Showing posts with label Exhibition. Show all posts
Showing posts with label Exhibition. Show all posts
Tuesday, 3 August 2010
Stacey Righton
Resident Artist, Build Residency Program, Cornwall College
Positive, 2007
Ink Jet Toner on Fabriano.228cm/89.12'' x 150.5cm/59.4''
Ink Jet Toner on Fabriano229cm/90.2'' x 150.5cm/59.4''
Ink jet toner drawings
On taking apart a broken Epson printer I began making marks using the remaining ink in the cartridge and its mechanical parts. I placed each printer directly on the paper; the process was very physical and each drawing emerged as part of this dismantling process and performance. Some marks just happened, others were more controlled, with my physical presence in the drawing made evident from my footprints visible at the edges of the paper.
Rebecca Griffiths
Resident Artist, Build Residency Program, Cornwall College.
Pencil on paper53 x 48 cms
Growth, 2008
Pencil on paper 53 x 53 cms
Jenny Mellings
Fine Art University of Plymouth
charcoal on conte on photographic paper, 110 x 150 cm approx,
Snow Garden, winter 2009
charcoal on paper 100 x 150 cm approx
Framel from Crisium is one of a serice of drawings which result from the rough animation which I have worked with during the past decade and results from a method of stop-motion animation in which I drew on enlarged photographs using charcoal, by progressively erasing all or part of the drawing and then drawing it again (on the same surface) after photographing each 'frame'. Any drawings that result from this process are therefore secondary to the film itself, and often the actual drawings are partially or completely destroyed in the act of creating the animation. Often there are annotations present around the outside of the paper as I scribble down the action which might follow, as this process is somewhat 'reflexive', and often sequences are only planned a short distance in advance so that the work may take unexpected turns as it develops. The drawings often contain traces of previous marks which have been rubbed out, which sometimes provide a sense of movement. Most of the drawings have been made in black and white, with charcoal and white conte pastel, but more recently I have been finding ways to involve colour. Photographs that are selected for drawing on could be from any source, although the content of the resulting films were sometimes derived from newspaper images, from photographs I had taken myself, or even from other artworks. having a photographic background for the drawing and animation is not always necessary, so some will be made on plain paper.
The animation drawings are as follows;
below are links to some clips of short animated films to which these (and other) drawings relate: http://www.axisweb.org/seCVWK.aspx?ARTISTID=5792 http://video.saatchigallery.com/artist/profile/32169/Jenny+Mellings/JennyMellings.html I
The drawing Snow Garden is unrelated to animation, produced as a more traditional observational tonal study only, made partly from life, with information gathered also from photographic evidence and memory.
Projects planned for the near future include drawing/animating with pastels made from local clays and earth, and rough animated drawings made directly onto surfaces outdoors in the environment.
Kayla Parker
Media Arts, University of Plymouth
The Measure of It
16mm film-drawing scroll, with artefacts
The Measure of It
HD video: 16mm film-drawing scrolls
Photograph, documentation of engraving onto black 16mm film strip, using the window as a lightbox, work-in-progress for The Measure of It: project developed through a Studio One residency at Plymouth Arts Centre in October 2009.
Polly Macpherson
3D Design, University of Plymouth
digital drawings
digital drawings
digital drawing
Sound Line
Transforming sound into lines/marks/2D/3D
‘La Source’ - This drawing is the result of work made concentrating on the relationships between sound, movement, body placement and mark making. The intuitive marks were created whilst listening to Victorian Harp Music, La Source, performed by Welsh Harpist Elinor Bennett. The staccato music producing more rapid harsh deliberate expressions, whereas the softer sounds resulted in broader flowing marks, creating a rich overall aesthetic. The proximity of the body, approaching the canvas, related directly to the intimacy and intensity of the sounds and therefore directly to the mark making.
As a result of the original drawing 3D Digital drawings were created with similar attention and structure with the additional element of the digitising arm. Due to the duration of the piece (5mins 46sec.), the nature of the software and the amount of mark making, it was split up into three segments emphasising on sound, rather than length. Section 1. 0 - 1.48mins 2. 1.49 - 3.20mins 3. 3.21 – 5.46mins. Once finished the lines were given the thickness of a small tube before being rapid prototyped into sculptural interpretations on the music.
Result:-
One pen, ink, oil balm and pencil drawing.
Three digital drawings.
Three RP(ed) sculptures.
Michael Broughton
Fine Art Practice, Cornwall College
Study for Studio 4, 2008.
Charcoal on paper 54.5 x 79 cm.
This drawing belongs to a series of about thirty drawings that were produced during the development of a large painting. These drawings function as a mnemonic device during the act of painting and tend to find their direction by their problem solving relationship to painting.
Matt Osmond
Fine Art, Cornwall College
Drawing on Sand, 1-8
Indian ink, pencil, gouache Each image approx 20 x 20cms
My current work is focussed on making books, and involves the combined use of words and drawn imagery. Whether drawing or writing, my practice involves a teasing out of ideas that usually begin only as a hunch - more like the end of a thread than a clearly formed intention. Drawing is for me a matter of trying to embody the emerging idea as an atmosphere.
This process is then complemented by a parallel use of words. When this works, neither the words nor the images are there merely to explain the other; in bringing them together I hope for the whole to become more than the sum of its parts. An important element in this process is accessibility: I am not seeking to make work that needs to be decoded before it can be responded to. Like any good story, these images should stand on their own and be capable of rewarding the uninformed viewer's attention.
Len Massey
University of Plymouth Transtechnology Researcher
ELM10-leveled.
Isobel's hands
Electromirror
Electrographs
All my electrographs and electromirror images are made using electricity of varying voltages and frequencies, using processes I have been researching and developing since 1992. Baudrillard states in his book Fragments, “Symmetry and tautology are self-evident; they impose a kind of visual equation: A is A, 0 = 0. This is why their power of suggestion is immediate and total. Reflecting themselves in themselves, they function as mirrors of a perfect reality. Hence the fact that tautology is prophetic and most prophecies are tautological”.
lenmassey.com
Darryl Westley
Communication Design, University of Plymouth
Darwin spread 1
Digital print 800 x 280 mm
Darwin spread 2
Digital print 800 x 280 mm
Charles Darwin
Book 450mm x 290mm
Bob Brown
School of Architecture and Design, University of Plymouth
Tutorial sketch 01
Pen on paper 290 x 210
Tutorial sketch 02
Pen on paper 290 x 210
Tutorial sketch 03
Pen on paper 290 x 210
Tutorial sketch 04
Pen on paper 290 x 210
As a full-time academic most of my drawing praxis these days is contained within design tutorials with students, and thus the drawings attached are from those tutorials. I tend to work on blank sheets of A4 sketching out thoughts being discussed with the student; as such they reflect a running dialogue between the student and myself, in which I attempt to figuratively draw out through discussion, ideas / thoughts that the student has and articulate my understanding (and possibilities within this understanding) of how the student might develop their work.
The sketches are taken from two different tutorials with the same 1st year MA Architecture student Tim Firth, shown with condensed versions of the students' own final drawings.
Kitty Wingate
Resident Artist, Build Residency Program, Cornwall College.
Photo Polymer Etching.
Dimensions 57cm x76 cm
Dot 2
Photo Polymer Etching.
Dimensions 57cm x76 cm
Intaglio print (1 of 12) made from a series of 'dot' drawings, based on gold music discs, 12'' pizzas and structural forms. An intricate and repetitive drawing made using a very fine 0.05in nib.
Tony Hyom
Illustration, Cornwall College
Orsencart original
drawing, pen on paper
Orsencart render
digital print
digital print
The above images show
1) a working drawing 2) a partially finished 3D illustration based on the original drawing. 3) a concept drawing that will be drawn in 3D
James Eden and Olly Rooks
Fine Art, University of Plymouth
Vidieo still 1
Burst
Vidieo still 3
Burst
Digital video on monitor, 9 mins looped
Burst –
–verb
1. to break, break open, or fly apart with sudden violence.
2. to issue forth suddenly and forcibly, as from confinement or through an obstacle.
3. to appear suddenly; become visible, audible, evident, etc., all at once.
Burst balloons filled with graphite or pigment onto paper. The graphite acts like a fluid, following and tracing the air currents as they escape. All the drawings are stages in an exploration of experimental and unconventional drawing practices.
Working collaboratively for the past two years, we have been engaged in a series of activated drawing processes. These processes are often very raw, playful, live and experimental.
The collaboration also serves as a good springboard for our own individual practices.
Jacqueline Knight
Fine Art Practice, Cornwall College
Screenprint on Fabriano
Size W180cms x H113cms
Porthcurno, 2007
Screenprint on Fabriano
Size W180cms x H113cms
Screenprints created from topographical drawing software
Using topographical shareware I interpreted information from photographs and memory to create these 3D wireframe landscapes. Appearing as a topographical grid they reveal the landscape morphology, but the density of tone, and the land characteristics are only obvious from a distance. They are a survey of landscapes that are deeply familiar to me, stripped of their nostalgia and romanticism with the intension of creating a detached, neutral view.
Ashley Hold
Fine Art Practice, Cornwall College
Untitled, still life image from sketchbook
Graphite, gouache and tempera 299 x 210mm
The images are untitled and all are A4, from a sketchbook that I have been using over the last few years, a period when I have had little art practice due to work and life pressures. Occasionally, whilst teaching life drawing, I have had classes with so few students that there was time for me to do some drawing alongside the students whilst teaching them. These acts of looking and drawing helped me maintain a vestige of my art practice.
Tavs Jørgensen
3D Design, University of Plymouth
120cm x 201cm approx
Square bone china dishes
The drawings are freehand spatial development sketches with the Microscibe arm for a round and square bone china dish design.
The resulting artefacts of this design process are from a series called 'One-Liner Bowls'
2 small round bone china dishes
1 large round bone china dish
2 small square bone china dishes
1 large square bone china dish
Created from a single line drawn in space these bone china bowls are part of the outcomes from a research project investigating 3D digital spatial freehand drawing as a foundation for designing glass and ceramic artefacts.
Stuart Rosamond
Fine Art, Somerset College
Photograph of Chartres Labyrinth
Drawing in sand 35 feet in diameter
This work transpired as part of an induction for HE Fine Art students during a residential trip to Cornwall. The trip aims to explore the context of drawing, sacred geometry and meaning through an experiential event - that links a real journey with a symbolic one.
Peter Smithers and Ivor Kenny
Biomedical & Biological Sciences, University of Plymouth
Rotary pen on paper 29.9 x 21cms
Rotary pen on paper 29.9 x 21cms
Rotary pen on paper 29.9 x 21cms
Rotary pen on paper 29.9 x 21cms
All images are illustrations made for the purposes of recording and identifying particular spider species.
Biological drawing
Biologists are keen observers of the world around them, recording their observations in a variety of formats. For biologists that work in the field drawing is one of the oldest and most important of these. Drawing allows them to capture the maximum amount of information in a single image, simplifying complex structures and presenting them as clean simple lines that can be annotated to provide fine detail and additional data. Styles range from the simple outlines used to record notes in the field and those used to illustrate identification keys, to the more complex stippled drawings that give a sense of form, used to present whole organisms in taxonomic treatises.
Please see older posts for more work from the exhibition
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