Framing statement – 702

Analysis of the intuitive through research led practice has given me a greater understanding of the elements which feed into my practice. I have identified that know-how and personal knowledge combined are dominant in my subconscious when painting. It is difficult for me to set aside knowledge to do with composition, medium, materials and tools when working, this is closely linked with my feelings around aesthetic and colour. Environmental factors in terms of my personal situation and Geographic’s perhaps influence accessibility to visuals such as exhibitions and wider art and life experiences. This can perhaps be seen for example in the easily accessible south western and St Ives School of painters which have influenced my work. I am also aware that interactions are tied up in my experience of exhibiting; I tend to present my work in a way which focuses on a sense of aesthetic alone. Having this better understanding helps me to pull back when habits form and there is a need to break patterns. It also strangely pulls the subconscious to the forefront altering the interplay between each factor which is something I plan to utilize moving forward.

On studio days I have continued with a series of experimental works. Regular documentation has been beneficial evidencing development in the work. This comes from working almost daily, a process of repeating, making errors, making decisions, setting aside, reflecting, returning and so on. The work is prolific and can seem repetitive, however in the reflection phase I can see movement and development. I have introduced different mediums and supports: Encaustics, ultra-black, ink and watercolour pigments, moving between large scale Fabriano, canvas and circular supports. The recent change in circumstances due to Covid19 was a time when I found drawing to be useful, something which I found reflective and cathartic. Drawing is comfortable; painting can be unpredictable, uncomfortable and exasperating as well as joyful.

The essay writing and blog reviews have grounded and pulled together my thinking. Kathleen Coessens who remains relevant and Henri Bergson have enabled me to position myself within my line of enquiry. Looking beyond my own practice I have been researching artists such as Gillian Ayres. Anselm Kiefer and Jenny Saville to identify the intuitive in the practice of others, Kiefer driven by memories and cultural codes, Ayres a sense of experience manipulating paint and Jenny Saville’s work, although very much about paint relies heavily on her internal sketchbook of memories, visual references and ideas .

Unravelling the intuitive has somewhat put me in a cycle of attempting to consciously set aside subconscious thought which then in turn becomes conscious thought. The awareness of my inner influences suddenly becoming conscious is a strange but useful development. This combined with my research into other artists had clarified my decision to bring new content to my work moving forward. Insight into the practice of artists such as Saville and Kiefer has raised questions for me regarding the less dominant elements of my subconscious. Where do memories, experience, cultural codes feature in my work and how could these filter into my practice if focussed upon? This is something which will factor into research and practice over the summer in preparation for 703.

Blog address: https://julieellisart.wixsite.com/website/blog

Blog posts – (Reviews ref Essay):

https://julieellisart.wixsite.com/website/post/reveiw-one

https://julieellisart.wixsite.com/website/post/review-two-der-gordische-knoten-kiefer

https://julieellisart.wixsite.com/website/post/review-3-reverse

Bibliography – Reading

Coessens, K., 2014. Artistic Experimentation In Music. [ebook] Lueven University Press. Available at: <https://www.jstor.org/stable/j.ctt14jxsmx.10> [Accessed 9 October 2019].

Gayford, M., n.d. Modernists & Mavericks. London: Thames and Hudson.

Andrews, J., 2018. The Question Of Painting. Bloomsbury publishing.

Bergson, H., Ansell-Pearson, K. and McMahon, M., n.d. Key Writings. London: Bloomsbury.