Friday, October 26, 2012

Structure into Pink and Blue is complete


Installations are hard to photograph.  I always find it tough.  Straight lines warp through the camera, light is hard to capture (for the novice photographer), and you can’t shoot around corners or capture two elements of the installation that talk to each other in the same frame.  I usually find solace in the fact that I take as many photos as I can from as many angles as I can, trying to focus on the sweet spots for reading the installation, or at least where I think the sweet spots are.  It was suggested to me a while ago to start filming my installations, as a way of capturing the spatial experience of moving through the work.  It’s not perfect, but it’s definitely something.  I have been doing this on and off for a while.

Here is the video (now in 2D!!) and the installation shots of the finished work.  (Note: there is no sound)


Structure into Pink and Blue from Naomi Nicholls on Vimeo.



(c) 2012 Naomi Nicholls, Structure into Pink and Blue (installation view)
Acrylic paint, paint pen and vinyl.

 (c) 2012 Naomi Nicholls, Structure into Pink and Blue (installation view)
Acrylic paint, paint pen and vinyl.

 (c) 2012 Naomi Nicholls, Structure into Pink and Blue (installation view)
Acrylic paint, paint pen and vinyl.

 

(c) 2012 Naomi Nicholls, Structure into Pink and Blue (installation view)
Acrylic paint, paint pen and vinyl.
 
 (c) 2012 Naomi Nicholls, Structure into Pink and Blue (installation view)
Acrylic paint, paint pen and vinyl.
 
 (c) 2012 Naomi Nicholls, Structure into Pink and Blue (installation view)
Acrylic paint, paint pen and vinyl.
  (c) 2012 Naomi Nicholls, Structure into Pink and Blue (installation view)
Acrylic paint, paint pen and vinyl.

This work, in signwriting vinyl, acrylic paint pens and acrylic paint, has again allowed me to use multiple materials to build the installation.  I love that.  It just doesn’t feel right unless there are number of different mediums being used.  Perhaps it doesn’t feel enough like a collage or that I’m truly building the work.  This, when you think about it, is heavily related to the content of the work – building structures in space that are related to architecture of a site.

I’m pleased with the illusory qualities of this work.  However, if you try to step into the rectangle across the floor and wall, it vanishes and becomes lines on the floor.  Perhaps this is something I can push further.

The glossy finish which the vinyl gives, is fantastic.  When it’s paired with the matt finish of the acrylic paint, it creates a kind of ambiguous spatial effect, highlighting the possibility of a fold in the wall.

Wednesday, October 24, 2012

Structure into Pink and Blue - Work in Progress








I am behind on posting what I’ve been working on.  That never happens.

Here are some photographs of a work in progress.  Working again in a hallway; there is just something about those spaces.  Availability of the space does play its part, as well as the constant flow of traffic, which adds content to the work and gives constant readings to the work.

This installation uses signwriting vinyl, acrylic paint pens and acrylic paint.  It has been challenging to work with such a large piece of vinyl.  Application had its problems, wrestling with the vinyl that wanted to curl and stick to everything.  As well as not being able to stand back and look at placement as I applied it made it hard.  I had tacked it in place before I started peeling off the backing, so I was reasonably sure of the placement as I was applying it.

A ‘happy accident’ presented itself while I was painting it in.  I ran out of blue house paint.  When I ordered more to be mixed and returned to the painting, I found it had been mixed a little darker than the sample and darker than what I had painted in.  I considered painting over all the blue of the shape again in the darker blue, but settled on just covering what I had to and making another shape of random brush marks.  It adds more depth and, I think, adds more questions about what space the work takes up.

Monday, October 8, 2012

Upscaling Didn't Quite Work


Sometimes things just don't work.  Many times I have painting things in small scale and then tried them on a large scale and it just flopped.  That happened again recently.






It was the first time I attempted those random and deliberate brush marks in a large scale.  I had plans of linking the shape together and unfolding an installation across the room, in a similar way to these works on plywood, but the upscaling did nothing for the shape.  To me it just looked like the beginnings of a graffiti mural, which is not the content I want to bring to my work at this point (if ever).  As with before, it seems the problem was the size of my brush in relation to the size of the shape.  It may have worked if the shape had been half the size.  Or if it was filled in, which I have since started to do.

Thursday, October 4, 2012

Painting Experiment 3 (Yellow, Blue, Red)



(c) 2012 Naomi Nicholls, Painting Experiment 3 (Yellow, Blue, Red)
Video still

This still is from my latest painting experiment, this time with red, yellow and blue.  Are you seeing a theme with primary colours recently?

This is the most successful yet.  I was able to get the lighting right, a good camera and edit properly.  I'm learning a lot about the video process.  However, as you learn more about making video, you find there is so much more to know.  I enjoy making videos, but for the moment, that's not where I want my focus to go.  So, they might just appear in my work now and then.

This work will form part of my assessment this semester and may turn up in some exhibitions in the future.

Monday, October 1, 2012

Tweaking Primary Colours - works on plywood



(c) 2012, Naomi Nicholls
Acrylic and acrlyic paint pen on board
 (c) 2012, Naomi Nicholls
Acrylic and graphite on board
 (c) 2012, Naomi Nicholls
Acrylic and graphite on board
 (c) 2012, Naomi Nicholls
Acrylic and graphite on board
(c) 2012, Naomi Nicholls
Acrylic and acrylic paint pen on board


Here are some more works on plywood board.  It's a wonderful material to work into, as it comes complete with a spatial or atmospheric kind of 'background', because of the wood grain surface.

I'm focusing on primary colours with my colour choices.  I think in terms of starting with red, yellow, blue and tweak them slightly.  The blue may become a light blue or royal blue.  The red I turn slightly to a hot pink or magenta by adding the tiniest bit of white or yellow, or go all the way to a fleshy tone.  The yellow I turn, either slightly or a long way, in the direction of orange.  There's also some random green in one of these works, thrown in for good measure but unrelated to primary colours.  However, I must say, I think that work is the least successful in terms of colour palette.

I'm finding these adjustments are a great way to deal with colour.  The relationships between the colours are still largely based on primaries, but it alters my thinking about them and my fear of primary colours, inspired by art history's fear.  While not quite 'complementary' colours, they still operate in a really illusory way.  Complementary colours naturally work amazingly to create optical illusions, because they are truly opposite colours.  These tweaked primaries have something at play also and I am deep in sorting it out as I go along.