Artist Research Mary Kelly

Mary Kelly is known for her project-based work, addressing questions of sexuality, identity and historical memory in the form of large-scale narrative installations. She studied painting in Florence, Italy, in the sixties, and then taught art in Beirut, Lebanon during a time of intense cultural activity known as the “golden age.” In 1968, at the peak of the student movements in Europe, she moved to London, England to continue postgraduate study at St. Martin’s School of Art.

She was also a member of the Berwick Street Film Collective and a founder of the Artists Union. During this time, she collaborated on the film, Nightcleaners, 1970-75, and the installation, Women & Work: a document on the division of labour in industry, 1975, as well as producing her iconic work on the mother/child relationship, Post-Partum Document, 1973-79. Documentation I, the infamous “nappies,” caused a scandal in the media when it was first exhibited at the Institute of Contemporary Art in London in 1976.

The work that really inspired me was her work from the Whitworth gallery. I was specifically interested in was a greenhouse-like structure. Fluorescent tubes light the house from within to create a sense of warm welcome. Quoted observations are etched inside and outside, representing perspectives from two generations of the women’s movement. Her use of light inspires me within my own work.

 

 

Artist Research Rob Ryan

Rob Ryan was born in 1962 in Akrotiri, Cyprus. He studied Fine Art at Trent Polytechnic and at the Royal College of Art in London where he specialised in Printmaking.
Although he views himself first as a fine artist, his intricate paper cut work adapts itself to many other mediums including ceramics, textiles, homewares and even jewellery.
Over the years, he has collaborated with Paul Smith, Liberty of London, Tatty Devine and Vogue.
His work often consists of figures paired with sentimental, grave, honest and occasionally humorous pieces of writing which he admits are autobiographical.
Rob has exhibited across the UK and internationally and has written and illustrated several books, ‘This Is For You’, ‘A Sky Full Of Kindness’ and most recently a trilogy, ‘The Invisible Kingdom’, ‘The Kingdom Revealed’ and ‘The Invincible Kingdom’.
He lives and works in London, UK.

Here are some examples of his work:

Do you have a secret place?

My heart, My love.

When I was a child.

I find his work very interesting. I like that he uses a lot of text within his work. And how intricate his work is.

Artist Research: Claire Murray

Claire Murray

clairemurraydesigns.co.uk

• Surface pattern
• Drawing
• Nature

Claire Murray is an independent pattern designer, artist and lover of beautiful interiors. She’s enjoyed being a contemporary artist and college teacher for many years and now, after nurturing her family and building her teaching career; she has begun a fabulous journey to becoming a designer of wallpaper and textiles.

Her inspiration…                                                                                                                                         She embarked upon her wallpaper adventure in January 2012 after an inspirational trip to new York at Christmas. Since coming back she has undertaken a postgraduate certificate in surface pattern and textiles (with distinction) and went into production with her first wallpaper designs in the summer of 2013.

Most of Claire’s work is based upon the countryside and nature around where she lives in north Yorkshire. She combines natural beauty and cutting edge style. Her wallpapers have been manufactured in the UK and printed by a major wallpaper company.

Artist Research: Anna Jacobs

Anna Jacobs

annajacobsart.com

Artist and designer.

Anna has ha a varied career of theatre production, singing, charity fundraising and heading the business development and marketing department of a big city law firm. But she finally decided to dedicate herself full time to art and design.

She studied painting at Camberwell college of arts and interior design and styling at Chelsea College of Arts and Central St Martins.

The acclaimed painter Trevor Bell ( a leading member of the younger generations of St Ives artists) very kindly offered to give her support and mentoring after seeing her paintings in 2005 and has provided invaluable advice over the years.

She sold her first painting to her sixth form art teacher in 1985 and since then her work has been bought and commissioned by private collectors across Europe.

Her interior design business is focused on domestic interiors and private clients, with clients often commissioning her paintings for their interiors.

 

Artist Research: Teresa Wakeling

Teresa Wakeling also known as Tess Wakeling .

teresawakeling.co.uk

• Paper
• lighting
• Interiors

Teresa’s work explores pattern, repetition, mark making and surface design. She manipulates paper using cutting and folding methods to create geometric patterns that have depth and texture when lit. Her geometric paper-cut shades are made from soft, thin papers that have beautiful qualities under the light. From soft neutral Himalayan washi paper to bright Japanese Moriki Kozo paper. Each pattern is hand cut, scored and ripped to let the light through different sections of the design.

I like the use of paper cutting in Teresa’s designs. it gives a really unusual pattern and creates shadows when lit.

 

My eyes are drawn to the decorative elements in our world…

This is a quote by Teresa Wakeling that inspired me.

Mark making research (Julie Mehretu)

Julie Mehretu makes large-scale, gestural paintings that are built up through layers of acrylic paint on canvas overlaid with mark-making using pencil, pen, ink and thick streams of paint. Mehretu’s work conveys a layering and compression of time, space and place and a collapse of art historical references, from the dynamism of the Italian Futurists and the geometric abstraction of Malevich to the enveloping scale of Abstract Expressionist colour field painting. In her highly worked canvases, Mehretu creates new narratives using abstracted images of cities, histories, wars and geographies with a frenetic mark making that for the artist becomes a way of signifying social agency as well suggesting an unravelling of a personal biography.

Mehretu’s points of departure are architecture and the city, particularly the accelerated, compressed and densely populated urban environments of the 21st Century. Her canvases overlay different architectural features such as columns, façades and porticoes with geographical schema such as charts, building plans and city maps and architectural renderings, seen from multiple perspectives, at once aerial, cross-section and isometric. Her paintings present a tornado of visual incident where gridded cities become fluid and flattened, like many layers of urban graffiti. Mehretu has described her rich canvases as “story maps of no location”, seeing them as pictures into an imagined, rather than actual reality. Through its cacophony of marks, her work seems to represent the speed of the modern city depicted, conversely, with the time-aged materials of pencil and paint.

Mehretu was born in Addis Ababa in 1970 and lives and works in New York. She has exhibited in several important group exhibitions including ‘Poetic Justice’, 8th Istanbul Biennial (2003); Whitney Biennial; São Paolo Biennial and Carnegie International, Pittsburgh (2004); the Biennale of Sydney and the Museum of Modern Art, New York (2006); Prospect 1, New Orleans (2008); ‘Automatic Cities’ MCA San Diego (2009); ‘From Picasso to Julie Mehretu’, British Museum, London (2010) and Document XIII, Kassel (2012). Solo exhibitions include Walker Art Center, Minneapolis; REDCAT, Los Angeles and Albright-Knox Art Gallery, Buffalo (2003); St Louis Art Museum (2005) and MUSAC, Léon, Spain (2006); ‘City Sitings’, Detroit Institute of Art and ‘Black City’ Louisiana Museum of Modern Art, Humlebaek, Denmark (2007); North Carolina Museum of Art, Raleigh, (2008); ‘Grey Area’, Deutsche Guggenheim, Berlin (2009) and Solomon R. Guggenheim Museum, New York (2010). In 2015 she was honoured with the US State Department’s ‘National Medal of Arts’.

Artist Research (Dave Griffin)

Dave Griffin is a stained glass artist based in the Peak District in Derbyshire. He works throughout the UK.

Dave Griffin started working full-time with glass in July 2001, and developed skills both independently and through attending advanced classes run by well-established artists.

With the aid of local business organizations and support from Peak District Artisans, his business has evolved over the years and moved through a succession of larger and brighter workshops. Skills as a glazier and artist have continued to be developed by attending various courses in topics such as traditional glasspainting, staining and enameling.

He especially enjoys creating panels for the exhibitions hosted by the British Society of Master Glass Painters (such as the recent Games 2012 Exhibition). These aim to showcase the work of a wide spectrum of glass artists and demonstrate the diversity and creativity alive in the craft today.

 

 

 

I looked at stained glass artists as research for document the day because when looking around blackburn there are a lot of decorated windows that i found interesting.

I used google to look at different artists work and came across dave griffens work. I find his work fascinating. The colours really stand out. The way he makes simple scenes look so beautiful with the colours is amazing. I like how the pictures can look different depending on the amount of light shining through.

Research Wood block artist (Hiroshige)

Utagawa Hiroshige, also Andō Hiroshige was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan’s Edo period. The popular Thirty-six Views of Mount Fuji series by Hokusai was a strong influence on Hiroshige’s choice of subject, though Hiroshige’s approach was more poetic and ambient than Hokusai’s bolder, more formal prints.

 

 

Hiroshige is an artist i have used for research back in school. For a school project i created a kimono covered in my own print using lino. The inspiration for the piece was the artist hiroshiges work. His work i find fascinating. He uses wood block which is slightly different to lino print but the images are beautiful and intricate and show a lot of detail.

 

Lino Print Artist Research (Christine McCarthy)

Christine McCarthy is best known for her hand-coloured lino prints of flora and landscapes. She has been working as an artist for over 20 years. Christine gained a Diploma in Fine Art Painting from the South Australian School of Art in 1976. It was while studying Printmaking at the SA School of Art with Barbara Hanrahan, that her interest in printmaking began.

The pattern of nature, particularly the line and texture of plant forms have provided the theme for much of Christine’s work.

Among her many influences are Matisse and also the Japanese woodblock artist Hiroshige.

Since 1985 Christine and her partner have been dividing their time between their home in Adelaide and a beach house at Corny Point on Yorke Peninsula. The horizon, the coastal vegetation and the changing farmland have become an important part of her work.

Christine has been a teacher with the Ruth tuck art school since 1981 and is Co-Proprietor and Co-Director of the school.

Her work has been exhibited extensively throughout Australia.

In 1988 she held the inaugural exhibition at The Royal Botanic Gardens, Sydney. Her work has attracted acclaim and interest internationally. In 2000 and 2002, Christine held successful exhibitions in Tokyo Japan.

Christine recently exhibited new works at Art images Gallery, Norwood. Among the prints were a series of figurative images, displaying an exciting new theme to her work.

 

 

 

Christine Mccarthy is an artist i found online (google). Her lino prints stood out to me because of the colours and scenes she creates.

Lino Printing Research

Lino printing is a form of fine art printmaking where the printing plate is cut into lino. Yes, lino as in linoleum, as in the floor covering. The lino is then inked, a piece of paper placed over it, and then run through a printing press or pressure applied by hand to transfer the ink to the paper. The result, a linocut print. Because it’s a smooth surface, the lino itself doesn’t add texture to the print.

Linoleum was invented in 1860 by a British rubber manufacturer, Fredrick Walton, looking for a cheaper product. Lino is made from linseed oil and Walton got the idea “by observing the skin produced by oxidized linseed oil that forms on paint.”¹ Very basically, linseed oil is heated in thin layers which thicken and become rubbery; this is then pressed onto a mesh of coarse threads to help hold it together in sheets. It didn’t take long after the invention of lino for artists to decide it was a cheap and easy material for printmaking. Lacking any art historical tradition, artists were free to use it however they wished, without facing negative criticism.

When Was Lino First Used for Printmaking?
The use of lino to create art is “primarily attributed to German Expressionists such as Erich Heckel (1883-1944) and Gabriele Munter (1877-1962)”². Russian Constructivist artists were using it by 1913, and black-and-white linocuts appeared in the UK in 1912 (attributed to Horace Brodzky). The development of color linocuts was “driven by the influence of Claude Flight (1881-1955)” who taught linocut in London at the Grosvenor School of Modern Art between 1926 and 1930.²

Picasso is known to have produced his first linocuts in 1939 and continued doing so into the early 1960s. Picasso is often credited with inventing reduction linocuts, where a piece of lino is used multiple times in one print, being recut after each color has been printed. But reduction lino “seems to have been in use by small-scale commercial printers for some time before [Picasso] made it his own. It was one such printer of posters who suggested to Picasso that he might find it an easy way of keeping the various colours in registration with one another.