Studio

Development

 

2
collection of nude landscape
3
wood stained ply to change the colouring
333
sanded down after wood stain to reveal the grain
sun
Paint, water & PVA wash

I was not happy with the contrast of colour between the collage and the ply wood so I decided to stain the wood.

The wood stain created an orange hue which I was also not happy with so I then used the electric hand sander to sand off the top layer of wood stain and reveal the grain of wood.

After this I mixed paint with PVA and water to create my own wash/gloss for the wood. I was also not happy with the overall effect of the wash so decided to move on to a darker piece of wood which compliments the print out better.

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Artist Influences, Studio

Gerhard Richter

Richter series of photographs with paint smears resemble the theory of disjunctive synthesis. He works with the difference between the mediums but finds an unfamiliar similarity between then that compliment one another.

This relates to my use of collaged imagery against the grain of the wood.

Artist Influences, Studio

Disjunctive synthesis

Deleuze dictionary definition of Disjunctive synthesis (Claire Colebrook)

‘At its most general, the disjunctive synthesis is the production of a series of differences. The significance of the concept of disjunction in Deleuze’s work is threefold. First, whereas structuralism conceives difference nega- tively, such that an undifferentiated or formless world is then differenti- ated by a structure. Deleuze regards difference positively, so disjunction is a mode of production. There is a potential in life to produce series: a desire can attach to this, or this or this; a vibration of light can be perceived as this, or this, or this. Second, the differences of disjunction are transversal. There is not one point or term (such as consciousness or language) from which differences are unfolded or connected; consciousness can connect with a language, a machine, a colour, a sound, a body, and this means that series may traverse and connect different potentials. Sexual desire, for example, might leave the series of body parts – breast, or mouth, or anus, or phallus – and invest different territories – the desire for sounds, for colour, for movements. Finally, disjunction is not binary. Life should not be reduced to the miserable logic of contradiction or excluded middle – either you want liberalism or you don’t; either you’re male or female; either you’re for the war or for terrorism – for disjunction is open and plural: neither liberalism nor terrorism, but a further extension of the series.’