The Strode sustainability garden is looking terrific at the moment. The plants have been loving the summer rain and sunshine. The biology students have been fishing out some of the plants in the pond so that the water isn’t all lost to the advancing plant swamp. The pond and the garden is full of flowers and life, our own little re-wilding corner of the college campus.
Primary and Secondary Research in relation to Jewellery Design and Insects, ranging all the way from books, to real life bug cases, and artist references taken from internet resources such as gallery websites and Pinterest.
Life Class - Great session today with the FAD students drawing the model’s head. Demonstration about scaffolding and structural drawing development. Then each drawing a life size head for 5 minutes, then moving chairs and drawing for 5 minutes on someone else drawing - making corrections, observations in a different colour - then again, then again and then back to your first drawing to consolidate the many inputs. Good fun, ‘musical drawing chairs ‘ & really productive. Then having numbered the drawings I animated them as a set, so this little film is a collaboration between all of the students. Great work.
Then we all drew a seated long pose for the rest of the session.
Drawing Week!
Here’s my attempt at experimenting with light graffiti in photography. The concept was fairly new to me so I tried to rely on creating more simple, sporadic shapes. It was pretty difficult to do successfully at home without any proper equipment, but was fun to try.
This is a small ceramic figure - a maquette to test out the idea which I made just before college closed so I’m not aware yet of whether it survived in the kiln! It is based on the figure of the model Amina Adan as she modelled Nike’s range of modest sportswear for Hijabi women. I created a framework to support the slabs of white porcelain I used to build up the figure. I wanted these slabs to still show in the finished piece. Creating an image of a strong woman pushing herself through and past any boundaries created by her clothing. #strodefad #strodecollege #strodecollegeartdepartment #ceramics #ceramicsculpture #nike #modestwear #modestsportswear #hijabi #womenempowerment #women #maquette #aminaadan https://www.instagram.com/p/CAIAL82lJwE/?igshid=1jki250tmvg0v
An excellent first two days with Strode college lecturers, Oxfam staff and volunteers and current and former Strode students - at the first Glastonbury festival in three years. This terrific new initiative has been planned by textiles lecturer Alice Bowen as part of the joint charities work to raise attention to the climate crisis. Working with Oxfam, Greenpeace and Water Aid the crew are running workshops with festival goers through the event. Everyone is invited to write climate demands on card placards and waste material strips - donated by Bristol Cameron Balloons - to contribute to a wonderful banner that will form a centrepiece for the climate procession from the Greenpeace field to the park stage on Sunday morning. Wonderful slogans, drawings and other contributions from the many children and adults. The banner will then travel to COP27 in Egypt the autumn.
My fascination with the Goldfinch began after reading Donna Tartt’s captivating novel, ‘The Golfinch’, based on the history of one of Fabritius’ only surviving artworks. It is believed by a number of art historians that the original 1654 painting was involved in an explosion the same year it was signed, tragically killing Carel Fabritius and destroying many of his accompanying pieces, (hence the reference to a terrorist attack in the novel, alluding to the original explosion in which the painting was retrieved).
Fabritius worked temporarily as a student for Rembrandt Van Rijn in 1641 and thus, many elements of his early work reflect Rembrandt’s signature style of striking tonal highlights in amongst inexplicably dark shadows. Likewise, this influence is portrayed in the glowing golden tail feather of the goldfinch (as shown above), set apart from the dark shadows of the chained bird in the background. Furthermore, the use of trompe-l’œl oil paint allows for the definitive contrast between defined brush strokes and soft details, as seen in the delicate mark making of the chain against the harsh brushstrokes of the overbearing shadows.
Nonetheless, The Goldfinch was seen as rather an unusual subject for the Dutch Golden Age, due to the simplicity of its composition and lack of focus on neither portraiture nor still life- both common subjects of the time. However, the warm tones and dulled saturation created over time by the oil paints convey the sense that this piece was of its time, due to the fact that cooler tones were very rarely used. This, combined with the artists ability to layer textured brush strokes, gives the piece an almost three-dimensional effect, bringing this common pet to life in a rather charming way.
As a Dutch Baroque painter in the mid sixteen hundreds, Fabritius was inclined to only use paints available to him. In the 15th century, linseed oil began to replace egg tempura as a medium as it dried more slowly and was consequently easier to manipulate and work into. Oil colours allowed renaissance artists and later, baroque painters, to expand the effects of colour and explore realism in a new light. As shown in the images above, Fabritius payed close attention to the correct placement of shadows and highlights and made a conscious effort to capture the character and expression of the subject to create a sense of realism- while simultaneously stepping away from the minute brush strokes and extensive detail often used by renaissance and pre-raphelite painters.