Context
1
Postgraduate Lecture Program: Matilda Moors
In the Peckham Road Lecture Theatre
Camberwell college of arts.
Matilda Moore's talk at camberwell was a general introduction to her work. She first started the session by informing us about the different concerns that she addresses, like the topic of consumption, conformity and identity which are just a few of what we share in common. She takes these different topics and categorizes them in different compartments, such as, the cute, the cartoon, the girlishness and the monstress.
One of the art works she exhibited, that I related to, was a digital piece. Part of this ongoing residency, called the Desktop Residency, creating work that acts as screensavers, she drew an image of a squashed cartoon-looking baby face with visible glare marks on top. With this piece she explores the link between cuteness and the idea of violence; “misuse of vulnerability and the exploitation of that softness”. She goes on by pointing out that cuteness can subvert ideas in unusual ways, it operates on likability rather than force, it tricks you in choosing a side. Although her work talks about political situations that make the bad look innocent and good, I tend to use that same method of ‘cuteness’ but to my own advantage; creating with the intention to appeal and allure, bright colors, ‘soft’ subject matter, for the purpose of attraction to discuss topics that could be considered somewhat violent, like conformity, struggle and that feeling of helplessness.
2
Reading group
Discussing Gerhard Richter and Catherine Anyango Grünewald
with Geraint
We were asked to look at two artists, first was Gerhard Richter’s work focusing on a series of paintings, titled ‘October 18, 1977’. These pieces highlight some parts of the controversy behind the German terrorist group, Baader Meinhof, who were found dead in prison. Second is Catherine Anyango Grünewald, focusing on her animation ‘Last Seen’. Using different moments of when a person disappeared, or at their death, like Michael Brown, who was fatally shot by police in Ferguson, Missouri, USA in 2014. Both works cover the topic of traumatic and violent events of historical importance.
Because the artists used images or video from police evidence and news papers, the discussion navigated to questioning artists utilization and reinterpretation of found media images/footage especially from important events. Which then led to the topic on morals, values and selfless deeds. Even if unintentional, are we using these topics, like stories of murder, to shed light on them, or to use it so we, our work, become famous? Is it morally acceptable to do so, or do we need permission from every person involved? I found this reading group to be interesting as my personal work, which covers the topic of navigation of identity, discusses the constant struggle of what's right, the do’s and don'ts and so on. Through my work I try to capture that moment of realization, just like this moment within our discussion and contemplation, I paint and highlight the internal mental struggle that comes with such moments.
Gerhard Richter Catherine Anyango Grünewald
3
New contemporaries 2022
South london gallery and Fire station
With Geraint and Nicholas Byrne
My MA painting class was asked to attend a group visit to the Bloomberg new contemporaries exhibition, which is a group show of 45 artists from different art schools and learning programmes. Through an open submission, These artists were selected by internationally renowned artists Veronica Ryan, James Richards and Zadie Xa. This exhibition has been an annual celebration since 1949.
After the visit, we all gathered back in Camberwell college of art’s cafeteria, where we had a general discussion of what we saw, liked, disliked and admired from the gallery visit. My favorite piece is by Irani artist Leily Moghtader Mojdehi, titled Backseat snacking: Cream puffs and cheese puffs, created in 2021. This mix-media piece that included found objects, print, fabric, paint and much more, fantastically captures a moment that I personally can relate to. I can see myself right there in the back seat, from the mix of arabic, western/european and of course irani culture, it's a perfect representation of both the chaos and beauty of anyone's childhood within the middle east, mixing private and political public bubbles all in one image. Both our works, although externally completely different outcomes, are rooted from personal experience/ situations, which is probably why I liked it so much.
1
Postgraduate Lecture Program: Matilda Moors
In the Peckham Road Lecture Theatre
Camberwell college of arts.
Matilda Moore's talk at camberwell was a general introduction to her work. She first started the session by informing us about the different concerns that she addresses, like the topic of Consumption, Conformity and identity which are just a few of what we share in common. She takes these different topics and categorizes them in different compartments, such as, the cute, the cartoon, the girlishness and the monstress.
One of the art works she exhibited, that I related to, was a digital piece. part of this ongoing residency, called The Desktop Residency, creating work that acts as screensavers, she drew an image of a squashed cartoon-looking baby face with visible glare marks on top. With this piece she explores the link between cuteness and the idea of violence; “misuse of vulnerability and the exploitation of that softness”. She goes on by pointing out that cuteness can subvert ideas in unusual ways, it operates on likability rather than force, it tricks you in choosing a side. Although her work talks about political situations that make the bad look innocent and good, I tend to use that same method of ‘cuteness’ but to my own advantage; creating with the intention to appeal and allure, bright colors, ‘soft’ subject matter, for the purpose of attraction to discuss topics that could be considered somewhat violent, like conformity, struggle and that feeling of helplessness.
4
Royal Academy of Arts
William Kentridge
24 sept -11 dec 2022
https://www.royalacademy.org.uk/exhibition/william-kentridge
I had the pleasure of attending William Kentridge’s, one of South Africa's well known living artists, exhibition at the RA gallery. It's the biggest exhibition of the artist’s work in the UK. His practice spans across not only painting and drawing, but as well as collage, film and sculpture, tapestry, theater and so on.
When looking at his work online, it truly doesn't do it justice. It's only when you see it in person do you then appreciate his art. The detail, the layering and the massive scale of some.
One of the many things I admire in his work is the rawness of the drawings, especially the ones he made for his films, like City Deep that was created in 2020. You can clearly see the process of the sketch as the movie plays, drawing and erasing each line. It's quick, it's not perfect, it's expressive and full of emotion which just adds another level/ dimension to the subject.
He uses elements of symbolism, also something that dominates my own work. Things like the light stand or the oil drill discussing capitalism, racism, money and greed, portray more than what they are to help highlight what's important within his topic.
