Wolfgang Tillmans

‘Each room in the exhibition has been specially configured by Tillmans as a personal response to the present moment.’

Response to time and change?

Research planning

Viennese Actionism

Franko B

Hermann Nitsch

Roger Hiorns

Helen Chadwick

MINT

After looking into artists who layer materials and textures, i have experimented with another ingredient/material, to see the visual impact it has

Parasol Unit – Tschabalala Self exhibition

LINKS WITH HELEN JOHNSON LAYERING

Explore layers in her work and how layering of the material has more of an impact than just  a flat image. Would layering different food materials change the image of the work? Change the way someone may respond?

Imprints

Imprints left on skin, left on wall, left on body. Could this be linked in anyway to layering from Helen Johnson’s work. Is there something visceral about layers and imprints on the material?

Look back into work I did on my foundation course, relating to imprints formed on the body.

Updated beetroot large canvas

After viewing Helen Johnson’s work I have been experimenting more with layering the beetroot in different thickness’s. Rather than going straight into using a combination of materials I have used the beetroot now in another form, this being beetroot soaked in vinegar. It is softer and has a more intense colour than the other beetroot I was using.

Am I now focusing on the aesthetic too much, or can I involve the layers and textures as part of the ‘movement’ process?

Helen Johnson exhibition

LAYERING

Viewing Helen Johnson’s private view at the ICA

I’m interested in the way layers are formed in the pieces, what appears to be paint which has been etched off to create imagery within the colours. How could i involve this in my work? Rather that focusing on the movement of the materials on the canvas, could I try to create images with layers of different ingredients?

Talk with Bernice

Research into psychological elements of automatic feelings. Go back to the route of my interests, flesh, curiosity of disgust. Continue working with grotesque materials and explore how I could convert these into visceral interactions with the viewer.