drobik's pieces followed the cascade idea of the smallest trailing to the largest. Her pieces took on not only a gradient in size but also a gradient in colour. The smallest piece at the top of the trio was the darkest of the three containing mainly cooler hues. The middle of the pieces incorporated both the cools tones of the smallest and the more muted pink hues of the latter. Personally I would like to see the pieces presented horizontally as this would make the composition of the trio flow with greater fluidity.

Using mainly a pallet knife to create the marks on her work, the pieces take on a harsh tone. Many sharp and brash motions have been made, causing the paints to almost crash into each other leaving an explosion of colour. In many places over Drobik's  painting there are areas where paint has been dragged over the surface with a dry instrument, due to the rough texture of the board paint has clung to these areas making for a flat style of mark making. The use of the complimentary colours red and green give dimension to the largest piece as the colours otherwise are muted due to the large amount of white used for the backgrounds.

Another artist exploring a similar style of work was Sophie Bewell. Her work differing from that around the studio in the sense that each piece is disconnected from the previous. The largest of the trio using a spiral style of mark making, mirroring the action took when a damp sponge is applied with pressure to a page and rotated. This wave type of mark perfectly intertwines the warms hues through the piece creating a floral appearance of different tones hidden under one another like petals.Between each mark there is a fragmented appearance possibly created by working back into the piece a layer at a time.
The two other images within the trio take on a harsher and more sinister tone, than the warm inviting mood of the largest. The second image takes on a flatter and drier style of mark making with paint being dragged down and across the surface. Standing back from Bewells trio this image takes the focal point, positioned both in the centre and with the harshest marks. With almost block colour it dominates the wall, being the strongest of the three images. The composition of this middle image is made stronger by leaving just off centre without any colour. This creating a clear focal point by drawing both on the rule of thirds and leading lines, the marks made have been cleverly placed to draw the eye to this point.

The smallest of the three pieces almost looks out of place on the wall. It lack of colour and true form leads for a generally off putting and awkward tone. The general positioning of this piece adds to this feeling, maybe an intentional design to place the image to the right of an otherwise vertically cascading trio. Each of Bewell's pieces are successful individually however as a trio they lack the fluidity that is seen in many other of the trio's throughout the studio.