Welcome to my gallery of works that resulted from my artistic practice-based research that I have compiled during my studies. I have organised the gallery into a series of experiments which map my research and progress throughout the course, which includes working directly with sound, exploring different media, techniques and approaches to abstract drawing, printmaking and painting.
Experiment #1 - HUMAN RESONANCE SUMAGASHI-STYLE PRINTS
The above is the result of some initial experimentations carried out whilst setting up the audio equipment using the amplifier and working with mica pigments mixed with oil suspended in water (reminiscent of creating Sumagashi-type prints) to produce small prints on paper using human resonance (i.e. holding the input Jack against the palm of my hand) which provided some interesting and promising results. I found this first test of equipment and experimentation of process and methods encouraging, albeit no distinct geometric patterns were produced due the nature of the media. What I liked most was the variation of organic-like pattern using different volume and amplifier control settings. However, it did highlight some of the limitations of working using this type of process with respect to size of resulting work and achieving reasonably consistent prints. Taking photos of the prints and framing areas in a circular filter/frame gave them an illusion of microscopic views of organisms or forms under a microscope which was an unexpected result.
Experiment #2 - Indian Ink & Ebru
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- Indian Ink & Ox gall on Ebru
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- Indian Ink on Ebru – Thick
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- Indian Ink & Water on Ebru
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- Indian Ink , Water & Oil on Ebru
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- Indian Ink, Water & Oil on Thinned Ebru
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- Soap & Water dropped into Indian Ink mixed into Ebru
Photographed results from experimentation with Indian Ink mixed with water, ox gall, oil or dish soap mixed with water as a resist and floated on various thicknesses of thickened water using Ebru made from Carrageenan Seaweed. Each solution, was then placed onto the surface of the Ebru using a pipette, whilst the transparent container was sitting on a surface transducer playing a selection of sounds and songs. Observations from this experimentation showed that the thickness of Ebru affected how the ink fractured on the surface i.e. thicker viscosities resulted in a more clear and fractured pattern as seen in the image top-center. In the final image, stirring in the ink to the Ebru mixture and adding a resist medium such as dish soap and water produced a negative-style image (last in sequence). The method was somewhat unpredictable (and messy, to say the least) however I did like the organic-like forms that resulted.
Experiment #3 - Exploring fluid MEDIA & sound
The above images show closeups of completed works and original marbled prints made by adapting traditional Turkish Ebru marbling by using sound to vibrate the Ebru and a variety of inks, with each print being taken on mixed media paper prepared with an Alum size. A selection of marble prints were then further embellished using mono printing techniques with a Gelli Plate & Gelli plate stamps and Golden Fluid Acrylics that were transparent to add layers of colour to create depth and to complete the final finished pieces. The designs were originally inspired by and based upon a selection of patterns from the Chladni Acoustic. The final completed works were framed and presented at the first MA Art Exhibition at Partisan Collective in Manchester in 2019. Overall this was an interesting technique to explore however I determined that it would require much more time to practice, develop and master so I didn’t feel it was worth exploring it any further as part of this particular research, but may return to it at a later date.
Experiment #4 - Sound Bites - Drawn to MUSIC
Sound Bites is a series of 50+ indexical drawings created using charcoal on vellum whilst listening to music using headphones which provided an immersive environment devoid of distractions. This experimental research enabled me to focus on intuitively responding to melody, rythym and harmony as a somatic response to sound through mark making. The variation of mark making, line and flow across multiple sheets captured what I refer to as ‘soundbites’ i.e. sections or snippets of a song or melody ranging from a variety of songs from my playlist spanning different music genres. The purpose of the experiment was to respond to music in an emotively responsive and multi-sensory way whilst at the same time develop a visual library or catalogue of drawings for future reference, further analysis and review as part of my research.
Experiment #5 - Exploring Painting to Music
Inspired by the ‘Drawn to Music’ explorations (above) I endeavoured to explore working with paint to incorporate colour (albeit using a minimal palette) with a view to eventually define my own visual language that was representative of the music genres that influenced me the most i.e. dance, trance and euphoria. For this experimentation I explored altering viscosities of paint with different acrylic mediums and analysed the characteristics of working on different types of coloured or prepared surfaces and supports using an assorted array of implements to create marks or manipulate the paint, with a view to visually capturing the somatic response to sounds, which could be described as ‘indexical paintings’. Working with wet media and different colours presented new challenges and some very interesting effects which I intend to explore further.
Experiment #6 - Exploring Mark Making
For this experiment I returned to black and white by working with indian ink on paper. By simplifying the media i.e. to indian ink and experimenting with different tools to create marks I was able to focus more on the nature of the marks and how they presented themselves visually in relation to the music I was listening to at the time. For each, I would apply ink to the surface and manipulate it with a specific tool or brush depending on the sounds I heard at the time of the application which ranged from beats of drums or percussion (i.e. staccato) to fluid harmonies of sounds (i.e. legatos) which included both instrumentation and vocals. All of which were added to a visual library or catalogue of drawings for future reference, further analysis and review as part of my research.
Experiment #7 - Layering Colour
A sample of studies exploring layering transparent, semi-translucent and opaque acrylic colours intermixed with gels, interference, or iridescent mediums combined with adding textures using stamping, sgraffito, scrapping, smudging and brushing.
Sketchbook Practice
Samples of experimentations using different media recorded in my sketchbook as part of expanding my studio practice. Click each to see a larger view.
Experimental Compositions
A selection of experimental compositions from my sketchbook explorations using pen, watercolour, Promarkers and brush pens which demonstrate and record ideas and concepts relating to using different combinations of surfaces whereby they differ in shape, patterning, colour etc. These sketches explore potential compositions for sculptural painting compositions whereby each surface or layer attempts to represent or portray a section or element of sounds heard in a particular piece of music e.g. stripes or round blobs of colour for a repetitive beat, an expanse of colour indicative of the quality of the sound, black space or lines to indicate silence or spacing etc. The overlapping and interlocking of the surfaces being indicative of the many layers interconnecting to make a whole or complete composition.
