few more

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.

Degree show work, almost done..

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) 

Changing Rooms. Looks shit but i give it a go. WHY NOT.

scale

substituted the exterior face with wallpaper, emphasising scale with the inclusion of domesticity 

interior space

ames' window

http://www.youtube.com/watch?v=tc_LqIaO2b8

Last Legs

This will be the last post of this painting, even im  getting sick of it, but its in pieces so i moved it around a tad seen as its on its DEATH BED, why not.

Interesting displacement of the image, emphasizes the oppositions of Interior/Exterior. The surrounding windows imply exterior space which the interior place lies in, minus shelter. Takes the comfort/intimacy completely out of the work. Also Added abit of interior furniture to a couple of the photographs, and used a n old stretcher of similar form to a door structure. Seen as i'm developing an infatuation with wallpaper, especially the fact that, for example the feminine wallpaper always has soft crappy names, and the more dominant darker wallpapers have real masculine names such a titan, a subtle hint of sexuality in domesticity.... i will post some more work relating to this later.

Brief Description of Thesis;

I Don't currently have a title for my Thesis. Also, its a bit tricky after writing over three thousand words to write a couple of sentences, because the titles of the subjects we talk (type*) about most probably mount up to a hundred words without any description, shit or amazing, i do apologise if you cant make any sense out of where i'm trying to go, i don't even really know myself, YET.

......

" The sort of architectural spaces we inhabit are enormously important - they are powerful. If every member of the human race where to vanish, our successors from another planet could reconstitute psychology of the people on this planet from its architecture." J.G Ballard.

Evidently my Thesis revolves around the dialectics of architectural space, i will discuss the components of culture which relate to the space in question, these will consist of the a few individual topics, begining with discussing a dominant theory which shines through my whole thesis; Architectural Uncanny both Anthony Vidler and Freud, i will use these texts as a constructive critique for Gaston Bachelards, Poetics of Space. Accessing a theoretical approach to the enviroment of the domestic, the pyschoanalytical method will arise concerns of Sexuality in relation to space, 'identity around the self, the other, the body and its absence', the queering of space, the pleasure in domesticity, and Space & time in relation to place. Other supporting themes which will structure my thesis are, Phylis Palmers Dirt & Domesticity; Housewives in the 1950's, The majority of Judith Butlers Theories, Jacques Derrida, Claud Levi Strauss approach on Anthropology and the body in the home etc, Spaces of Abjection, Screening space; what is visible.How meaning is produced by dividing the world into mutually exclusive categories, such as Culture/Nature, Man/Woman, Interior/exterior, Us/Them etc. Traditional values. A overveiw would probably consist of an analysis of the Old Condition Vs Modern Condition with architecture and space, the way the evolution of culture mirrors the modern condition, vice versa.

interior dismissal.

After having a few Tutorials and realising the majority of my paintings occupy the space in an 'arena' like way, considering the dimension of the painting surface, i attempted to manipulate the image to form a contrast of spaces, ie open/closed. This is just the start of this idea, the forthcoming work will be based on canvas or mdf so its easy to remove and apply different furniture, lighting, space etc, this one was directly on wall paper on the wall so it wasn't sturdy enough to withstand the layering and removal. I will post some influences for the future spaces, i intend to take a photograph from the same point and transform them into an animation maybe, so the stages of the transition from one space to place, vice versa, will be a clear revolution of the 'space/place'? Or something like that... 

Future ideas..

Considering my practice revolves mostly around domestic space and imbedded notions etc, and the way we all have simple references to detail, doors, windows, stairs, bedrooms etc,a sense of familiarity and associating is always apparent.

 To develop a deeper context to my paintings,  an emphasized form of intimacy from the work, i decided to project a light behind the viewer so the shadow will appear in the painting. (obviously i will have to fiddle with the light in order for the shadow to fit with the perspective )

I feel this would unite the viewer and the work, showing a trace human existence. when i apply this technique with a painting that depicts the bedroom for example, this would bring into question voyeuristic investigation, or the curiosity drive, becoming triggers for thought which relate to the space, and possible emotional states, Gaining a feeling of intimacy from familiar spaces. 

 Research includes anthropoloy- woman/house. The architectural uncanny, freud and vidler, Dirt and domesticiy - ex cat. 

2009 >

2008

Significant familiarities, Body of work created in 2008.

Female Form;