Friday 7 October 2011
Friday 23 September 2011
Monday 20 June 2011
Final Show.
Ashleigh Chinnock; (polished) Artists Statement
The current State of my Practice involves addressing ideas based on notions of domestic states. Primarily, the spaces I construct are intentionally universal forms of space, which both the viewer and myself can relate to as imitative areas; derived from domestic structures and personal spaces or environments.
To initiate the construction of space, I have developed a technique using mass produced wallpaper, in essence, the ready-made Vs Painting. The inclusion of manufactured, printed surface aims to enhance the feeling of domesticity within this context, as well as providing relief to the painterly discipline itself. This technique has stemmed from a body of experimentation concerning household uniforms, all of which insistently change when experiencing interiors that we/I are continuously submerged within.
The preliminary application of wallpaper produces a backbone within the work; the encounter with the composed space allows manipulation of the canvas surface on a physical level, which enabled me to consider the decision making more thoroughly, and allows me to conclude with a range of outcomes when experimenting, depending on how I apply the manufactured print and the paint to the canvas, initial effects on viewing vary. Abusing the Surface, cutting, staining, soaking and reapplying entails distressed circumstances; the heavy layering of paint eliminates the precision of the application of printed-paper alluding to connotations of interior history. This process of erosion reveals undercoats of paint and previously layered wallpaper, which appears abrupt; however this corrosion of the work adds solidarity and instigates a process of construction by default, leaving linear meanders in the surface creating a skeletal like structure to the space in question. In contrast, elements are less erratic, depicting consideration towards the surface, using a controlled, monochromatic pallet, is juxtaposed to the previously discussed elements, implying a new economic, an unoccupied space ready to be worn and filled with history, prompting a visual discussion of how surface manipulation can constantly change the impact of a given place.
In terms of composition, I have chosen to develop the pieces by creating one whole image with two adjacent canvases each belonging to one another, the vertex forming a right angle. This aims to bridge on an illusion as well as opening up the corner space, playing on the division between portrayed and actual space. This three dimensional regulation is an aspect which I intend to develop with in my forthcoming practice, creating new realms of visionary space.
The current State of my Practice involves addressing ideas based on notions of domestic states. Primarily, the spaces I construct are intentionally universal forms of space, which both the viewer and myself can relate to as imitative areas; derived from domestic structures and personal spaces or environments.
To initiate the construction of space, I have developed a technique using mass produced wallpaper, in essence, the ready-made Vs Painting. The inclusion of manufactured, printed surface aims to enhance the feeling of domesticity within this context, as well as providing relief to the painterly discipline itself. This technique has stemmed from a body of experimentation concerning household uniforms, all of which insistently change when experiencing interiors that we/I are continuously submerged within.
The preliminary application of wallpaper produces a backbone within the work; the encounter with the composed space allows manipulation of the canvas surface on a physical level, which enabled me to consider the decision making more thoroughly, and allows me to conclude with a range of outcomes when experimenting, depending on how I apply the manufactured print and the paint to the canvas, initial effects on viewing vary. Abusing the Surface, cutting, staining, soaking and reapplying entails distressed circumstances; the heavy layering of paint eliminates the precision of the application of printed-paper alluding to connotations of interior history. This process of erosion reveals undercoats of paint and previously layered wallpaper, which appears abrupt; however this corrosion of the work adds solidarity and instigates a process of construction by default, leaving linear meanders in the surface creating a skeletal like structure to the space in question. In contrast, elements are less erratic, depicting consideration towards the surface, using a controlled, monochromatic pallet, is juxtaposed to the previously discussed elements, implying a new economic, an unoccupied space ready to be worn and filled with history, prompting a visual discussion of how surface manipulation can constantly change the impact of a given place.
In terms of composition, I have chosen to develop the pieces by creating one whole image with two adjacent canvases each belonging to one another, the vertex forming a right angle. This aims to bridge on an illusion as well as opening up the corner space, playing on the division between portrayed and actual space. This three dimensional regulation is an aspect which I intend to develop with in my forthcoming practice, creating new realms of visionary space.
Monday 23 May 2011
Wednesday 11 May 2011
Current Practice
The current State of my Practice involves addressing ideas based around notions of domestic states. The spaces I primarily construct are intentionally predominantly universal forms of space, which both the viewer and myself can relate to as imitative areas, derived from domestic structures such as the rooms of a house.
The most significant encounter when creating the work is the manipulation of the canvas once the skeleton of the space is erected. This process has developed into form of collage alongside painting by using domestic wallpaper. The wallpaper enhances the domesticity within context, as well as giving relief to the painting process itself. This attribute towards my work has allowed me to consider the decision making more thoroughly, and allows me to conclude with a range of outcomes when experimenting.
For example, Depending on how I apply the wallpaper to the canvas, the initial effects on viewing vary. If I abuse the surface, by use of re-applying paper, paint, bleach and oil, removing bits, then re-applying and so on. The image itself becomes distressed, the peeling wallpaper reveals undercoats of colour and paper that can appear abrupt, constructs and adds a solidarity to the work, construction by default. Which can imply history and neglect to the space. On the other Hand, to be simplistic and allow only a monochromatic pallet with neatness and placid consideration to the work, it implies a new, unoccupied space ready to be worn. The manipulation of the surface is the most important factor when aiming for a specific impact.
In the future I aim to achieve a balance between the works, Developing pieces that contrast to one another, which initiates relation if they contrast in the correct way allowing mixed responses from the work as a whole.
The top image in particular, joined together by the middle piece, connects the decayed space (left hand side) to the clean neautral space (right hand side)
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