As a starting point, I just wanted to see what would happen if I constrict perception of a natural subject. It was interesting to see how the subject relies on the whole image to contextualise a part of it. On its own, the triangle seems quite abstract, but when the viewfinder is removed, it becomes a sky.
This experiment was made with the intention of going by my sensory intuitions of a particular landscape. To do this, I painted a background of a dirty pink and closed my eyes to rely on my sensory impressions to paint the tree barks. I was surprised at how the trees turned out; the paint was quite textural in its application, to resemble the texturing of the bark. I just thought it was curious how I remembered the texture of the trees first rather than the actual tree itself.
In these studies, I wanted to see what could happen if I used oil and liquin on top of acrylic paintings. I really liked how they reflected the gloss when light shone on them.
Oak wood and acrylic.
Using acetate layers to mask the image. Thought this was an interesting way to toy with perception and create the illusion of colour.
The past 4 pages were just some studies on oak wood, as I really liked the texture of it. There seems to be some sort of a symbiotic relationship between the subject matter and the support which helps enrich the image, especially in the last 2 pages.
I thought about removing the projections from the dark space and I have to say I really like them. There is a completely different atmosphere that is brought about by the whiteness of the wall/page that is quite distinctly separate from the darkness of the projection room.
Playing around with the projections out of the dark room.
These are now some oil studies that I made after watching the fil atlantique. I absolutely loved the images in that movie, so I wanted to develop my own relationship to these images by painting them - it allows me to know the image better.
These studies are attempts to collage indian clothing known as saris - they have some very interesting floral patterns which I thought would look interesting. The shapes of the cloth seems to carry the impression of a geometrical figure, but doesn't fully conform to it due to the nature of the cloth as being fluid.
I found a way to combine my projections and landscape paintings together, and I really liked the relationship the shapes, colours and subjects have with each other.
I put this in here because I thought it was amusing that MS powerpoint recognised some of my zoomed in images as sunsets, when in actuality, it was a zoom in of an object lying around in my room.
I thought it was interesting to present these two pages in tandem with each other - both contextualise each other.
A video still from Minecraft - a groundless world (check research)
Just some documentation of projection studio work in my book.
I try to take the images in this work into a more sculptural realm and physical realm, rather than the images remaining as two-dimensional entities.
Here I try to use the rectangle against itself, as an obstruction to its physical presence.
I drew inspiration from Dora Maurer at first because I really enjoyed her employment of colour and shapes to help push painting and imagemaking beyond the rectangle. I was particularly fascinated by her series "6 out of 5", where she uses these planes of acrylic colour and overlaps them.
{contd.} I think this tells me that we never really see the landscape for what it is, rather we rely on certain sensory impressions to provide us with our own version of the landscapes we see and experience. Even in the one above, the landscape was made from a film still from The Master, and I distinctly remember the subtle farm field and dulled blue sky, and the melancholic atmosphere of that landscape resonated with me.
Acrylic, oil, liquin and random images found from plastic covers and printed images. I used both of these pages in tandem with my projections because I thought they had some interesting potential to interact with the images made in light.
Walnut wood and acrylic. Liked the Oak better, allowed colours to breathe, better granular texture.
The stills on these two pages were from a videogame called Life is Strange. I found it curious how the illusion of a landscape was created both in the videogame and by masking it using acetate.
All of these images were from my own experience of landscapes I had been to in the UK. Some were from Richmond park and others were from the Chiltern Hills. Both of these places have their own charms, and I would love to visit them again sometime soon.
The whiteness provides an element of clarity and unquestionable-ness about the form and content of the projections that was heavily subdued in the dark room. The dark room on the other hand obscures the image and imbues it with more mystery and uncertainty.
It was amusing that the shape was almost serpentine or worm like.
These particular pages explore more subtle colour schemes, and are much more quiet and non-exuberant in their atmosphere.
On this page, instead of removing the projection from the dark room, I wanted to break one projection down and strip to its geometrical elements. I realised now that there were so many intersections of the image because of how difficult it was to cut the parts out.
Some of them were more oblong or polygonal in its tension while other compositions were more abstract and random. I really enjoyed making these because it allowed me to combine two areas of my practice together, which I think resulted in rather harmonious compositions.
Some experiments where I use folding as a way to geometrically abstract my images.
The right derives more meaning upon seeing the left, and vice versa.
I really liked the textural detailing of crumpled aluminium foil. Maybe I can use it with my projections to highlight certain areas of the foil.
I feel like some stills work better as images than as installation works, could be worth exploring in the future.
I try and abandon the rectangle and mirror the formlessness in the projected images through the scrunching up of paper.
I thought it would be interesting to see what would happen if I place the image in the corners in tandem with the centre. I noticed that there is some weird re-bounding of the qualities in the images that happens when two or more images are placed like so, which I found curious.