8 Inspirational Artists
Wang Wang, "Corrupted Land", 2015, oil on canvas
It was the panoramic format of this piece that enticed me to view it closer at first, upon closer inspection I saw how the texture and many of the structures in this piece were created, incorporating smudging, engraving and carving into the paint itself, the same techniques that are used in printmaking, appearing similar to this. It also appears that by layering the paint and removing darker layers, Wang has been able to create different, altering shades that create texture; this has been used primarily for the ground on the bottom half of the piece, appearing very natural, like dirt a or gravel surface.
I personally like how Wang has painted the man made forms and structures in this particular piece, it appears plain and unnatural, the natural forms encapsulating a large portion of it and almost engulfing it entirely, the term "corrupted" in the title may reference the man made structures, how they sit in proportion to the natural textures, the plain, colourless texture of them makes it seem unwanted, as if it ruins the balance of the landscape it inhabits.
Lei Shaowen, "Wasteland", 2013, Chinese ink on silk scroll and linen
Similar to the piece I referenced above, this piece by Lei Shaowen depicts a similar landscape and theme to Wang's "Corrupted Land" piece, but utilises a different set of materials and processes. The use of Chinese ink in this piece creates more of a historic and traditional ambience, as if the piece is replicating a woodblock print style, used throughout early Chinese history, but combining it with a modernised theme.
The scroll itself seems to vary in colour as it goes down the wall, possibly due to the lighting in the room, but it could have also been prepared before ink was applied, how the pigment is lighter at the top of the scroll, but gets darker and more rich as it descends, a small amount of black ink possibly applied at the top to replicate the sky above. The lack of shading, in my opinion, helps to present the landscape more bluntly, not appearing flat but still sitting in unison with the scroll background, the use of more lines and varying their thickness is used as a substitute for shading, and I feel it works much better for this piece.
Chris Hanlon, "Untitled", 2015, oil on linen stretched over board
Being the first colour piece I viewed in this collection, it was a mental breath of fresh air to see a piece that incorporates colour and fine detail, yet being a very basic piece in terms of form and subject matter. The piece depicts 3 walls, varying in design and shape, in some kind of cubicle formation, similar to that of a public bathroom, and a plain white and mint green wall/background, the attention to detail of this piece is incredibly high, incorporating shadow and shading with high precision.
The shades of blue featured on these walls is enticing to view, a very cool, attractive colour, and compliments the shades of light green on the floor and wall behind them, they all combine and create a certain kind of atmosphere within the piece, feeling very hygienic and purposeful, a man made creation, the walls towering above, seeming very monolithic and almost threatening in a sense.
David Murphy, "Long Ending (Green)", 2015, Casein paint on gesso panel with surface incisions
Delving into the surface and the texture of the piece itself, it was interesting to see a piece that focuses on this for once, instead of appearing flat and void of three dimensional elements that can be incorporated into a painting. The static, monochrome background of the piece features both vertical and diagonal lines imprinted into it, to me it seems to aid the composition of the incisions in the middle, showing how they sit within the piece.
The concave, raised appearance of the incisions, and how the paint has been made to slide up them to enhance it's form, reminds me of some kind of mountain range or valley, how it is raised above the rest of the piece. The design of the piece bares a striking resemblance to the album cover of Joy Division's "Unknown Pleasures" LP, but starting vertically rather than horizontally, the piece also incorporates smooth curves, or waves, whereas this design is much more jagged and rough.
Selma Parlour, "One, The Sideness of In-Out", 2015, oil on linen
An interesting example of composition and design in a painting, the amount of detail in the form and landscape in Parlour's piece is what drew me to view this piece closer up, the palette choice is incredibly enticing, complimenting each varying shade well. Each varying shape/section seems to incorporate different shades of the same "base" colour, ranging from light and dark, each shade in a section compliments the previous and next colour.
I particularly enjoy the use of varying tones in the centre of the triangular and rectangular shapes, the darker shades on the edges gives an aged and weathered appearance, standing out from the flat, brighter shades outside it. It appears to me that we are viewing the centre of the canvas standing close to the blue "walls" on the sides, both the bottom right and top left corners angled towards a vanishing point, but not continuing further into the landscape.
Enzo Marra, "The Invigilator", 2015, oil on canvas
The main feature of this piece that caught my attention was the thick, impasto paint, it's texture was incredibly rough, possibly due to the paint being layered onto the canvas. The monotone colours add a sense of purposeful design, a study of form and texture, rather than using a range of bright, mixed colours; this helps to maintain focus on what I think is the main aspect of this piece, texture and form.
I was also enticed into observing the human figure on the bottom right of the canvas, it seems that the piece has been produced using thick tools to apply the paint, possibly a palette knife, and then carved or imprinted onto using the same materials, brushed in a variety of directions and positions onto the canvas to create patterns and shapes within the piece. The human form is easily distinguishable, but the use of the same colours in the rest of the piece makes it sit naturally in the piece, not standing out but complementing the rest of the piece.
Shaan Syed, "Foster", 2014, oil on canvas
The first thing that enticed me into viewing this piece was the minimalist, abstract forms created, it appears the straight lines were made by using masking tape, though it contains small imperfections, possibly where it has torn or been abnormally shaped, though these imperfections do add to the piece. The forms themselves appear to be some kind of abstract or minimalist depiction of trees or plant, the lines protruding diagonally being branches, and the curved, white shapes being the foliage/leaves attached.
The title "Foster", from my own interpretation, could be referencing to how the forms sit in the piece, alone and void of any landscape or shapes within the piece, standing out boldly in an attempt to be noticed or acknowledged, the neutral background aiding this, the imperfections within the lines could depict damage or flaws within the subjects, the variation of colour and thickness of the lines being a difference in physical or mental events within.
Simon Williams, "A bout portant", 2015, Alkyd oil on canvas
Straying away from uniform perspective and shapes, this piece incorporates varying shapes, tones, shading and techniques in order to create a unique and vibrant painting, the "wave" forms that engulf most of the canvas could have been made using a combination of large, flat brushes and layering of the oil, possibly using differing amounts of pressure and force to create varying shades.
The isolation of different colours by separating the space using different coloured backgrounds is an interesting technique, and works very well, complimenting the colours and enabling them to stand out more within the piece. The perspective of the piece feels three-dimensional to me, the way the different sections have been cut away in straight lines makes them appear solid, the green and pink sections acting as a wall/barrier in front of the monotone shades, obstructing them from view. The use of paint splattering and dripping in this section compliments it, helping it to stand out and appear more natural.