Evaluation for Project 1

Introduction

Project 1 is a combination of units 1 and 2. Unit 1 is an introduction to materials, processes and technical skills in art and design. Unit 2 is an introduction to contextual research in art and design. Our tutors ran various practical workshops, such as drawing, print making, painting, ceramics and textiles to make us really get to grips with what effort, skills and techniques are needed and used with different workshops. We looked at different artists, that linked with each weeks workshop task and made ranging samples that represented each workshop.

In the first 6 weeks I aimed to get a basic knowledge on a range of different artistic techniques, processes and skills. I also aimed to fully complete all the practical and blog work we were set. The theme of our project was Identity. When I thought about identity, what mainly came to my mind was that this project is about how a person is perceived and viewed by everyone around them. I approached this theme by trying to represent myself using varying colours, styles, marks and materials. I used these various things to portray my personality, characteristics and moods. When I found out that we were going to be learning drawing techniques, initially I wasn’t too happy as I’ve often struggled to draw when I am under pressure such as to achieve something in a lesson. However, after my first drawing lesson, I really began to look forward to more drawing we were going to be doing because I began to gain some confidence along with realising I could take my work home to finish if I needed to. Along with that, I was looking forward to doing any kind of hands on practical work as I do enjoy being able to physically get messy with my work. I did also want to focus on developing my analytical and annotation skills.

Summary of research

As a group, we went to Abbott Hall Art Gallery in Kendal. We did this to look at 2 main showings, The first was The Great Picture painted by Jan Van Belcamp, and the other was the St Ives exhibition. I enjoyed this trip because I find it is better to look at artists and their work up close and really see it for its scale and quality, then go back to the classroom and research further. I also enjoyed this because there was the Art exhibition and a photography exhibition which both interested me.

This is an image of The Great Picture:

Throughout the 6 weeks, one artist that significantly inspired me was Ron Mueck. This is because he is a hyperrealist. His sculptures are incredibly detailed and perfectly proportioned. Muecks work affected my own work as it made me want to perfect my art and make it as realistic as possible. I believe the best link between my work and Ron Mueck’s is in my ceramics workshop. This is because when I was working with the clay, it was my best opportunity to create a realistic sculpture.

Muecks work:                                                                   My work:

Another Artist that also inspired me was Vivian Maier. She was an American street photographer, capturing the people of New York City. I am inspired by how she can communicate, to the viewer, someones personality, lifestyle and mood in one image. I also love how she solely took and processed each of her favourite images in the dark room, until her death when the rest of her work was discovered and processed. I think the only link to my work from Vivian Maier was in my identity photoshoot 1, where I took a variety of photos of myself and friends with the same intention of portraying a persons personality and lifestyle through an image.

Maiers work:                                                             My work:

 

For all of my research I used the internet as it is the easiest and quickest way to get a large bulk of information of one specific artist. The only research I did, which I got some information away from the internet was the Abbott Hall trip, viewing The Great Picture.

Experimentation and development

Of all the workshops that were held for us, I took part in everyone. The workshops consisted of; drawing, photography, mono printing, colour/painting, ceramics and textiles. I found I had a clear strong foundation of skills already, however these workshops developed each of these skills somewhat significantly.

Throughout all of these workshops, various mistakes were made. For example, in the colour/painting workshops, I began to paint my colour portrait without thinking about what colour I actually wanted to start with. However I realised fairly quickly that I was making a mistake and managed to correct it quickly. Another thing that also went wrong was in the mono printing workshop. I over inked 2 of my pieces which resulted in a very smudged and blurry piece. I wasn’t able to save these pieces, however to correct this mistake I made sure I blotted my ink plate well before drawing into it.

One of the over inked pieces:

Reflection

Throughout the whole project, I met all of the deadlines we were given. I also completed each of the practical pieces, to the best quality and standard I could. What I enjoyed the most about the project were the drawing & photography workshops. I enjoyed the drawing workshop because I created one of the best portraiture drawings I’ve ever done before.

Here is that drawing:

I also enjoyed the photography workshop because photography is my passion and pretty much my only way to express myself when it comes to my creative eye.

Images I took in the photoshoot:

I believe I managed my time outside of class really well as I spent a lot of time at home editing and writing blog posts. I do think I managed my time in class fairly well, however I did keep allowing myself to get distracted which did mean I would rush some of my practical work at times. To correct this, I would stay behind some days for an extra hour, or I would come in on one of my days off.

If I had to do this project again, I do not think I would do anything differently. This is because I think I have put in as much effort as I could have. I also work very efficiently and I frequently made sure I was up to date with everything. The only thing I could have improved would have been not allowing myself to get distracted as easily. From this point I only see my work getting better in quality and precision.

In the next project, I will do the same as I have in this project by dedicating time to myself to complete and perfect practical and blog work.

Identity Presentation

Lotti Ducksbury – Project 1, Presentation

After I did my presentation, I was handed 3 sheets of feedback.

Feedback 1

Positives:

• Good information on the presentation
• Good pictures

To improve:

• Practice your presentation

Feedback 2

Positives:

• Spoke confidently and clearly
• Explained everything
• Well laid out presentation
• Great presentation

To improve:

• Practise the presentation beforehand

Feedback 3

Positives:

• Spoke confidently and clearly
• Explained everything briefly – but didn’t miss anything out

To improve:

• Practise presentation

As I read back over my feedback, I found that the only improvement I had to make was that I should have practised my presentation before I actually presented it. This is because as I went through each slide, I did have to briefly read each point and take a moment to gather thoughts in my head about what I needed to say.

Textiles Workshop

Today we started our textiles portraits. I used the image below, as a guide to keep my portrait in proportion.

To start off we attached our image into our wooden hoops to hold the fabric tight when we stitched into it. Then we began to stitch into the image. Here are some images that show the development of my portrait:

After the piece was completed, it was detached from the hoop, cut out and stuck onto black card.

For my piece, I used various colours for different reasons. I used blue for my hair and 2 of the spikes on the bottom because blue is the main colour that represents me. I am often a relaxed person, with very chilled vibes. I can often be negative, but eventually will become calm. I believe blue represents these emotions best. I then used black and brown for my eye, this is because my eyes are hazel brown usually but can change with my emotions from hazel to dark brown, and sometimes black. I used the multiple coloured buttons because my personality that people see is usually very happy and filled with very positive vibes. I outlined my camera in black running stitch because photography is a passion of mine, and even though my camera isn’t physically a part of me, it is important to me and photography has a place in my heart. Therefore the black running stitch shows bold colour and importance but a running stitch to show it isn’t a solid part of me as a person.

I used the 3 spikes on the bottom as appliqué because I can sometimes be a sensitive person, and can often have a spiky personality. I used felt for the material because it was the only material we had that was plain and had the colours I needed. For my hair, I used a long stitch where there were little gaps between each stitch. This was because I didn’t want to do basic long lines for my hair, but I wanted to fill the section where my hair was, therefore using this affect.

My piece was successful as I completed everything I wanted to achieve within the time limit we had to create them. With the spare time I had I then went on to add to and improve my piece. I didn’t come across many issues. The one problem I did have was that I ran out of blue thread for my hair, which is why the left hand side of my hair is incomplete.

My sample slightly linked to one of the artists we looked at; Alice Kettle. My piece linked to her because I used a technique she uses which is to use 2 colours of thread on the same section of the portrait to create a mixture of colour. I did this technique on my eye with the black and brown threads.

Comic Art

Today we went to a lecture and a presentation. The lecture was by manga curator James Stacey and the presentation was by Joe Decie.

James Stacey

James Stacey is an English comic artist and web designer living and working in Japan. He does work as a librarian during the day at a primary school near where he lives. During his lecture, he explained his position in the company he works for in Japan. He also talked about exhibitions and art galleries in and around Tokyo.

Initially he talked us through the key locations around Japan that involves him and where he works. He talked about a range of galleries which were related to comic art. He then went on to describe a specific gallery which was a three story manga and anime gallery. He works in a gallery which usually charges a £600 “pay to show” fee. After this, he went on to explain the history of Manga and how is came about. Artists would stop in the streets with wooden boxes and bikes that would help them to tell a story. He also talked about various artists such as Bon Ten Taro who did different creative things throughout his life, eventually becoming a tattoo artist in Okanawa.

He then began to talk about exhibiting our own work, how we can go about doing it and tips when doing so. He explained that when showing in an exhibition it is crucial to have a narrative, a story that readers and fans can relate to.

Throughout his lecture, Stacey did hand out a few pieces of different artists works, however we didn’t receive a massive amount of information on their work or how it was created.

I didn’t particularly enjoy this lecture because I found Stacey was a very nervous character therefore his passion for Manga and Anime was being consumed by his nerves. Along with this, he mostly explained galleries and exhibitions rather than actual artists works which made me lose interest as I am very interested in the actual work and how it is created.

Joe Decie

After a 30 minute break, we returned to the box where the next artist Joe Decie presented his story of how some of his work is created and where he gets his ideas from. As we entered the room, we found Decie sat at a desk, drawing, with a camera set up behind him making a live feed on the large projector screen in the room. He used this live feed, so that we could watch him draw as he spoke about his life.

Decie is from Brighton and studied at an art college, which he didn’t name. As a child and adolescent he was obsessed with graffiti, which often got him into trouble with his mother. However, he did learn to channel his creative flow and minimise the damage he did publicly. This graffiti got him well known in his home town. After that, he began to gain an interest for Zines, which he would post to 300 people. As technology developed, Decie began to use social medias to share and advertise the Zines he created. Sites he frequently uses are Facebook and Twitter. He also spends time teaching teaching people how to do comic art, or just to build self confidence. He often works with people on the Autistic spectrum.

Decie talked about a variation of things. He explained how he has a variety of labels such as a cartoonist, designer, printmaker and illustrator. He also talked about his family, and the ways he writes/draws. When creating a story he will base it on things that he experiences in his everyday life, however he will add in some lies to create a more interesting plot. Decie also advised that when work is posted online, there is a chance that this work can be taken without giving credit to the original artist. Along with this, he also said that people may try to take advantage of our artistic eye and skills, without paying for our time and effort, therefore we need to make sure than we also earn if we are working to produce art for another person.

Rosie James and Alice Kettle – Artist research

For our textiles work we looked at 2 artists, Rosie James and Alice Kettle. Rosie James is an illustrative stitch and sewing artist. Alice Kettle is a textile artist.

Rosie James

Rosie James is a contemporary illustrative stitch artist. She mainly focuses on large groups of people, crowd gatherings and the human form. She uses photographs as a way to create drawings. She will sew the drawings into fabric using a sewing machine. She also uses transparent fabric and leaves loose threads, She layers the fabric and drawings on top of each other, therefore overlapping all the different subjects yet they are all still visible. Her work also features screen prints of buildings, windows and skylines.

The image below shows how she uses transparent layers:

James lives and works in Rochester, Kent. Along with her own work, she does classes with higher, further and adult education students, lectures, workshops and private commissions. After some searching online, I have not been able to find any additional background information like where she was educated or her birth date.

The picture below is one of the pieces we discussed in our introduction to textiles lesson. James uses a mixture of techniques to create this piece, such as appliqué, stitching and embroidery. Along with these techniques, she also uses white cotton, transparent fabric, sewing thread and embroidery thread. She uses complimentary colours, fine lines and shapes. I like this piece because in some ways, the coloured figures seem like alternative personalities of the transparent figures. The outlines of the figures are the plain personalities that are seen by people everyday, however the appliqué figures are the personalities that we hide from the real world.

I chose this piece to look at for my artist research because this is my personal favourite by her. It is an image from a gallery space where she was exhibiting her work. The piece is the rough outline of a figure. I don’t know what size the piece is, but from this image it looks large, almost life size. I like how it looks like a continuous line drawing because of the loose falling pieces of string which gives it a controlled but messy look. I also like the simplistic contrast between the white fabric and black thread.

I really like Rosie James’ work because even though it seems messy, it is extremely controlled and accurate. Along with this, it is very simple and delicately created.

Alice Kettle

Alice Kettle is a contemporary textile/fibre artist. She also focuses on the human condition, usually the face. Kettle works on varying scales, depending on the size of the parts she uses to construct a face. The facial features she uses aren’t proportional therefore the work she creates are quite abstract. Even though she works with stitch and sewing, she is trained as a painter. There was also very little background information available on this artist.

The scale of her work belies their component parts: individual tiny stitches, which combine to form great swathes of colour

The piece below is an example of how Kettle works. She creates small individual swatches that represent individual facial features. She then layers up these swatches and attaches them all together, using the French technique appliqué. The image only shows part of the piece, therefore I don’t know how much there is to the piece or how large it is. There is a use of all 3 primary colours, she uses the primary colours to make secondary colours and more. What she does is stitch layers upon layers of primary colours to make secondary colours. For example, she will layer red onto yellow, and then yellow on top of that red and so on, until the colour eventually begins to look orange. Kettle also uses a mixture of thick and fine lines to create the outlines of the facial features and to emphasise where there would be darker tones and shadows.

The image below is another example of Alice Kettles work. Again it is of a human face. She hasn’t layered any fabric in this piece, she has only stitched into a coloured piece of fabric. She uses black for the basic shape of the face and there are a range of coloured threads strewn across the whole piece. The outline of the face is bold and thick, there isn’t any kind of shading or tones in the face.

I don’t particularly like Alice Kettles work because it seems too messy and odd. When I look at her work, sometimes I think it looks like something a child could achieve with some thread, however I can pick out techniques she uses that are difficult to achieve.

Introduction to Textiles

Today we began our textiles week. We have been told we will create our own portraits using textiles by the end of the week, but before doing that portrait we have to learn how to set up our pieces and some stitching techniques. In our lesson, we went through what equipment we would need and how to do each individual hand stitch.To start off we had to collect our equipment.

Equipment list

• Fabric
• Embroidery thread
• Wooden Ring
• String
• Felt or another material to do appliqué with

We started out by putting our thread through the needle. This was tricky, but I managed to do it fairly quickly.

Then we had to attach our fabric into our wooden rings to hold the fabric tight as we did each stitching technique.

Stitching techniques

Running stitch

The running stitch is the most basic and common stitch. It is a process of weaving the thread through the fabric with the same distance between each stitch.

Cross Stitch

The purple stitch seen in the picture below is called a cross stitch. This is a process of making diagonal stitches into the thread which cross over, therefore making crosses.

Straight stitch

The yellow stitch at the top of the picture below is called a straight stitch which consists of the same technique as a running stitch, however the stitches are placed next to each other like ladder rungs, rather than in one straight line.

French knot

The 3 small balls in the image below, are called French knots. These are used as a way to create decoration or patterns one a textiles piece. To make a French Knot, the needle gets pushed partially through the fabric. The thread is then wrapped around the needle 3 times and held with 2 fingers into place. The needle is pulled out, and then creates a stitch over the top of the 3 loops to hold them down, which then creates the small ball.

Speckled stitch or Seed stitch

Next to the French Knots is a technique called the Speckled or Seed stitch. There is no technique to this, except for placing random stitches in different and various places closely together on the fabric.

Couch stitch

The Couch stitch is the technique of attaching another material, like string, to the fabric by placing stitches over the whole material holding it in place rather than actually stitching into it.

Appliqué

Appliqué is the technique of layering fabric and stitching it into place. It is a French word which means ‘to apply’.

We were then asked to write our own names onto the front of the fabric, then do whatever kind of stitching techniques we wished, to be able to create our names on our pieces. I chose to do the running stitch as I wanted it to look neat to go with all my examples of each technique.

I then stuck my piece into my book, and labelled each technique around it.

Image Maker

Image maker is a product made by Dylon. It is used to transfer and image onto fabric. This is done by applying the product onto a picture, placing the picture onto the fabric, making sure it is flat, then running the fabric underwater with the picture still attached. Then after somewhat drying the piece, you then have to rub it down with your hands, taking away the layer of paper, but transferring the picture onto the fabric.

The picture transferred onto the fabric is for me to use as a guide when making my final portrait using textiles.

Ceramics workshop

Today we began a workshop where we created portraits of ourselves using clay. I chose to do an image of myself that does not show my face, but it shows my identity. This is when I have a camera in my hand and am taking photos.

We started out by printing out photos, like the one below, which we would use to refer back to when creating our portraits.

We used the same equipment and process that is explained on my “introduction to ceramics” post. I set up what tools I would need, rolled out the buff clay and built it to the right size for my piece. I started out by drawing an outline lightly into the clay to show what parts of my body and camera went where, and then I began to build onto the piece by placing small pieces of clay on at a time to layer it up. For the first few hours, I forgot to take photographs of my piece, however here are the images which I took as the piece began to build:

The final piece

I enjoyed this task with the clay as I prefer to be able to get hands on with my work. It was very successful because I took my time to sculpt my piece, and focussed on each individual section of it. I found moulding my hand was the bit I found was the most difficult because it is 3D, therefore knuckle creases and bones had to be shown. I also struggles with the proportion of my hand. I found building up clay so it was in a lifelike form was a big problem because if you get it wrong, then the proportions and features look odd. To solve these problems I slowly built the layers until I felt they were built correctly. After we finished and I looked at the piece critically, I found that I still didn’t quite get the depth and formations of the piece correct.

My piece links to both the artists we looked at. It links to Stephen Dixon because the piece is only a section, which could be connected to more sections if I created them. Stephen Dixon works by creating lots of sections and then piecing them all together. It also links to Ron Mueck because I have tried to replicate realistic body forms and proportions just like he does in his art as he is a Hyperrealist sculptor.

Stephen Dixon and Ron Mueck – Artist Research

Today we looked at 2 artists. The first artist we looked at was Stephen Dixon who is a ceramicist then we looked at Ron Mueck who is a Hyperrealist. Even though Ron Mueck is not a ceramicist, he was a good example for realistic structure and creation of human features/the human condition.

Stephen Dixon

Stephen Dixon is a ceramicist. He creates various pieces, such as sculptures or plates. He is currently a professor at Manchester School of art, teaching contemporary crafts. Dixon studied Fine Art at the University of Newcastle-upon-Tyne, and got his Masters in Ceramics from the Royal College of Art.

Dixon creates pieces, by individually sculpting small sections that will eventually be put together to create a large piece. He works with clay, and paints the pieces once they have been finished and dried. He is often influenced by the human condition.

In the piece above, Dixon has created a piece which is of a humans upper torso and head. The sculpture looks like a jigsaw, as is it made of lots of individual sections. He creates each piece separately and then places them all together. The piece is made out of clay and is painted. The colours are quite simplistic and natural, non of them are vibrant. However the colours do compliment each other and fit well together.

In the piece below, Dixon has again created the head of a person which is made out of lots of separate pieces of ceramics glued together. The piece is made out of clay, and then painted. Again the colours are very plain and neutral, however the eyes are gold. I don’t know why the artist has done this, I can only think it may be to highlight perspective and visual ability. The blue and red opposite colours contrast, yet I don’t know why he has used these colours.

Ron Mueck

Ron Mueck was born in 1958, in Melbourne Australia. He is a hyperrealist sculptor currently working in the UK. He has German parents. He didn’t move to the UK until recent years, therefore he begun his career in Australia. He worked as a model maker and puppeteer, and was the creative director on a childrens TV show. Once he moved to London, he set up his own company making photo-realistic props for the advertising industry. The props Mueck created were only photographed from one side, therefore he never fully completed any of his pieces. This helped him to get the enthusiasm to produce sculptures that looked perfect from all angles.

The piece that made Mueck’s name was Dead Dad. It is a silicone and mixed media sculpture, created to be the corpse of his father. It is about two thirds of the body’s actual scale. It uses his actual hair to create the final piece. He is now known for how he works with scale. His pieces range from 5 metres tall, to less than 2 foot.

The piece above is called “Mask II”. From the back, you can see its construction and the inside of the sculpture because only the front is complete. It is made from resin, fibreglass, silicone and human hair. The sculptures form is precise and correctly proportioned. I really like this piece because it isn’t a simple boring portrait, the sculpture is on its side rather than being a normal stood up face. I also like all the creases and wrinkles that the odd positioning causes on the face.

The piece below is of an elderly lady and what looks like a newborn child. This sculpture has also been made out of resin, fibreglass, silicone and human hair. Again the piece has very intricate lines and fine details.

Introduction to ceramics

Today we were introduced to ceramics. This is a process of sculpting and moulding clay into a specific shape or design desired by the artist. The piece is left to dry for up to a week then it is put in the Kiln and “fired”. As a class we went through what we thought was necessary for health and safety, the equipment we would need and the process we were going to go through to achieve our pieces.

Equipment list

• Newsprint
• Board to put the clay onto
• Buff or terracotta clay
• Guides
• Rolling pin
• Potters knives
• Wooden carving tools
• Loop tools
• Brushes
• Pencil
• Kidney
• Wire tool
• Cutters

Health and safety

• An apron – to avoid getting clay on clothing
• Rolled up sleeves – again, to avoid getting clay on clothing
• Tie long hair back – to stop my hair getting into my work
• Gloves – for sensitive skin
• Keep clay on the desk to avoid mess
• Clean the area with damp cloth – if cleaned with a dry cloth, it will make dust particles come off the table and they can be dangerous if they are inhaled.
• Wash hands before and after using clay
• Remove all jewellery to avoid dropping it into the work
• Keep clay separate from other materials – this is because other materials won’t cope with the temperature of the kiln, and will most likely explode or cause cracks in the work

Process

• Wedge the clay. This is a process of throwing the clay down onto the desk. This will burst any air pockets or bubbles in the clay.
• Place guides on either side of the piece of clay.
• Roll the clay out, using the guides to keep the clay from going any thinner than necessary.
• Roughly outline a 5cm by 5cm square to create the piece on.
• On the first piece, practice with different tools to see there affect on the clay.
• Then do different tiles with my own features re-created onto them.

We started the process by collecting our equipment. We put newsprint down onto the desk which stops the desk from getting covered in clay.

Roll the clay out so it is the thickness of the guides. Then apply the same pressure and roll out the clay thinner if necessary.

This piece was a test of the different tools and their affect on the clay. I also tried different techniques such as cross hatching onto the piece. 

This is the start of my second piece. We were asked to make one of our own facial features out of clay. I had chosen to do my eye. I drew a basic outline of a rectangle to mound the eye in.

This is the piece I made of my eye. The eyelashes were the hardest part because they were so thin.

To create my piece I mostly used my hands, however at times I used a knife, a wooden carving tool and a tool that had a spike on the end. Overall I really enjoyed our introduction to ceramics workshop. I liked it because I was able to get really hands on with my work and if something went wrong I could just pull it apart and remould it.

Abbott Hall Trip

Today we visited Abbott Hall. We viewed and analysed The Great Picture, and then went around the St Ives exhibition.

The Great Picture – 1646

By Jan Van Belcamp 

The Great Picture is a large scale, life sized oil painting made for Lady Anne Clifford. She was born in 1590, and the only child of the 3rd Earl of Cumberland. When her father passed away, he left all his wealth to his brother. In 1643 she gained the inheritance and to celebrate she commissioned for the piece to be painted. The piece was originally hung in Appleby Castle until it came to Abbott Hall in 1981. The painting is a triptych. A triptych is a picture or painting on three panels usually hinged together vertically. In this piece, each panel is the same height however different in widths.

The left panel

Height: 254cm  Width: 119.38cm

In this section, it is Lady Anne Clifford at the age of 15. Looking at how she is dressed, she seems both healthy and wealthy. There are books stacked on shelves above her neatly which show she is knowledgeable, educated and organised. A mandolin stands next to her which leads me to believe she is musical and creative. Above the books there are 2 tributes. Our initial assumption was that these 2 people are her parents, however after some research, I found out that one of the tributes is to her Governess, Mrs Anne Taylor and the other is to her tutor, Samuel Daniel. Lady Anne Cliffords positioning in the painting is looking towards the other two panels, almost as if she is looking into her future.

The centre panel

Height: 254cm  Width: 254cm

This panel is a tribute to her parents, Margaret Russell and George Clifford, and her two older brothers Francis and Robert who did not live to see adult hood. Her mothers right hand signs towards her two sons, and her left hand seems to gesture toward her stomach which leads us to believe that at this time she is pregnant with Lady Anne Clifford. There is a strong female presence as her mother stands very strong and proud in the centre of the picture. Her parents are linking arms which suggests that they are very close and connected as a family. On the walls there are tributes to Lady Anne’s four Aunts.

The right panel

Height: 254cm  Width: 119.38cm

In this panel, it is of Lady Anne, in middle age painted after she gained her inheritance. This panel seems to be a reflection of the first panel. Everything that was in the first panel, is opposite in the last panel (for example the shelves and table). This is thought to be the only panel posed for and painted from life. Next to her there are 2 tributes which are portraits of her 2 late husbands. The shelves above her head still have books on them, however they are now more disorganised than they were in the first panel. It seems to be that her life has deteriorated and changed in a negative way since the first panel. From her positioning, it seems as though she is looking back reflecting on her life.

St Ives

Horizontal Stripe Painting by Patrick Heron

This is the painting I saw at the exhibition that I liked most because it has such simplicity of basic horizontal stripes. I like how the stripes are thick and bold and fade from strong red at the top to white at the bottom. I think the piece is a very basic form of a landscape view. I think this because as it gets lower down there is a black stripe which suggests contrast from sky to land.