Stand Still

Okay, so after the bold street festival things have come to a bit of a stand still. I've been planning and pondering over these paintings and how they will be set out and the only thing holding me back is the photography. At this moment in time I'm wishing I had chosen an easier subject matter. Something that would be constantly there for me to come back to and work from, but no, I do want a challenge. And challenge this is. I've been reading up on each of the paintings I plan to 're-make' so my contemporary works are as true to the originals as possible, however all this planning and pondering has left me with no real creations for myself. I know it's only the second week in but I already feel like I'm falling behind. I have plans for photo shoots starting tomorrow in different locations however right now I think I need to produce some sketches, or reinterpretations from the original images. So off I go... wish me luck!

Bold Street Festival

This Saturday 24th September was the Bold Street Art Festival and the art lids had a fanstastic day, work wise and commercially.

First things first, we have Antonia Jones to thank for the whole thing as she did an amazing job of getting us into Ropewalks Square for the day. Becky set up a table with clay and tools for the children of Liverpool to get involved in as she worked alongside them. Louise worked the longest of all of us doing incredible free portraits for the public. I really liked Anna's lovely silk screen printed labels depicting sections of bold street pinned them to passers by.  Lucy and I worked on a collaborative piece on a large felt covered wooden board. We used some works by Degas as inspiration. I guess you could say we were creating 'remakes' of his work (hehe had to fit that in).

I think what made our work so successful was that we were constantly involving ourselves and communicating with each other about what we wanted next from the painting. In this respect I think we have both impacted on each others practise. I certainly have learned to consider the effect of colours on each other much more.

The Remakes

Over the past few weeks I have been considering which paintings to use as inspiration for the 're-makes'. I have made the decision to reference well known works of art which are easily recognised by their composition or subject. This is because I want my work to have the essence of the original, and to be recognisable to some level. In saying that, they need to be works that can be recreated in a contemporary manner. 

Here are a few pieces I am considering.

'Un bar aux Folies Bergère' Manet

'Young Man At The Window' Gustave Caillebotte

'Luncheon of the Boating Party' Renoir

'Nighthawkes' Edward Hopper

'The Student' Thomas Burke

'The Alforni Portrait' Jan Van Eyck

I have been considering how to change these iconic paintings in a ironic and possibly humerous yet in a tasteful way. Although I will be depending on models to pose in set conditions the trick will be for my work to still appear natural and not contrived.

Plan

I have put a print out of this in my studio space, but just incase you've missed it, and have an interest in my work, here is my basic third year plan.

Pip Preece’s 3rd Year Plan

The contemporary is derived from its traditions, so my work takes the past and creates new meanings and avenues.

By looking into the work of certain past artists I have gained an interest in the concept of their reconstruction of art works in a contemporary manner.

The re -make.

The remake can be any medium in which that said artist believes a previous piece can be reproduced in a contemporary manner. All art is a reaction to an experience, but the re-make is specifically a reaction to an experience of ART.

Paula Rego, Sebastian Schrader and Francis Bacon, whether directly or indirectly, have all produced re-makes. Bacon’s reworking of Velazquez’s ‘Pope Innocent X’ is the most direct. He has continued with the medium of oils, and the essence of the composition and subject is fundamentally the same. However there is a power shift in the contemporary piece. The ideology of spirituality has a stronger presence in Bacon’s work, and thus gives a new contemporary connotation to the work.

Rego’s humorous adaptations of Disney’s Snow White are another example of such re-makes. She has twisted the childlike innocence of the character and used the fairytale only as a thin guise for psycho-sexual intrigue and taboo, giving the story a more mature, sexual edge, through a feminine view point. Her choice to alter the medium from animation to oil paint also shows the transition of the tale from childhood to maturity.

Schrader’s initially classical looking paintings are in fact possibly the most contemporary paintings. He associates his work with an ongoing philosophical-psychological investigation of familiar myths and histories. By referring to art historical motifs and subjects with the gesture of painterly perfection, he reflects on the contemporary role of the artist and painting as well as current issues.

This year my work will take the remake into consideration. Past works will inform my practice and be revised to generate contemporary art with its roots firmly in the traditions of painting. I will be working with the medium of oils, in order to continue the traditions of the originals, and to hold tight the relationship between the two.

My plan for my work is not solid, as I have not yet selected which paintings to take into consideration, however I do have some visions for possible directions.

I will be working from photographic imagery most likely posed in set conditions utilising people I am familiar with, but will also use news photography as a reference where required. My work will make statements about contemporary society with a humorous undertone.

At this stage I do not see any need to focus on the work of a single artist, but plan to use several familiar pieces of art as inspiration. In that way my work will have an instant impact, rather than alienating viewers by forcing jargon on them. It is my strong belief that art should initially be visually initially, and then the option of further research and information should be a secondary element.  

Art Lids

I feel so excited after yesterdays meeting with the Art Lids. I don’t know what to say! It was great to buzz ideas round and to find out everyone’s plans. I’m really looking forward to producing a mural with Rose and Lucy at the Bold Street Art  Festival on the 24^th September. Antonia has even managed to organize us a shop this November in Clayton Square. The theme will be ‘Alice in Wonderland’ which is a very exciting prospect, and I can’t wait to get started on some work for that!

I have volunteered to be the publications organizer, and so I have been working on finalizing our logo and brochure. Here are two examples of logos which have been put forward to the Art Lids group.

The Art Lids Group is something that is really pushing us to improve ourselves as commercial artists, allowing us to exhibit, advertise and sell our work together, and I am really enjoying working with such a great group of enthusiastic people and friends.