This is the title page for my A-Level art book. The book focused on the exploration of vulnerability within young people due to excess stress and pressure imposed by people around or by the subjects themselves. The vulnerability could eventually lead to emotional distortions which I found very intriguing, thus the book will also be looking at twisted minds as well due to the close relation between the two themes.
I've taken pictures while experimenting with the lighting effects. Through Yasuzo Nojima's photos I've realized that one method of making the subject look more vulnerable would be using extreme lightings to create shadows on the faces. The shadows under the eyes and cheekbones could really add to the atmosphere. I'm planning on using photoshop to alter the light scales and colors as well to further emphasize the vulnerability.
I experimented with methods like mono printing and collaging as both are capable of creating a sense of brokenness and mystery. The mono printing allowed patches of ink to be left on the paper that concealed parts of the background and the lines that added to the mystery of the portrait.
Collaging gave me an impression of the sticking together of ripped paper which I believe could link in with my theme nicely.
I then proceeded to look art artists like Henrietta Harris and her distortion watercolour works. Below is one of my own recreations using pictures I've taken. Due to the lack of shadows and the smooth blended texture of watercolour, the painting was still and silent and peaceful as if the subjects have all accepted their own vulnerabilities.
As the vulnerable and sensitive mind could be expressed in more diverse ways, I did more research on artists like John Larva and Davide Cambria who took a different approach when coming to reveal these emotions. As both artists favoured clear brushstrokes, thick paints and textured surfaces, I used palette knives and oil paints and acrylics to replicate the effects and use it as part of my style. These paintings due to the huge variety of colors applied and the rough, course texture showed a more violence side of distortion caused by vulnerability. The subjects seemed more chaotic and anxious in these pictures from my perspective.
With these eyes I've added structure gel to the acrylic before so the textures would be better preserved even when the paints are dry. I also experimented with the amount of paint that should be applied in order to create the rough surface. This was my first attempt at using palette knives which was challenging due to the lack of control on small spaces. After the experimentation I've started to create painting of larger sizes in order to better perfect the details.
The two pages on the right are from my art book from AS. The small book focused more on the exploration and experimentation of various skills, materials and styles. I did research on artists like Henry Moore, Alberto Giacometti while harnessing skills like painting with wax, ink and charcoal.
I've also tried batik and I believe these will all contribute to my creation of final piece as the process broadened my mind and introduced me to more methods of painting.
During the Summer I was able to attend a summer art school in Beijing in which I produced four projects. The following pictures are from my second project.
For this project I looked into the Japanese 'Yokai' (spectral) culture in which they believe that all monsters are all human lost within their own greeds, resentment or fear, thus overtaken by their own emotions. I wanted to record the process in which a human turns into a 'Yokai' to show the overwhelming power of emotions and what it could cause.
The mask on the left is the mask of resentment, the one below is the mask of lust and the last one is the mask of fear.
To create these masks I used clay, foil paper, cloth, iron wires and all sorts of materials that I don't get the chance to use while doing my A-Level project. Besides I had the freedom to look at different artists (like Edvard Munch, Murakami Takashi) with diverse styles who could serve as sources of inspiration.
I have been able to keep art journals to record inspirations and practice on sketching after my GCSEs. The first two pictures on the right are life drawings from my first sketch book while the third one is from my second sketch book. The first two life drawings had flaws and mistakes which I afterwards recognized and have attempted to correct. I continue keep my art journal with paintings and sketches.
The two oil paintings are from my A-Level art books featuring the theme of distortion and vulnerability. These are the larger sized art works I've done to be able to add in more details.
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