Printing on Fabric

Yesterday I spent the day in the print room. After seeing how successful the printed images worked  in the Mini Exhibition I decided to experiment with printing on a larger scale. By Printing on fabric I am also able to return to the original raw material that I worked with in my scultpures.

I trailed printing on two different images on silk and cotton. I found the silk to be much more affective in capturing and reflecting the vivid colours of the resin images.

Sculpture work

Recently I have been focusing on the Images that I have taken from the resin pannels that I've previously made. However on reflection I feel that It would be a shame to completey loose the original resin works from the degree show. The combintion of the rigid resin, delicate folds of fabric and the rich sensual colours is really quite magical when seen first hand. I have therefore decided to join panels of resin so that they become free standing sculptures. Here are some images of experimentation of possible compositions.

The sculptures will run alongside the printed images of the work in the exhibition.

Open publication - Free publishing - More 3-d

Cathy DeMonchaux

Whilst researching the work of Cathy DeMonchaux I came across an article on her work from an issue of frieze, I felt the following quote to be particularly relevant in describing her work and although my work is by no means as bold or suggestive I have found there are similar seductive elements to our work.

"Like good sex, the best of the work in the show is playful, occassionally comical, and flirts with danger. You don't notice when it hurts and when you do, it just makes it better" (louisa Buck, Frieze, Issue 14, jan 1994)

Deconstructing

• Work is atmospheric- removed from the original medium/ object creating a sense of ambiguity.
• The sense of ambiguity allows the viewer to interpret the work in there own individual way.
• Strong visceral elements throughout results in the work have a very feminine nature. 
• Creates an immediate emotional impact on the viewer.
• Is important that my work shows how I enjoy the sensuality of colour.
• Through combining rich colours with seductive folds of material the work can be very provocative and suggestive.

In More Than One Space

Alongside my blog I am also running a tumblr page for the In More Than One Space Elective. It shows a range of work that explores space and making marks in a way which we may not previously considered.

http://roisin-vance-imtos.tumblr.com/

Projections

As I have been interested in Immersive artwork I thought it would be interesting to project my images into a space and see how they effected it. Due to the intensity of there colour and the strong visceral element; what impact could they have on a clean white gallery space?

 The results were really exciting. By enlarging the images so that they completely filled the space, one could appreciate the details captured in the photographs. The fine weave of the material against the fluid merging of colours exaggerated the feminine element of the work. One begins to question what it is that they are being engulfed by. The rich warm colours radiate of the surronding walls creating an environment warm and comforting; its begins to resemble the womb.

Tateshots: Charline Von Heyl

What stood out from this clip was how von Heyl doesn't want to spoon feed her audience with ideas about her work. Like my own work hers has a certain sense of ambiguity where she wants the viewer to put themselves into the work and discover their own ideas.
I am continually interested in the space in which a piece of work occupies, Charline von Heyls approach to it is really intriguing; here she talks about the charge between the art work and the viewer, It is this space between the two that she believes the art work actually begins.

Maurice Sendak

"Artists have to take a dive, and either you hit your head on a rock and you split your skull and you die, or, that blow to the head is so inspiring that you come back up and do the best work you ever did, but you have to take the dive. And you do not know what the result will be."
A quote I have taken from a Maurice Sendak interview on Tate Online.
As my degree show creeps closer and closer I think this is an improtant quote to keep in mind.

Tateshots.

Piece for Mini Exhibition held in Greesnstone.

For the Mini Exhibition I have decided to display a series of the images that I have taken from the Resin structures that I have been working on. Currently I feel that the resin panels are not yet refined enough to have in an exhibition. The images however are much more successful. They have a strong sense of ambiguity and the rich seductive colours invite the viewer to take a closer look and discover their own ideas on what they may represent. It will be particulary useful getting the fed back from this exhibtion as It will give me a clear idea on what needs to e refined fot the degree show.

Printing

• Artwork is presented to the viewer in an ambigious state as they are removed from there original form.
• Images are very abstract; strong suggestive element
• Could be really interesting to print onto material, this way I would be returning back to the original raw material.
• Prints could be large high res strips hung around the space. If there hung loose they could have a rather fluid feel to them.
• Another option would be to strech the material, if they taut then it could intensify the colour and the visceral element they have.
• Title is something I really need to consider. The images are very suggestive so it sould be very useful in leading the viewers.