Paint, Text

Pictures Talking

Here’s something new! Sprung from a creative afternoon on the sofa with Angela Chick, and a donation of paints from a much-missed Grandpa, I made these.

That last one there is my favourite, and I’d like to do this on a large scale. All the above were made using wall-paint as the speech bubble – to help get that stark edge, which I want more practice at. The orange text is with watercolour and the thinest brush ever. Slight issue with magazine paper going wrinkly with the paint, may try ironing the paper after painting. Now need to collect more B&W images of people at parties, having a nice time.

DSCF1093

Can’t find my keys

DSCF1095

Double rainbow all the way (Inspired by this incredible Youtube vid: double rainbow)

DSCF1097

Not sure if she is having a great time or not

DSCF1098

Elvis is really enjoying this

DSCF1001

The sexy Cara Delevingne is a pork pie fan. Can she have half of yours?

DSCF1003

She loves her bovril

DSCF1006

Maybe a barber shop quartet, maybe just agreeing with each other.

Standard
Art, color, Process

Melting down oil pastels and crayons

 

 

This started as me making a ‘creative tutorial’ for the Light Box blog, but turns out that I didn’t feel very excited nor energised about making a step-by-step tutorial and wanted more of a chance to experiment and have fun with it.

So away I went, not worrying about an end-point, not worried about photographing every little step. There is this thing (all over Pinterest and craft blogs) where you can melt down old ends of oil pastels, combine with crayons to help solidify and bind, then cook for just 10 minutes in the oven at 100 degrees, and you can make a whole new crayon/oil pastels out of whichever colours you like.

But I like what I made more then that – more of an object (plus it’s crap to use as a crayon!) reminds me of using resin, makes me want to take this further and try to set objects within the melted down waxes. Could I float little objects in grey pastels, so it’s barely visible, like smog? What about just using wax? Those are notes to self!

I did take some pictures. The slicing of the oil pastels was a wonderful experience. An unusual texture – very satisfying.

DSCF1003 DSCF1008 DSCF1013 DSCF1014 DSCF1016 DSCF1018

Standard
Blind Drawing, Drawing

Don’t forget Blind Drawing

It’s great to remember Blind Drawing. I do quite a lot of this at work, but not much personally. I dragged out a roll of paper, got a selection of pens out and went for it. Here are my favourite parts. May this remind me to stop forgetting about Blind Drawing!

Standard
Art, Interesting and Inspiring

The Mapping of Jerry Gretzinger

The Mapping of Jerry Gretzinger. From 1963 to the Stopping Point

Started drawing a map, it started as a doodle. Hefinished a whole page and found himself moving onto other pages, joining them up.

One piece a day. He goes to his studio as soon as he wakes up. Spending time re-mixing paints. He’s made a deck of cards which he chooses one from, which instructs him on which of his half-finished maps he will firstly archive, and then work on. Other cards have different instructions.

This was a great video, I love how much detail there is about Jerry’s working process and the structures behind his making.

Jerry is working on exhibiting the entire project:

The concept is that the installation will be about half complete when the show opens on October 5 and will continue until Saturday afternoon, the 6th. Visitors will be able to watch the process. I will be there helping and, when the installation is done, will be working in my on-stage studio and answering questions. The show will close on Sunday the 14th or the following day. We’ll be more specific soon.

How I wish I likes in America and could see this!

Screen shots taken from this video

Standard
Collage, Organisation, Process

Sketchbook Scans: new stamp

 

A birthday, two new cut-out stamps. I’m making smaller circles from my tax disk collection and also cutting up the Korean financial times, wth a stamp-shaped cutter. Problem is, when you discover a new tool like this, you want to make stamps and shapes out of everything. These two are sketchbook scans, may go further with the financial times stamps… en mass. ?

Standard
Interesting and Inspiring

Gary Schott

Gary Schott’s film about his work has inspired me. It shows a lot of the artist at work in his metal smithing studio. Very exciting to see someone making like this. He is Mechanism based, but a huge importance is on the mechanism being aesthetically pleasing and also that there is humour withiin the work – it’s quite rediculous and also intimate. A contraption which caresses your nose. Ephemeral and physical. I like the goggles with his name on. “My goal is to create an object that is seamingly simple.” Me too Gary, me too.

Gary Schott’s website / Wonder Object – his blog

Walley Film’s website

Standard
Art, Exhibitions, Process

Apples, two years old

I have kept the Apples from my degree show piece – ‘Sense’ which was exhibited in the following shows:
Barcode, University College for the Creative Arts, Farnham, May 2008
Free Range, Truman Brewery, London, June 2008
Lucy Barfoot,Room 212, Bristol, January 2009
New Contemporaries,Fairfields Arts Centre, Basingstoke, January 2009
They are like tiny little rocks, and they don’t smell any more. They are turning powdery – I wonder if one day they will just disappear? The blue and baby pink apples are three years old now. Older, but bigger. Must be something to do with the lacquer? I just spray painted those two and the others were covered in car lacquer, two coats.

I wanted to upload a video I have of the process of creating these apples, but the internet is not on my side today. Instead, I have here my learning proposal, which I haven’t worked on since, but still feels relevant to my practice now.


CONSTRAINTS, AESTHETICS AND ENJOYMENT.
I have an addiction to experimenting. A compulsive need to make things. I am experimenting with the process of limiting the creation of artwork. As well as this, I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work.

I have no control over THE HAPPY ACCIDENT. I have an influence over my materials, but they are ultimately allowed to do what they want. I am only manipulating, having minimal involvement, such as dripping, pouring, filling, hanging. I am not always part of the work, it creates itself in the time when I am absent. Time and chance allow this to happen. I witness what the materials do, which is absorbing, a degree of immersion is involved – not just being a witness, but being the work; making a performance.

It is important for me to be excited, stimulated by what I’m making. I have a constant dialogue with myself whilst making, whilst still working fast to avoid being too self conscious. The thinking process is important – to keep changing my mind, thoughts evolving and changing.

I have an encounter with the work, my hands transforming the surface. There is a lot of time investment and use of multiples. The monotony of making and labor intensity is important. I appreciate the ENERGY TRANSFORMATION which is taking place, I create rituals of making.

My work relies upon structure and good planning. I figure things out. It is casual, but has beauty and order. It has an intimacy to it, a sensual appeal.
Within this, I regularly work with creating objects which are natural but manmade, I am making things artificial, sometimes influencing the longevity of there natural things, preserving them. I am very drawn to using candy colors. This color selection is important. It is what’s first seen, catching the eye and drawing you in. “what is this”.

I place importance on two inner workings; pleasure in creating and simple aesthetics. Both are vital to my work. this simple aesthetic is shifting to become economy and lightness. I see that this is contained in each of my pieces, drawings and ideas. I embrace this and feel like I have found out what my art is about.

Recently colour has become more important, something to think about rather than to pick at random. Great efforts are going to be made in finding the perfect colour for my sprayed apples. The optic effects of this colour when applied to many units of the same shape will be immense. This links to my sensuality and the enticement of senses. The sickly smell of fermenting apples will increase this optical dazed effect – the viewer will find it absorbing to view.

The encounter with my work is extremely important at this stage. I am a factory worker and the monotomy of these tasks I make myself complete have an effect on me. The balance of control is off-kilter as I feel like I am being controlled by my objects.

AIMS AND THOUGHTS
At this stage, I am thinking about exhibitions, how my work will stand on its own, how it will communicate – will it be site specific? I need to develop a confidence with placement. What will it be like to watch the reaction of the audience?
The use of words and writing will become manifested in the work in the following ways:
oI am thinking about titling work, what that could bring to my work, or if it would detract from it.
oI am reading more text, such as Bachelard’s musings.
oI am thinking of writing my own texts, using my imagination, and having writing exercises – such as a piece on what I imagine my final work to look like.
I will also talk about my work more. Advocating the work, speaking about it with authority and care. Having discussions.
I want to use the camera more thinking of the idea of video art, playing with time. Attempting to capture something – a moment when something strange and beautiful happens.

Looking into art as performance. The live art development agency.
Thinking about my ambition, looking to the future.
Commit to being present throughout my impending exhibitions. See this is a chance to advocate the work and be confident with it.
Still thinking about my ambition, looking to the future. How can I use my degree?

INSPIRATION
Susie Brandt – “A compulsive need to make things.”
Javier Peres – “I think people try to overemphasise the analytical and intellectual aspect of contemporary art. The reality is when contemporary art is being made, the people who are making it are just making it.”
Helen Chadwick – “Gorgeously repulsive, exquisitely fun, dangerously beautiful”
Joseph Havel – “Even though I make discreet works, I like to consider the way in which everything works together as an ensemble so that there is an accumulative effect, so that not only the work will have a specific intention or construction or some specificity, but the whole group of things will build to one kind of idea.”
Stockwell, Spencer Fitch, Ian Davenport, Anya Gallaccio, Phillida Barlow, Mona Hatoum, Fischli & Weiss, Anish Kapoor, Cornelia Parker, Eva Hesse, Jessica Stockholder, Susan Hillier, Christian Boltanski, Joseph Havel, Permindar Kaur,  Halen Chadwick, Matthew Barney
Anne Bean
Richard long
Richard tuttle
Yayoi kusama
contingent: 1 subject to chance

 

Exhibition Plan

My work is concerned with the sensations and placement of materials. I am attempting a detachment in the making, allowing accidents to happen and time to lead. Pleasure and attraction is involved in this.  My exhibition piece lies somewhere between installation and sculpture.

The piece will be vulnerable, light, and it will have a presence in the space. I am buying 1320 apples wholesale. These apples will be varnished and colour will be applied. This creates a seal, starting fermentation inside the apple. This is a long process of decay from the inside out. it which will be in its initial stages at the time of the Farnham Degree show. the fermentation will shrink the apples, giving off a sickly sweet smell.

I have arranged to use a spray booth as Drakes Shop-Fitting in Bournemouth. I am liaising with the spraying technician, who has suggested using a lacquer paint mix, which would require three coats. The spraying will be completed before May, allowing some time to ferment in time for the degree show.  The significance of using apples is to do with the minimal shape, yet keeping the essence natural. The accumulation of all these units is important also due to the repetition, both aesthetically and in the making; I become a factory worker with a production line.

The placement is key to my work. I am inspired by Richard Long’s closeness to materiality, and wish to create a perfect circle of apples (see drawings) The apples will have a relationship to the space. They will be placed directly on the floor, viewers will be encouraged to touch and get close to them, and will need to kneel or bend over to get closer to the objects.
Budget
1320 Apples – £150 (need to make more calls and find cheaper/sponsorship
Use of spray booth – FREE
Paint and varnish –  £70
Time
Spraying apples – 3 solid days at spray booth
Apple placement – 2 solid days to work perfectly place each apple
Standard
Art, Exhibitions, Thoughts

The Surface/Space/Time Exhibition is on now!


Lucy Barfoot
Ladle Moulds 2009
Glues, Watercolor ink, water, wire

My colours are sickly and my matter is sweet. I want to satisfy. I want to fulfil the materiality of objects, allowing them to talk. What is it to sense the texture, shape, and the smell? The viewer forms a unique relationship, which I have no control over.

The letting go and holding onto control has a powerful effect on my work. The process of gathering objects is something I ‘have to do’, similar to my compulsion to repeat actions. My practice is obsessive and process-led. I am physically absorbed into a daze of making.


Images:

1. View from the door – I wanted people to enter the space, get close to the sculpture. I worked on the lighting to create a semi-lit, eerie feel. The Crypt is such a haunting place, I thought I could dull-down my bright sculpture to fit the space better – but once people got close, the piece was more vivid.

2. Detail of ladle moulds with light shining through. Reminded me of stained glass windows. The color was different from behind.

3. Me in the sculpture. Hello!

Standard
Art, Process, Thoughts

Process

I forget sometimes how process-led I am. It’s important for me to savor the process of the making; it is just as important as the finished piece. And i love the process of cooking. Obviously eating is pretty good, but the real enjoyment is in making.

I especially love the terribly boring things. You would not believe the stillness my brain has whilst doing these dull things. It’s like a little vacation. I get sucked in.

Standard