For Personal Work see http://www.rachelwyattart.wordpress.com
SUMMER ASSESSMENT 2017:
Protest art takes centre stage in the art commenting on the women’s marches:
Placard Art in the Women’s Marches:
Light-hearted and attention grabbing, as I hope my film is:
Kate mentioned that the film speaks to her about the EU climate, especially previous issues with the EU in the 1990s+, because of a euromyth about banana regulations which said that bananas with ‘abnormal curvature’ were banned. While this is only a half truth, it links to the idea of excessive red tape, and is yet another theme that the film explores.
Collection and review of feminist utopias:
The extremely relevant and feminist film that inspired Beyoncé’s Hold Up: Pipilotti Rist’s Ever is Over:
Yes, We Have No Bananas- Louis Prima:
Colour Schemes, ‘silent’ short:
That film in which a couple dances sped up, and slowed down, to create different moods: creepy, and romantic. Please let me know if you have any idea what this film is called, or where to find it!
Adding an optical illusion:
CGI: I have some ideas for short animated films in CGI, but I don’t know how feasible it would be.
WINTER BREAK PROJECT:
KERRY JAMES MARSHALL:
Kerry James Marshall’s work always manages to make the subject the obvious focus, by the sharp contrast the black has to the colourful backgrounds. The exaggerated darkness of the subjects makes them stand out, but also makes them quite anonymous, so the scene around them gains importance.
What I aim to reproduce in my piece is the bright colours used. The high contrast, and brightness makes every image a cheerful caricature of a situation, which is what some propaganda aims to do.
LOU ROS, JAMIE AMPLEFORD:
Lou Ros’ images, though very realistic in style, remain abstract and confusing, with some areas left without detail, others with lots. The dripping and watermarks left by his wet style echo his background in graffiti which is what interested Jamie and therefore me, for propaganda.
The last two images seen below are by Jamie Ampleford, and I will be looking at his abstract use of ink in the background especially when I create my propaganda image.
Both Ros and Jamie used a lot of grey in their work, with only splashes of colour. This makes quite a dismal scene that will be useful for my second image.
Banksy’s work is often very political, in a satirical, pedagogic way. I think that it is very much propaganda by the people and for the people. The fact that it remains simple, in black and white, makes it very accessible.
NJIDEKA AKUNYILI CROSBY:
Njideka was born in Nigeria and lives in America. Her art blends the two environments into one by adding context through photo transfer. This is the aspect of her work that I might be using in my work to add context, although I admire her style overall.
PERSONAL PORTRAIT PROJECT:
Francis Bacon’s grotesquely distorted faces commented on their past trauma, as with my self portrait, in which the gradual distortion of the face represents the gradual corruption of their psyche.
LOVING VINCENT BY BREAKTHRU FILMS
Our Matthew Barney presentation for 27/10/16. By Rachel Wyatt, Blaize Lynch and Fiona Jones.
Suggestions from the Crit, after seeing the finished piece:
Sia’s Elastic Heart:
Baroque Films: (from Nightwatching)
Oscar Wilde is a clear inspiration for this piece, as we were given a quote on which to base our piece: ‘All the world is a stage but the play is badly cast‘- Oscar Wilde from Lord Arthur Savile’s Crime and Other Stories. This quote inspired the idea that one’s fate is already scripted, and perhaps prisoners have little control over their futures.
It also inspired another idea, (now rejected), of reading one of Oscar Wilde’s plays, maybe Salome, while wearing earplugs and the hoods that Reading Prisoners were forced to wear as part of the Separate System. This would show the confusion that comes with lack of communication, and lack of control.
The American sculptor Robert Gober showed in the Reading Prison exhibition.
His works typically centre around domestic objects, and ranges from drawings to photography, though it is normally sculptural in form. Though it often appears to be found objects, everything Gober makes is in fact handcrafted.
Often his works juxtapose nature with these domestic objects, (often sinks). The jacket above was seen at Reading Prison, which I think discusses how the prisoners are separated from nature, but remember it fondly.
These two works in particular show something happy within a more somber trap. Our piece holds an anonymous puppet, representing every one of us, inside a prison; a common bird cage made more ominous. In our exhibition we are considering using a piece of fabric to obscure the cage from viewers, like prisoners were through their hoods.
SUMMER PROJECT: (PROJECTING HATE)
The surrealism in my sculpture is reminiscent of these fantasy film clips:
The Neverending Story, 1985
Avatar, 2009 (see clip from 1:10 onwards)
Robert Smithson was suggested to me in today’s seminar, because of his use of mirrors in nature. His ‘displaced mirrors’ juxtapose nature with mirrors and the idea of the white cube. I have read about Robert Smithson in Rosalind Krauss’ essay about sculpture in the expanded field.
A lot of Robert Smithson’s famous works involve creating works in the landscape, like ‘Spiral Jetty’, using the landscape. The landscape becomes the artwork, and is quite surreal.
My first brainstorm of ideas was inspired by aspects of Alice Channer’s ‘Out of Body’, seen below, which shows heavy objects distorted, and printed on contrastingly light material, held down by what appears to be heavy marble. I will post my ideas regarding this as well.
The practical aspect of creating this art was the building of a realistic boulder. This relates to ‘Earth Pieces’ by the Boyle Family. Pieces like the one below use casts of the earth, resin and paint, as well as actual dirt from the site. Perhaps I should experiment with using real dirt and moss.
It could also be said that the surrealist concept behind my piece is inspired by surrealism seen in films, or by Marcel Duchamp, who made art by saying it was art. My boulder will be art because of how I have displayed it; in a surrealist way.
I have recently come across an artist that would have been good for my now completed kissing portrait. The idea of texture is very similar to what I wanted to achieve. Carl Melegari, see below:
The Research Presentation Assignment, FISCHLI & WEISS.
For Assignment 4: Contemporary Painting, I looked at George Condo,
and especially Jean Louis’ mind (2005):
And another artist’s interpretation of this work:
And used the idea of fragmented portraits in my contemporary painting.
I also considered Christian Hook: