Final piece planing and experiments towards it

This week I have begun working towards planning my final piece, I have created final piece plans and ideas in my sketchbook and I am now experimenting on various possible composition for my final piece, as well as thinking about what mediums I will use together. I have slightly changed my theme after carrying out my artist experiments and gaining new ideas, I decided I will still focus on shells however instead of representing them in an environment other than their origins, I will focus on portraying them surrounded by darkness deep in the ocean where we are less likely to think about shells being.

I decided it was time I began to work on canvases as I am most likely going to use them for my final piece. The main idea now is to combing all my artist influences along with my personal style together for an end result. In the two images bellow I tried to focus on how I can combine mediums like hessian, cardboard, paper, thread and acrylic paint together effectively.

Currently I am thinking for my final piece to create a darker backgrounds such as black and then add naturalistic looking materials like cardboard and hessian for detail and then add hints of brighter colours with paint and thread, similar to the colours of the pink shells for a highlighted effect as well as adding the colourful sketch drawings of shells.

After carrying out some testers on small canvases, I decided I should think about composition, as currently I have only been working on small scales hence filling up space was not too complicated, however as I am planing on working on two larger size canvases I needed to think about making everything look effective in comparison to scale, hence I decided to use A2 sized pieces of paper. Even though I am going to work on canvas sizes 24 x 30" I think paper is the best alternative for experimental final pieces.

As you may see these two paintings were a rough example of my final piece ideas. I began with the image on the left. For the background I used black acrylic paint which I applied all over the paper except for the outer sections, although this did look effective on smaller scale I am not too convinced I looks as great on larger scale. In terms of composition I decided that I would add the shells more round the edges rather than the middle this way the painting would not look as cluttered I also glued down pieces of hessian and cardboard which add extra texture to the piece. However after this experiment I don't believe that having just a black background makes the painting stand out as it appears rather bland with not specific features in the centre of it. This is why in the second painting I decided to mix in hints of white and coral pink paint with the black paint to create a multi toned effect as I have similarly tried to when experimenting in Joan Mitchell's style. I think this makes the painting much livelier and more in depth I also tried adding shell drawings to the background in my opinion it allows the shells and the background to compliment each other better.

I then decided to try and brighten up the background even more, with bolder colours and thicker thread, as well as incorporating detailed and colourful sketch drawings of shells, which I highlighted with watercolours. Media I used was paper, acrylic paint, watercolours, hessian, thread, PVA glue, fabric, black paper, pen, pencil hairspray.

These two painting gave me ideas about my final piece that  I need to reconsider. For instance if I am to sew into the shell drawings and the canvas background I should think about using thicker thread as the current thread I used for my smaller paintings would be hardly visible on a large canvas that I would use for my final piece hence it would appear less effective and would not suit its purpose as expected.

I also further looked into ways of focusing on the details of the shells

After some thinking I was lead To a decision that I should not incorporate the shell sketches into my final piece paintings. Even through I do consider the shells as a successful piece of my artwork as they are unique, personal to my style and creative, they do not however combine well with my backgrounds, and look better alone on a simple white background. That said I still want to have shells in my final piece however I want to keep them more relatable to abstract and surrealist art, similar to how my artists do with their subject mater. Hence I have considered only focusing on the outlines and rough shapes of the shells, by using thread or fabrics which I could use to create parts of the shells; Because since i am now focusing on shells in the bottom of a dark sea, they would naturally be hardly visible, blending with the surrounding, with possible hints of colours or outlines coming through.

This is why I have also looked up different stitching techniques that I could use to create the outlines of shells as well as to add hints of texture and detail.






































Some of these techniques were harder than others, and some are more suitable than others. For instance, some of these are only suitable for fabrics that are easy to manipulate and have no particular shape to them, and would not work on tough surfaces that are stiff and cant be folded easily and are not necessarily meant for sewing like canvas or paper.  This is why I looked for stitching methods for both fabrics and canvases, and the ones I favour the most are fly stitch, upright cross stitch, cross stitch and open fish bone stitch. However I do believe that other techniques will also be useful, but maybe used less frequently as they do not appear as effective. Either way I believe knowing a range of stitching methods will be useful as it will add diversity to my paintings and will fit the purpose of whatever it is that I am sewing.

Below are some examples of work that I have created with thread and canvas also using acrylic paint, cardboard and hessian.

As you can see there are various ways I could use thread for the purpose of portraying shells with the use of fabrics and other mediums.
In terms of backgrounds I know that although I will no longer have shell sketches stuck down to my paintings, this will not mean that they will look less detailed, or duller, as I will use other resources to add detail within the backgrounds, this way challenging myself to think outside the box, and step out of my comfort zone of drawing shells and not creating them in any other way.

For instance, I can collage in some photographs that I have taken for this project to add extra colour, or I can add newspaper to the surfaces for hints of details and tones.


















Overall I am now confident as to what I am doing for my final piece with the help of my final piece plan which I have carried out in my sketchbook, which allows me to draft ideas and then adjust them every time I think my final piece idea could be improved. I know for the exam it is mostly important to take care and not rush the painting, as sewing can be done quickly but it does not guarantee precision and consistency, and I have also discovered that in terms of backgrounds, I need to allow them to dry properly, as using the heat gun to dry the acrylic paint leaves the paint cracked and dried up with minimal glossy finish which makes the whole painting look less appealing. I will paint two large paintings sized 24 x 30", and they will focus on a individual shell for inspiration, in terms of the colours I choose to use, and the shapes I sew in with thread and fabrics.

Joan Mitchell Experiments

In the past week I have been working inspired by Joan Mitchell's artwork in order to discover different techniques in painting backgrounds.

Some of her artwork that I took inspiration from below:

Above Joan Mitchell, on the left Untitled, 1954. Oil on canvas (1). In the middle Untitled, 1969. Oil on canvas (2). On the right "Weeds", 1976. Oil on canvas(3)

The images below are of my first two experiments, here I tried focusing on the positioning of lines in various directions the same way Mitchell used to do. The only difference was that my lines were thicker, whereas Mitchell painted hers with marks of various sizes. In terms of colour I tried to focus on subtler colours similar to what shell colours would be like hence I first applied a brighter layer of acrylic paint and then once it dried I applied a thin layer of white paint to tone down the background as well as combine it all together for a more solid piece.





























After focusing on backgrounds as such, I moved on to painting swatches of different colours in the same style as before however this time with smaller paintbrushes. I also wanted to make it more relatable to my theme, hence I drew out some shell sketches onto the surface which made it look like the acrylic paint is a part of the shell.  However I personally do not think this experiment was successful as it seems to lack definition of the shells and it does not look like the sketch and the background compliment each other, although the idea is good, I think it is better to apply colour onto shell sketches in small sections only as it gently add hints of highlight that does not overpower the shell drawing.

I then wanted to try out painting so that there is only one intense subject matter in the background and it is not all bright of filled with colours. To do so I firstly glued down small pieced of book pages and brown paper ad then painted a generous layer of white acrylic paint in specific areas so that the paper is still visible I also added hints of black pen which I sprayed with hairspray for bolder hints of detail, once it all dried I poured some blue ink over the page and let it drip naturally this created a defined free flow organic lines that compliment the subtler background under it. I think this could be an effective technique for adding colour for shells as it is subtle yet bold and does not overwhelm with detail.































For the image bellow I combined black paper with a coat of acrylic paint which has been mixed up to create a multi coloured effect. I tried to create more texture by applying paint unevenly and then closing my sketchbook so that the colour combing together better. Overall I think the outcome was effective as the paint stands out stronger on the darker areas and makes the image more defined, this could be a good idea for adding hints of colour into black acrylic paint backgrounds like the ones I have created whilst working in Malono Millares style, as it would add depth and more detail into the backgrounds.

Lastly the two images bellow were experimentations with oil paint as Mitchell mostly used oil paint for her paintings. I once again applied a brighter layer of various colour oil paint onto the paper, and once it dried I applied white acrylic paint to tone it all down. In comparison to acrylic paint, I didn't find oil paint to apply better or create a better result, personally acrylic paint is easier to blend and apply onto a surface, although oil paint does create a creamier background and a matte surface, I does not allow me to end up with the desired outcomes as the acrylic paint does, hence in my further work I am more likely to paint with acrylic paint.

Overall working in Mitchell's style has made me think about ways I could collaborate this new style with my shell sketches as well as ways I can use all the skills I learnt from my artist influences together to create my final piece. I will now begin refining these styles and putting them together as I begin planing my final piece.

Reference
1) http://joanmitchellfoundation.org/work/artwork/cat/paintings/early-career-ny-1948-1958/untitled20
2) http://joanmitchellfoundation.org/work/artwork/cat/paintings/early-career-france-1958-1968/untitled13
3) http://joanmitchellfoundation.org/work/artwork/cat/paintings/mid-career-1968-1980/weeds

Manolo Millares inspired experiments

This week I began experimenting influenced by Manolo Millares' style to create collages using various media such as hessian, fabric, cardboard, book pages, ink, acrylic paint, PVA glue, pen, pencil, hairspray and thread. My main influences in Millares' style were his paintings “Painting 150” and "CUADRO 31 OR PINTURA A".

(Above Manolo Millares “Painting 150” 1961, oil paint on canvas, 1308 x 1622 mm, Tate Modern Art Museum)

(Above Manolo Millares "CUADRO 31 OR PINTURA A" acrylic on burlap with string (1)

For my first two experiments I wanted to see how fabric can be incorporated with paper and acrylic paint to create a collage. I firstly got a piece of white fabric which I then sewed together with thread whilst folding parts of the fabric to create layered lines and to create texture. I then created a background in my sketchbook by gluing down ripped book pages and then using PVA glue I stuck down the fabric and then painted it in black and grey tones as this allowed the fabric to become the main focus point and stand out from the neutral background. I also got a piece of thread and dipped it into black acrylic paint and then dragged the thread across the surface of the paper which created thin fine black lines, this allowed to fill in the empty white space without overwhelming the focus point.

I also decided to refine my experiments by incorporating drawings of shells in my collages, this way making the experimentations more relevant to my overall theme.

For these three experiments instead of sewing the fabric or hessian together instead I glued it down with PVA glue and whilst doing so I pushed the fabric together to create a textured and ruffled effect which works as effectively as sewing the fabric together. For the experiments in the middle image and the right side image,  drew out shell sketches on plain paper, I chose to draw them with pen relating back to my previous sketches, as in this textured background the shells drawn plainly in pencil would become bland. Once I finished my sketches I cut them out and glued them town into the textured sketchbook pages, to blend the background with the glued down sketches I used white and light grey acrylic paint round the edges, it creates a worn down effect for the page, which is similar to the way Millares' style is. For the image on the left I also used the same technique but instead of adding any sketches I simply poured some ink over the page to once again highlight the page with something of a darker colour and create a contrast.

As you can see for the two experiments above I once again experimented with tones and their contrast. For both experiments I began by creating the background using black acrylic paint on a flat dry paintbrush, this way the paint applied quite dry with only some areas containing a stronger amount of tone also creating unusual lines. I then repeated the process of gluing down some fabric and the pushing it into shape without using thread, this technique adds dimension to the page and dome surface variation. Then using black acrylic paint I painted the edges of the fabric to blend it in with the rest of the background to make it appear as a single solid piece. Initially the two experiments were monochrome, however I decided that there should be hints of colour in them, so I got some blue thread like Millares uses thread in his artwork and I sewed them into the fabric and some areas of the paper, this only hinted the artwork and added some subtle detail, which allowed the whole piece to stand out more and not lack of any features. 

I also carried out a few experiments where I used a grey scale background and then added some warmth to it by sticking down hessian and cardboard in certain sections of the pages. As I focused on monochrome colours I decided that the colours I use on top should not be vibrant or intense, as I wanted to stick with earthier and natural colours to compliment the background, as the idea of portraying functionless shells in their unnatural environment is not suitable to contain lively and bright colours as they express positivity and livelihood, whereas I want to express neglect and dullness of something unneeded, hence darker or muted colours are more suitable in this instance. I chose to mix between hessian and cardboard because both these mediums have very textured surfaces that have a different feel and work with acrylic paint in a different way, hence by using them both I created diversity in my collage. I also like the way thread turn out on paper once it is painted on with black acrylic paint as it become bolder and more defined even if its not as clearly visible.

The four images above I personally see as my least successful experiments, mainly because they appear uninteresting due to the lack of strong features or characteristic, they are once again monochrome, however what I realise now is the reason why Millares usually creates his paintings with a black background is because they stand out better especially whenever highlighted with lighter tones. Whereas having a white background makes the experiments appear washed out specially when there is no specific focus point. On the other hand this experiments did allow me to gain a better understanding of combining different mediums together to create texture and in general see how the work together, For instance whenever I use fabric the surface is usually softer which means its good for creating softer lines and it also is easier to apply paint onto, whereas hessian is effective for a harder flat surface with an interesting rough texture, but it is much harder to apply paint onto, however this makes the hessian appear somewhat rustic. 

As for comparison the images above I think were the most successful experiments influenced by Millares. I mainly think so because they have the best composition that is not overwhelming nor lacks in detail, as well as a balance of tones, textures and light. 
To begin with for the image on the left I used the process which I have already previously mentioned of gluing down sketches of shells and then gluing down white fabric around it and then applying some white and grey paint to create a rustic effect. I know that I previously criticized some of my experiments which were very white and plain and washed the whole page out, however in this case I do not believe this happened. The key aspect for this experiment was effective composition, hence I drew my sketches in different scales as it creates an in depth effect and scale variance is also more appealing whenever viewing the piece, as the smaller sketch which is centred in the middle is the first to grab ones attention, and only then do you look up to the greater and larger shell. I also glued down the fabric round the outline of the sketches as this fills out the empty space around them and makes the whole piece appear more united, however I only applied a thin layer of fabric as I did not want it to overpower the sketches, and lastly to fill in the empty white space I flicked some black paint onto the surface using a paintbrush this adds a light touch of the media once again not overpowering the focus point. 

For the two page experiment in the middle, I used black acrylic paint, hessian and cardboard.
This is probably the most favourite experiment out of the three as it appears minimalistic yet there is detail and texture that is highlighted through tones and colours. When I was painting the background I did not completely paint the pages black as the whiter edges seem to lift the art piece and not make it appear as if framed and limited. I then glued down the materials (cardboard and hessian) initially they were both a light brown sandy colour and did not really look appealing with the rest of the background, in a way they seemed too neat and clean. Hence to bring out the details effectively I used a mixture of white and black acrylic paint, I mainly applied the white paint in the centre of the mediums to highlight them from the rest of the sombre background, and then I blended in their edges with the black paint which made it appear like the mediums are sewn into the page, similarly as Millares' work appears to look.  I did leave some of the medium surfaces in their original colour, as it adds warmth to the collage I only lightly applied some black paint over them so that they would seem to be a part of the collage. 

Lastly the image on the right had a similar idea as before, I painted a black acrylic background however this time I fully covered the page, I must say it does not look as effective as the image in the middle does with he white edges. However this experiment stands out to me the most is the fact that for once it is not just white and black tones, but black and brown, so it instantly appears more warm and subtle, these colours are also the most resemblant to Millares' painting “Painting 150”. The main focus for this experiment is the way three surfaces work together to bring out the details and to grab ones attention, without unnecessary colours, marks or details. In a way the fact that it is minimalistic makes the whole experiment more appealing and interesting, as there is a clearly defined subject matter.

Overall I think working inspired my Millares' style has been very successful, as I thought of different ways to make marks I have not tried before, I also got the chance to experiment with fabrics,thread, hessian and cardboard which I haven't used before or for some time, and it was interesting to do something other than just painting for once. Working with these mediums and these specific tones and colours has been good as this style is very effective for incorporating with the idea of functionless shells in a collage form. I will continue with this style personalising it even more to my theme and style as well as incorporating my other artist style and techniques to make my work even more effective. I should now start to work on some kind of canvas surface as it is the prime medium that Millares used and it would be interesting to see if it proves as successful as working on paper. Also as I discovered that incorporating my shell sketches with the backgrounds proved successful, I would like to take this further and see if it is a successful when printing out my sketches on acetate. 

Reference:

 1) Manolo Millares "CUADRO 31 OR PINTURA A" http://www.invertirenarte.es/index.php/es/mercado-de-arte/322-el-turno-de-la-posguerra-en-londres

Close background photographs

I decided to take photographs of various natural backgrounds in relation to my theme of shells in unnatural surroundings. I think these images captured could benefit me as I can use them when creating backgrounds to inspire me in terms of what colours I may combine with the shell drawings or collages I may create.

In general I tried photographing subjects of subtle and lighter colours, as they would be the focus of the background which means they should not overpower the rest of the work. Some photographs are stronger than others, for instance those images where there is less clear subject matter seem to be better as it allows a better colour study.

Artist Analysis - Joan Mitchell

Joan Mitchell was an American artist born on the 12^th of February, 1925, Chicago, Illinois. She was an abstract painter and printmaker. In 1944-1946 she accepted a scholarship to attend the School of the Art Institute of Chicago as a second year student. She also received a Masters degree of Fine Arts from the School of the Art Institute of Chicago. Mitchell was also involved with downtown avant-garde art scene and in 1950's she had her first solo exhibition at the Saint Paul Gallery and School of Art. It is said that it was around the 1950's when Mitchell began to focus on full abstraction. Mitchell died on the 30^th of October, 1992, Paris. 

(On the left Joan Mitchell “Chord II” 1986, oil paint on canvas (1) On the right Joan Mitchell untitled work, 1958, oil paint on canvas (2)

It is said that in her earlier years as an artist she was influenced by other painters such as Franz Kline, Willem de Kooning and Wassily Kandinsky. 

(On the left Willem de Kooning “Women Singing II” 1966, oil paint on paper on canvas(3) In the middle Franz Kline “Meryon” 1960–1961,oil paint on canvas (4) On the right Wassily Kandinsky “Swinging” 1925, Oil paint on board (5)

There are resemblances between Mitchell's style and her artist influences, as it appears that Mitchell used a similar manor of free and expressive mark making without a particular subject, similar to De Kooning and Kline, which can give the viewer a more open minded view of the idea behind the painting. There are also resemblances in the colours Mitchell chose to paint with, which were vibrant in some areas yet not intensified in others, overall there seems to be a similarity in hue and tone in the examples shown here, particularly with de Kooning and Kandinsky.

In terms of the media that Mitchell used, her prime medium was usually oil paint on canvas. She would often work from imagined memories incorporating objects such as trees, flowers, dogs, water and sky. She also often painted landscapes which she would paint from her visual memories. I also found out that Mitchell rarely painted from life or observation, this may be due to the fact she focused on abstract hence subject matters were not as concerning as they idea itself . She usually painted larger scale paintings, however she did paint some smaller scaled paintings too, however her large scale paintings appear more effective as they enhance the vigorous marks and colours and allow the artwork to stand out better from a distance. During the 1960's Mitchell departed from her style of bright coloured, fully covered paintings and began painting with denser and more sombre hues of colour, she also would smear the paint with her fingers.

One of her paintings that I am going to analyse in particular is called “Number 12” which I viewed at the London Tate Modern Art Museum during my half term holiday in February 2015.

(Above Joan Mitchell “Number 12” 1951–1952 , Oil paint on canvas, London Tate Modern Art Museum)

Mitchell was an artist passionate about light and colour. This abstract painting looks like a composition of both, with carefully placed colours and tones to create a multi toned painting. The main reason this painting stood out for me was the scale, as it is a relatively large painting (2019 x 1867 mm) it grabs ones attention as the scale allows for enhanced details even from a distance. The impression I got from this painting was that it is calming and relaxing due to the muted and darker colours, as well I liked how it does not have a defined subject matter which then allows each person to think about individual perspective of the painting. For instance I do not see this painting as a place or an object, but rather that Mitchell expressed her current mood and thoughts onto a canvas, in this instance it seems like she was expressing a more concerned or gloomy emotion, as the colours are toned down and more on the grey scale, unlike her other paintings that have vivid colours.

Overall I found particular interest in this painting because I favour abstract art as it allows more freedom and expression of mind through motion and marks hence Mitchell's paintings caught my attention as I wanted to try out the process of creating paintings that have so many layers of marks. I also thought It matched my theme as I was looking for artwork that is minimal in defined subject matter, and can be used as influence for my work of creating neutral backgrounds to collage or draw shells over.

The very main focus of this painting is the harmonious colours and intense light that is created. The effect that Mitchell achieved in this painting was all due to the slow process of layering the paint colours in specific amounts, places and marks, hence making sure all the colours complement each other in the end result. As Mitchell once said about her work “What excites me when I'm painting is what one colour does to another and what they do to each other in terms of space and interaction.”(6)

When looking at the painting from further away it appears more on the grey scale. However whenever observed closer it is clear that Mitchell used a lot of dark navy blue colours which in some areas appear somewhat black toned. She complimented the blue by using hints of golden brown paint which adds warmth compared to all the other cooler colours, it also creates a lighter effect in certain areas, thus providing areas of contrast. In some parts of the painting it was also visible that Mitchell used red toned paints as an under layer which she then layered with darker colours. On the top layers there are only a few strokes of red marks remaining, these are finer details that just add a hit of colour and help the golden and brown colours add warmth in desired areas.

It is also to be noted that the colours are very important in this painting in terms of composition and focal point. As the main focal point in “Number 12” should be the middle of the painting, as it is where most of the dark colours are concentrated, hence it is the initial area that stands out from the lighter outer edges of the painting where Mitchell has used lighter grey, gold and white tones. Having darker tones in the middle also adds depth to the painting as there is a contrast between dark and light colours.

Below is another image of “Number 12” only this time the image is from the internet to show the colours in real detail, as it may be that due to the dimmer lighting in the museum the camera does not catch the light the same as it would in natural lighting. (7)

The texture of this painting is rather smooth, although it does appear more of a matte finish. It is a 2D surface, however the painting does consist of a large amount oil paint layers.

There are no definable shapes or lines remaining in the painting, this is due to constant layering, which blurs out the lines and combines them together. However I have found out that Mitchell would take a great amount of time for the process of mark making. She would often build up her media slower and more carefully, thinking about the placement of marks, as this influences both colours and composition and how well the overall result would be, hence visual observation was key. I also noticed the more centred the marks are the more fine and clear they are, with more defined flat paintbrush marks, whereas on the outer edges the marks are larger and more blurred out. Mitchell also did not paint in a certain direction as it is visible how paintbrush marks overlap each other from various angles and directions.

Overall Mitchell's work has grabbed my attention because of the way she thought through each mark in her paintings to compose her piece, yet her work seems so expressive and free flowing highlighting different emotions and states of mind. I think I can look into her style and technique more as her mark making and colour compositions could be useful in creating expressive backgrounds for my images of shells to be highlighted in, as I want to portray them in an unusual environment in which they have no function or purpose, unlike the one they originate from.

References

1) Joan Mitchell “Chord II” http://www.tate.org.uk/art/artworks/mitchell-chord-ii-t12921

2) Joan Mitchell untitled work http://www.artnet.com/usernet/awc/awc_workdetail.asp?aid=424260964&gid=424260964&cid=75384&wid=424342846&page=4

3) Willem de Kooning “Women Singing II” http://www.tate.org.uk/art/artworks/kooning-women-singing-ii-t01178

4) Franz Kline “Meryon” http://www.tate.org.uk/art/artworks/kline-meryon-t00926

5) Wassily Kandinsky http://www.tate.org.uk/art/artworks/kandinsky-swinging-t02344

6) http://joanmitchellfoundation.org/work/artwork/cat/paintings

7) Joan Mitchell “Number 12” http://joanmitchellfoundation.org/work/artwork/cat/paintings/early-career-ny-1948-1958/number-12

Artist analysis - Manolo Millares

Manolo Millares - Artist analysis

Manolo Millares was an abstract Spanish painter born on the 17^th of January, 1926, Las Palmas Canary Islands, Spain. He was a self-taught artist who began by painting in watercolours. By the late 1940's ha was introduced to Surrealism which is a French Avant-garde movement in art and literature developed in the 1920's in which the Artist interpret the subconscious mind and let imagination flourish. Whenever visiting Madrid for the first time in 1953 Millares became interested in abstract paintings, in 1955 he moved to Madrid, he began making various dramatic collages from found materials such as Hessian, ceramics wood and other materials. In 1957-1960 he co-found the Avant-garde artist group “El Paso" (“The Step”). Millares died on the 14th of August, 1972 at the age of 46.

Here is an example of his artwork below

(Manolo Millares – “Painting” 1964, acrylic paint on canvas, 391 x 464 mm ( 1)

It is said that in earlier stages of his life when he was interested in Surrealism he would create pictograms influenced by Paul Klee and Joan Miró. Below are images of their work

(On the left Paul Klee “Static-Dynamic Gradation” 1923, Oil and gouache on paper bordered with gouache, watercolour, and ink, mounted on cardboard (2) on the right Joan Miró “The Conductor” 1976, Intaglio print on paper (3)

The resemblance between these two artists work and Millares' art work was the effective use of media that created shapes, figures and lines which may be ambiguous, yet the main focus point of the painting. This could link back also to the fact that all of these three artists were influenced by the movement of surrealism, which may be the reason for their particular styles. It also appears that the artists have a similar colour palette of earthier and darker tones, with hints of lighter or brighter areas within the composition, which adds depth to the paintings as well as a main focus point that stands out from the rest of the background hence the whole paintings do not appear bland.

Style and technique wise as mentioned Millares often used hessian for his collage paintings, he would usually create his work by burning, tearing, tying and then stitching the materials together which he would also incorporate with paint. His work is said to be characterised by the rough textures of materials.

One piece of his artwork that I will be analysing is called “Painting 150” which I first saw whilst visiting The London Tate Modern Art Museum, during half term in February 2015.

(Above Manolo Millares “Painting 150” 1961, oil paint on canvas, 1308 x 1622 mm, Tate Modern Art Museum)

As many of Millares' other artworks, “Painting 150” is in an abstract style, whenever looking at this painting in the museum my first impression from a further distance I did not think about the meaning behind the painting as there was no particular subject matter to it, however after closer observation I realised the canvas painting was not a solid piece although in the frame it appeared like the canvas was torn and ruined and then stitched up together however unevenly. This gave me the impression that the painting interprets a dark emotional state, somewhat of pain, damage or even recovery or healing. It is like the artist was trying to conceal the fact that the canvas is no longer the same state as it was originally, which can relate to how people withhold sad and negative experiences and try to hide them away. Millares would destroy the canvas from its original shape and form and recreate it with some alterations to make it look as if its been fixed up.

In terms of technique Millares most likely began by ripping up the canvas fabric or possibly cutting into it (it would seem more approachable to do so whilst the canvas fabric is not stretched onto the frame, however it could have been otherwise) He then stitched up the fabric back together however in some sections Millares stitched up fabric more scrunched up together making it build up, hence becoming more uneven and 3D, whilst other parts of the canvas would then become empty space due to fabric being missing. He also used black oil paint for the base of the canvas fabric, he covered most of fabric surface area with it, apart from some smaller sections which were left the original colour of the fabric, this added some variation and contrast between the piece as the whiter sections bring out and highlight the torn fabric pieces.

I chose this painting in particular because unlike other paintings I saw, this painting not only focused on portraying the colours and marks, but also involved manipulation of the canvas for a specific reasoning, hence I really wanted to try out this style and technique myself as it seems to allow emotion to come through and can be quite calming as you let your feelings out into your work. In the museum It also brought me back to thinking about the idea of unfunctional shells and how they slowly break and become nothing else but a decoration or a piece of the environment with no purpose.

The way Millares stitched up the painting created a very defined uplift to the flat 2D surface of the canvas, as the fabric sticks out more it adds depth and shadows to the overall piece, the holes in the canvas also create a shadow behind them which over all makes it look more 3D.

There are not many clearly defined or precise lines or shapes in “Painting 150”. Millares only created more vivid free hand organic lines and shapes with thread whenever stitching the fabric up, however these lines are almost concealed and blended with the black background hence only an outline is visible. Other visible lines are the thin creamy white lines from the visible fabric base, these also appear free flow, however thinner and more delicate which creates an interesting contrast between the harsh and rough surface of the canvas and something lighter and more graceful. Millares also created lines by the way he folded the fabric together, these lines are less harsh and more blended with the whole painting, however since they are mainly in the centre of the canvas they accentuate that area the most.

In terms of composition Millares focused most of the detail onto the centre of the canvas, as it is the most textured part with a lot of white fabric showing in that area. Hence the rest of the canvas is mostly black toned because if the whole canvas would consist of lots of patches of the white fabric it would feel noisy hence the viewer would be distracted from the focal point. Whereas by balancing out the tones more consistently Millares created a complimentary and balancing monochrome contrast between the tones, which are not too harsh for the eye and somewhat muted.

Overall I think the style, technique and ideas of Millares work can be relatable to my theme of shells without a purpose and function as they are no longer from where they originated hence unwanted and neglected. His artwork also emphasises how a media such as a canvas or hessian can be torn down from its original form or state, which in a way makes it less respected or valued, and how it is then reconstructed but it will never be of its original form purpose or quality as possibly intended, hence viewed less desirably. His style can influence me to think of more ways how media can be manipulated to create surfaces and forms as well as making my exam response more unique.

References

1. Manolo Millares – “Painting” http://www.tate.org.uk/art/artworks/millares-painting-t02385
2. Paul Klee “Static-Dynamic Gradation” http://www.metmuseum.org/collection/the-collection-online/search/484862
3. Joan Miró “The Conductor” http://www.tate.org.uk/art/artworks/miro-the-conductor-p07358