Artwork:
Exhibition Text:
”Blurp¨ is an expressive piece that is reflective of my personal life impacts from the natural life. This is presented through the eye among the flowers and death. As within life there is always the mixture of these factors, though they are all natural aspects despite how we personal alter there meaning. A source of inspiration for the piece is Vija Clemins, Desert which focuses on a earthy ground, which is expressed in monochrome shades. Another source of inspiration is Schmeisser´s, Diary and Humburg which is a collective reflection of their travels. This does not manipulate other works.
Inspiration/Critical Investigation:
Celmins, Vija. Desert. 1975. Lithograph on paper.Desert , was created by Vija Celmins in 1975. This lithograph was done on paper and is in a landscape position. This piece is part of a set of four lithographs which also included Sky, Galaxy and Ocean. These covered aspects of nature as the sky and the surface This lithograph was made from pencil drawings. The methods used for the piece were detailed and depicted the texture of this desserts ground. This piece only focus on this ground, and no other aspects are present. Her works attentively focus on detail. They also are in a black and white tone, that appear similar to a photograph. As the artist respects the process of drawing, and creates such detail. Celmins pictures of deserts were from Mojave Desert within Los Angeles.
Vija Celmins is a Latvian-American artist, who is known for her photo-realistic works. Her works are of nature and vary on its subject. This does include natures environments such as oceans and fields. Her other works are pop-inspired sculptures which serve as representation and paintings. |
Schmeisser, Jörg. Diary and Hamburg. 1983. Print.Diary and Hamburg, was created by Jörg Schmeisser in 1983. The print was created line etching on a plate and aquatint on paper. The piece was created in Hamburg Germany. The text within the piece was written backwards on the plate for the viewer to read it properly. The text at times relates to the visuals. Though they are also of thoughts throughout the trip. This diary print is reflective of various aspects within one section. This jumble included a foreground of nature, whilst the back holds detailed buildings. These buildings are of Asian, Italian, Prague and German architecture. Overall there is an abundance of natural and organic forms. This dairy is reflective of his journeys.
Jörg Schmeisser began his studies within Germany and majored in print making under Wunderlich. He then continued his studies and taught in Kyoto, Japan. He extensively in Europe, Asia and Australia. His artwork is reflective of theses travel and the abundance of culture he has observed. This can be particular seen within this diary piece, done within Hamburg. |
Planning:
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Process/Techniques/Experimentation:
Process
To begin making the print I had to start carving and etching the plate. This was done on a 6 in by 8 in plate which is a speed ball brand, that is made for dry points. This plate already set the size and have limited options for the position of the work. I chose to carve the final piece in a landscape position in order to present an array from a downward position. There where multiple sketches done that served as a guide for the dry point. Due to the plate being clear I was able to play with the formation and placement of the various objects. I did not tape the plate to one singular sketch, as I followed collective aspects for the work. For the etching, I fine point tool is used in order to get percsion. The downfall of the tool is its lack to create consistent clean lines. Though for the piece made this was positive, as I was aiming for a more expressive work. The plate is clear which at times made it difficult to see the overall formation of the work. Though using a simple light allowed me to view the general form of the work.
Next I needed to make the final prints of the plate, this was done multiple times. The tools needed for this step are a squeegee, strips of paper,gloves, watercolor paper and intaglio ink. The paper to be used for the dry point is soaked in water within a bucket for 8 minutes. When the times ends it should be removed and then dabbed dried with a cotton cloth. I used a shirt in order to evenly dry the paper. While this was left to sit I began working on the ink for the plates print. In order to keep clean it is advise to wear gloves as the ink difficult to remove. The gloves also are helpful at the end when moving the paper at the end from the water and final print. To start some of the intaglio ink is placed on the plate and then spread all over it using a squeege. This effectively places the ink evenly throughout the plate within straight lines. This is then done enough so the ink is evenly within all the etched crevices of the plate. Though it should not be doen excessivly to overflow the ink trhoughout the plate. This should be a thin and even amount of ink. Then ripped pieces of paper are balled up and used to scrub off the excess ink. Once this is complete the print is to be made using the damp paper. This is done within a press that pushes the ink onto the damp paper. The plate and paper are placed facing upwards onto the press on the second to last sheet. Then the rest of the blankets are put down and you may begin rolling. I did this twice once forward and then the second backwards. Then I lifted all of the blankets up and the finish product is there. I related this process a couple of time for multiple prints.
Next I needed to make the final prints of the plate, this was done multiple times. The tools needed for this step are a squeegee, strips of paper,gloves, watercolor paper and intaglio ink. The paper to be used for the dry point is soaked in water within a bucket for 8 minutes. When the times ends it should be removed and then dabbed dried with a cotton cloth. I used a shirt in order to evenly dry the paper. While this was left to sit I began working on the ink for the plates print. In order to keep clean it is advise to wear gloves as the ink difficult to remove. The gloves also are helpful at the end when moving the paper at the end from the water and final print. To start some of the intaglio ink is placed on the plate and then spread all over it using a squeege. This effectively places the ink evenly throughout the plate within straight lines. This is then done enough so the ink is evenly within all the etched crevices of the plate. Though it should not be doen excessivly to overflow the ink trhoughout the plate. This should be a thin and even amount of ink. Then ripped pieces of paper are balled up and used to scrub off the excess ink. Once this is complete the print is to be made using the damp paper. This is done within a press that pushes the ink onto the damp paper. The plate and paper are placed facing upwards onto the press on the second to last sheet. Then the rest of the blankets are put down and you may begin rolling. I did this twice once forward and then the second backwards. Then I lifted all of the blankets up and the finish product is there. I related this process a couple of time for multiple prints.
Techniques
A technique used when making the dry point was done when removing the ink. As rather then using s flat piece of paper, I used a crumpled up paper. This slight difference allowed for me to more effectively get rid of the excess ink within the crevices of the piece. This was also used to better clean the plate. Overall this allowed for me to achieve a cleaner print, then with just flat paper.
Another technique I used was drawing out the intal concepts for the work on paper in a detailed form. This served as a detailed guide when I was carving the the plate. The use of references and sketches prior also allowed for me to mess with form and placement. This was especially helpful as the plate is clear. Overall this held me build the final format of the print.
Another technique I used was drawing out the intal concepts for the work on paper in a detailed form. This served as a detailed guide when I was carving the the plate. The use of references and sketches prior also allowed for me to mess with form and placement. This was especially helpful as the plate is clear. Overall this held me build the final format of the print.
Compare and Contrast
Similarities
-There is the same color scheme within both works. As there is a focus on contrasts between dark's and then whites. Though Clemins uses more gray scale, then full dark's. This aspects of the exacts use of color is differing though the contrasts are similar. -There is a presence of natural objects within both works. This is especially abundant within Clemins work, through the use of a desert. This is also focused on the ground and its individual grain. My work also uses aspects of nature. This can be through the use of flowers. The position of the print is also to be seen from a ground perspective. Differences -The mediums are different between the source of inspiration and the work made. As they use a lithograph print for there work. While I used a dry point print, for my work. The two are not drastically different, though use different mediums as a base for the print. -Clemins focuses on achieving high detail within her print. Despite the simplicity of the reference that Clemins uses there is still a strive to replicate reality through detail. While my piece does not aim to exactly replicate reality to each detail. |
Similarities
-There are various objects present within both works that are natural and man made. This is reflective of a collective thought which is presented as such. As both works present multiple concepts at the same time. -There is also similar color scheme used in both works, which is black and white. This is done within my work due to the use of the color ink when making the print. Differences - Schmeisser's work includes writing which is reflective of the visuals present within the work. This writing further adds to the piece, by providing comments and information. While my work does not use words on the work. Rather it is solely dependent on the visuals. - There is a high presence of detailed architecture within Schmeisser´s work. This can be seen within the upper half of the work. This is mainly reflective of his travels, and showcases them in an array. This is of an assort that is similar to a college. While my work does not include architecture and is not inspired by my own travels. |
Ideas
These outline the aspects and ideas that impacted the piece made. This includes the inspiration, and dry point process. The inspirations for this piece include Celmins and Schmeisser. There is an outline present of there works and key aspects.
While the dry point process, is also outlined and the ideas for the piece. This covers the key tools and items to be used for the work. While the concepts outline basic forms. |
Experimentation
There was experimentation done when etching onto the plate. As the different levels of pressure and lengths of strokes impacted the depth of the piece. I found that deeper strokes lead to more ink being apparent within the print. While lighter strokes required more ink, to show within the print. These varying levels and depths impacted the final piece appearance.
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There were multiple prints made of the singular dry point. Despite the same plate being used for each print, there is a difference present. This is due to the amount of ink and pressure used when making the print. This can be seen through the print varying from the print used for the piece. This form of experimentation, has allowed me to view the various aspects within each print.
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Reflection:
In reflection to the piece made there where both positives and negatives present within the work. During the intal sketch and idea phase of the piece, I had slight difficulty. This was due to the multiple ways that the items could be placed together or be formatted. This can be seen by the multiple dry points made in order to experminet with various textures and styles. Though I did find success in the way the prints came out. I did like the texture the ink formed and how expressive the lines came out onto the print. Though I feel if I were to do this project again I would have chosen a block print, despite the lack of detail.
ACT:
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
-The inspirations present impacted my work through their use of color. They also impacted the medium used in order to present their reality.
What is the overall approach the author has regarding the topic of your inspiration?
-The inspirations, chose to presents there world through detail, rather than an expressive style.
What kind of generalization and conclusions have you discovered about people, ideas, culture, ect. while you researched your inspiration?
-I have generalized how people precive the world and chose to present this within there art work. In particular Shmeisser presents a collection of the world precived.
What is the central idea or theme around your inspirational research?
-The central idea around my research focused on prints that are impacted by ones surroundings. In particular this included nature and traveling in relation to their lives.
What kind of inferences did you make while reading your research?
-Little inferences were made, due to the amount of information present on each artist. Though I did make some inferences on Celmins artist inspiration besides nature.
-The inspirations present impacted my work through their use of color. They also impacted the medium used in order to present their reality.
What is the overall approach the author has regarding the topic of your inspiration?
-The inspirations, chose to presents there world through detail, rather than an expressive style.
What kind of generalization and conclusions have you discovered about people, ideas, culture, ect. while you researched your inspiration?
-I have generalized how people precive the world and chose to present this within there art work. In particular Shmeisser presents a collection of the world precived.
What is the central idea or theme around your inspirational research?
-The central idea around my research focused on prints that are impacted by ones surroundings. In particular this included nature and traveling in relation to their lives.
What kind of inferences did you make while reading your research?
-Little inferences were made, due to the amount of information present on each artist. Though I did make some inferences on Celmins artist inspiration besides nature.
Bibliography
“A Printmaker's Journey: The Graphic Art of Jörg Schmeisser.” Georgetown University Library, www.library.georgetown.edu/exhibition/printmaker’s-journey-graphic-art-jörg-schmeisser.
“Diary and Hamburg, (1983) by Jörg Schmeisser.” Agnsw, www.artgallery.nsw.gov.au/collection/works/340.2012/.
Tate. “Vija Celmins Born 1938.” Tate, 1 Jan. 1975, www.tate.org.uk/art/artists/vija-celmins-2731.
“Diary and Hamburg, (1983) by Jörg Schmeisser.” Agnsw, www.artgallery.nsw.gov.au/collection/works/340.2012/.
Tate. “Vija Celmins Born 1938.” Tate, 1 Jan. 1975, www.tate.org.uk/art/artists/vija-celmins-2731.