Piece 1

]

UNFINISHED (up to 19 hours…)

First piece out of sketchbook Fragmenting a photograph Conflicting emotion ( Using a happy memory, a happy photograph and fragmenting it ) Use of circles = not too severe, same size, evenly spaced. Time consuming and although it was a first piece, I did not feel it was a conclusive piece that

deserved to be outside of the sketchbook. However, I do believe it has value as it was the beginning of my journey process which is why it is on the table for marking.

Original idea based on the circles in Michaela Lattanzio work, focusing only on the dispersing section . Ignoring the section which is a solid painting as I cannot imagine a section of the body in such detail therefore it does not benefit the exploration of Aphantasia, hence unfinished piece.

Realism – drawing from photograph flattens image but is still the realist version from a

person lacking in imagination. First insight into my gran acting as a sign. Physical manifestation of her herself (signified) and

familial bond and childhood (signifier) – despite crying child, it is considered a happy painting but lacked in experience – interpretation of brush strokes, colour choice.

To complete:

Increase contrast and exposure on towel to remove pink tones. They clash with the skin tone, especially the baby’s .

Paint over some of the pen marks for a smoother outline Low pigmented white – more layers on painting needed for definition.

Piece 2

High realism – 43 hours

Worked from a photograph – Realisation: However comparing previous face to this I realised there is a technical skill difference. Ironically I had been with m gran all weekend beforehand and the image of her is therefore clearer and has depth to the painting. Pushes the limits of Aphantasia as it questions whether I can recall elements.

Circles are the same size White background to blend in with the white emulsioned wall. – Backgrounds not needed in

case they detract attention, or change colour of subject. Also seeing as I can remember physical objections it would be unnecessary to include one

Perspective –Look at one circle and it becomes the focus, the others blurring slightly

Look at the white space in between and the piece unifies.

Realisation – Because of how recognisable the painting is as a portrait, it is as if looking at a photograph and I can’t recall the painting, only elements such as the hue in the skin tone or individual brush strokes.

Where does an image begin and a painting end?

Not full addressing Aphantasia as without prior knowledge the viewers would not understand however I am ale to explore my parameters which in tun should be able to help with the later pieces.

Piece 3

Began in painting workshop but finished outside - 8 hours

Deconstructs the face into it’s individual sections however does not leave it damaged, instead the pieces are reconfigured into a new composition. I do not identify this to be a face therefore I am able to recall it.

Exploration of texture – Modelling Paste = raised or indented Stencil work (stuck in sketchbook) using acrylic paint and a sponge [mottled effect] Realistic painting circles of facial features Photo transfer – gel glaze medium [leaves behind a residue. Used text and reversed text so

when photo transferred the two cross over. This ensures enough text is n the piece without viewers feeling like they have to read.

Codifictaion of an image - transferring the image into another visual format. Although I cannot imagine the associated attributes, I have built up the knowledge through repetition and understanding to build my own version in my head. Some people appear as caricatures due my mind trying remember and actually exaggerating.

MDF – As a surface the paint coats evenly on top of the modelling paste however the modelling paste and the gel medium from the transfer struggled to interact which is evident in some places where the paint could not properly stick.

Circles – Different sizes and different levels of understanding – resembling cells.

I decided to push the colour palette within the skin tones for the stencil sections, influenced by Poons. I wanted to experiment and see if the colours that may not work together do. In fact they do, under the title of skin because of out immense understanding.

Piece 4

Hanging installation – interactive – 44 hours

Planned in sketchbook Uses gravity to hang vertically Double sided – Painting on one side and the codification on the other ( Proof that the tweo

can interact almost seamlessly – int the real world people know no different which is why it never occurs to ask others why they cannot imagine.

Photo transefer and acrylic paint ( in order to keep the piece in perspective I pre-drew the painting and used tracing paper to keep the angles exact.

Fishing wire – translucent, more so against white background

Difficulties- My initial plane was to only attach the line to the circles at the edge but the angle at which the circles hung caused by gravity, pried them away from the fishing wire. To secure the line I had to use hot glue down the entire back of the circle ina line which I tried to mask with emulsion like the background. { Result: spins evenly now when touched}

Inspired by one of the circle digital drawings at the beginning of the project – playing with symmetry before using random distribution.

Allows for abstraction through the large magnification on the close up.

P

Piece 5 - 4-7 hours each

3 paintings on glass

Influenced by the extreme palette of poons whilst still being able to operate in a controlled manner especially as in the last piece my brush strokes were looser.

Also influenced by Faucheur’s works through the pointillism technique. I wanted to experiment with space and the centre piece had an accidental black background to separate the marks because of the lack of edges on a circle.

These pieces aim to better depict Aphantasia. Because of the knowledge I have of the face/ portrait it is frustrating to know what a person looks like but never be able to imagine them. Almost see a hazy outline when it’s a member of my family which quickly dissipates when I shift my attention to it. – Always out of reach- [ Glass also helps reflect that] – fragilty.

Glass – removal of the background entirely to focus the person however by having a transparent background this allows the real world to help make up the image.

Struggles with paint:

I use the Galleria and Newton acrylic paint which has always proved to be fine, however on glass the pigments were too thin. I ordered a strong whit [Reeves] which meant the skin colours were opaque on the surface whilst the dark colours were streaky. Although Iit would be interesting to explore translucency it would be better done using a paint thinner medium rather than a cheaper paint- REMEMBER FOR NEXT TERM –

I decided to leave the translucent quality as it was as the piece is resolved but not a final piece therefore I could comment on it. – Also acts as if the face is strong than the background..

Piece 6- 3-6 hours each

Solid colour swatch experiments – gradual shift in tone Relies on highlights and shadows Fully embraces Impressionism through pointillism Retains black background – originally going to try grey ut found

it clashed with the lighter shadows or the hair so stuck with black.

Does overlapping the circles provide the portrait with more 3D features

Painting around black paint allows the colours to contrast and the edges to be neater.

Painting on the black increases the vividity and brightness of the paint.

Phenomenology [event]

Fellow student came into the studio and asked if it was the queen when it is in fact my gran. Even though she is influenced by bias and experience, she could not rely on her pre-judgements and tried to understand the work through what she could see – glorification, care, similar height and stance [Proves knowledge can be misleading]

Also I am trying to depict Aphantasia but because of others lack of knowlddge on the subject the are unable to fathom my ideas.

Piece 7

56 hours

Although a final piece was not necessary, I though I should produce a large piece for the nd of term to ensure I was comfortable with the challenge of this abstraction

Inspired by the comments in LICA200 seminar ‘The sign is the combination’ =- I decided to make my own sign instead of my gran as a subject matter. My gran is the signified and she represents everything discussed in this topic signifier.

I wanted to combine most of the techniques – realism [ certain features which are considered to be central and key]

Large circles – cover move ground and cover for a lack of variation in colour

Small circles - more detail, slightest change has to be painted [ Know details though repetition]

Overlapping – sit colour next to each other

On acetate – scrap the need for a direct background [ Smooth surface to apply paint to]

Black background for bright er colours by painting the entire studio wall black

CIRCLES WIHTIN CIRCLES - Aphantasia cannot be solved – no seen as a disability just a disadvantage.

Drawn – Face projected onto large sheet for proportion

Drew round the circles

Traced circles onto other sheets of paper

Added the circles and cut the main circles out of the paper.

Placed under the acetate, to use pencil marks as guideline [ PROCESS]