My Animation Called, ‘My New Home’ Inspired By Lauren Child’s Book Illustrations And Animated Stories

Embroidery for my ‘Then and Now project’ which is my own design inspired by Slovak folk patterns. It is embroidered onto a blouse which will go with a skirt (that I am currently working on) :)

Printmaking workshop,

We printed with oil based inks after sticking the design onto some board, by using the printing press. I photocopied my favourite coloured print and reversed its colours on the photocopier, I love the colours that came out, pinks, purples and yellows. I also really enjoyed creating the black print and printing it out onto coloured paper which I think looks really effective. Overall, it was interesting to try out these new processes.

Ceramics workshop. We are making tea pots, mine is inspired by a poppy seed head and I’ve really been enjoying making it. Its been great to learn about ceramics and the rules that apply like not leaving air bubbles in the clay and making sure to score and slip. I added texture to the teapot’s surface with my nails to give it a more natural feel like a poppy seed head. My clay was a bit too thick in some areas which I had to smooth down but overall, it has gone well so far and I like how it looks.

ETCHING :) . Trying out etching was great and I learnt a lot. It was a long process and I think that the prints could have perhaps turned out better, I was happy with some but I think that the acid ate into some of them a bit too much. However, overall it was a great experience and really enriching to learn about a new process!

Female identity and Frida Kahlo.

Frida Kahlo , ‘Las Dos Fridas’ (The Two Fridas) , Oil on Canvas, 1939 (1.73 m x 1.73 m)

Frida Kahlo is seen as a feminist icon and great artist all over the world. Her painting ‘The Two Fridas’, is one of many paintings that explores her identity as a female. Kahlo often includes the notion of gender in her work, exploring her femininity as well as masculinity and her Mexican and European genetics, with her Father being European and Mother Mexican. These factors shaped her work in a unique way which she expressed through the medium of painting. 

‘The Two Frida’s’ depicts two versions of Frida sitting and holding hands. They both have the same facial expressions and are identical twins however are wearing different things. One Frida wears a modern white wedding dress, which would have been worn in Europe in the 1930’s-40’s with embroidered flowers and delicate lace work around the neck, reflecting her Father’s side. The second Frida wears a traditional Tehuana Zapotec costume from the Oaxaca area of Mexico with vibrant colours which reflects her Mother’s side. There is a stormy sky in the background similar to the stormy skies of El Greco’s work and both Frida’s have an exposed heart connected by an open artery.

‘The Two Fridas’ was painted the year of her divorce with Diego Riviera, with whom she shared a tumultuous relationship. In the same year, in 1939, Frida was also gaining popularity all over the world, exhibiting in New York and Paris. The painting portrays the difficult time of Frida’s divorce but also reveals her identity as a Mexican and European woman at the same time. Kahlo aimed to show her two sides in the painting, the side of her that Diego loved and the one he didn’t.

Traditional Mexican attire became Kahlo’s trademark. She dressed this way to reflect her involvement with the post-revolutionary Mexicanidad movement which fought to redefine Mexican identity and to also reflect her identity as a Mexican Woman. It portrays Frida’s heartbreak and vulnerability, which can be seen through her exposed hearts. Frida said, “(the painting, ‘The Two Fridas’ is a) representation of my loneliness. What I meant to say is I resorted to myself; I sought my own help”. In a time where patriarchy still played a huge role in society, the dependence of women on men was expected and women in art were not taken seriously, Frida did not depend on her husband Diego to become famous. Although her divorce left her feeling broken it is evident that it also led Frida to discovering independence and uncovering more about her female identity. The artery runs from the left hand of the Mexican Frida to the left hand of the European Frida where she tried to stem the flow of blood from the artery. However, with little success as the blood proceeds to flow out and create red flower like shapes mimicking the embroidery on her dress which I think shows how she grew from her experience of divorce. The use of blood is a recurring theme in Frida Kahlo’s paintings, representing family ties, religion and fertility.

Frida had constructed her own identity from her ethnicity, political beliefs and female experience. The painting showed women of the 1940’s that independence was possible, success without a husband was possible. Her traditional outfits in the painting reflect ‘typical’ feminine beauty but with a message of independence, self-discovery as a woman and a fight for social change. Not only does Frida explore her own identity but also the identity of Mexican and European women combined. The artery connects the two continents together like a bridge showing a shared female experience. This can also be seen through the holding of hands between both of the Fridas. The stronger Frida supports the weaker one in her time of need which symbolises solidarity between all women, resilience and empowerment.

References

https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/kahlo-the-two-fridas-las-dos-fridas

https://www.openculture.com/2020/03/what-the-iconic-painting-the-two-fridas-actually-tells-us-about-frida-kahlo.html

https://www.fridakahlo.org/the-two-fridas.jsp

https://blog.singulart.com/en/2019/07/23/the-two-fridas-1939-duality-and-surrealism-in-kahlos-famous-portrait/#:~:text=The%20Frida%20to%20the%20right,are%20visible%20over%20their%20clothes.

https://www.youtube.com/watch?v=rxKR2cHmlPY

https://www.artsandcollections.com/article/frida-kahlo-resilience-pain-and-empowerment/

https://artuk.org/discover/stories/frida-kahlo-embracing-her-masculinity

Observational drawings of a pig’s heart.......

How does the use of concrete inform The Memorial For The Murdered Jews of Europe?

‘Denkmal für die Ermordeten Juden Europas’ ( The Memorial For The Murdered Jews Of Europe) Concrete memorial, 2004

The Memorial For The Murdered Jews Of Europe is situated in Berlin and stands as a poignant reminder of The Holocaust in 1941. This memorial was designed by the Burro Hapold group, a group of engineers from all around the world, the US architect Peter Eisenmann’s design was the design that it is based on. The memorial took 17 years to build, it was finished in 2004 and it consists of 2711 concrete steles over 19,000 square metres. The monumental memorial lies in the centre of Berlin near to the Brandenburg gate. It stands as a memorial to remind us of the horrific events of the Holocaust in the same city that the perpetrators had their offices in. 

Concrete is a reliable and durable material and is used in architecture as well as in sculpture and memorials. Throughout history, it has been used to communicate different ideas and messages and is easily accessible to anyone. This memorial is an example of how concrete can be used to convey a certain message. From a distance, it looks like a cold grey sea. The steles are dark grey and in a similar shape to coffins. Their height varies, some are just 20cm tall and some are 4.7m. The steles are meant to create an uneasy and confusing atmosphere which is further created by the ground underneath because it is wavy and creates a ripple effect. 

Although it is in the centre of the capital city, when you enter into the memorial, the din of the traffic fades away and it is almost silent in there. Due to its enormous size it is hard to run into many people, so it gives you a sense of isolation and you can feel the cold of the concrete around you. As you go further into the concrete memorial, the steals get higher, it feels intimidating and you feel very entrapped by this structure. When looking up, only the sky is visible. 

The memorial has many different interpretations. Some say that this sombre grey memorial represents the dehumanisation of the Jewish people during the Holocaust some also say that the different heights of steles represent the gradual escalation of the third Reich’s persecution. It is a possibility that the plain group of steles show the collective guilt of the German people. Another interpretation is that the strength and durability of the concrete reflects the strength of the Jewish people over the ages in the face of persecution. It is without a doubt that its function is to commemorate a tragic event and is set in concrete so that it may never be forgotten. 

~ I have used my own photos

Sources

https://www.visitberlin.de/en/memorial-murdered-jews-europe

https://www.museumsportal-berlin.de/en/museums/denkmal-fur-die-ermordeten-juden-europas-ort-der-information/

Kehinde Wiley and the male identity.

Kehinde Wiley , ‘Alexander The Great’ - Oil on canvas, 2005 ( 243.8 × 182.9 cm)

Kehinde Wiley is an African-American artist who conveys sensitive messages through his naturalistic, bright and vibrant work. In many of his paintings Wiley presents the male identity in a unique way. His painting ‘Alexander the Great’ showcases this, presenting a young African-American man in modern attire holding a sword and standing in front of a brocade-like pattern; typical of medieval tapestries and byzantine silk production in the 6th century. 

Much of Wiley’s inspiration comes from classical paintings. The name of this painting ‘Alexander the Great’ references one of the greatest warriors in history. In his time, it was rumoured that Alexander the Great was Zeus himself. By the age of 25 Alexander was The king of Macedonia, leader of the Greeks, overlord of Asia Minor, pharaoh of Egypt and 'great king' of Persia. Although he was a great ancient leader, his brutality was also renowned and was known to be self-indulgent and reckless.

Wiley has also drawn inspiration from various paintings of Napoleon. His painting ‘Napoleon leading the army over the alps' is similar to that of Jacques-Louis David’s 19th century painting, ‘Napoleon Crossing the Alps’. Not just the names are similar, but the positions on horseback of both men in the paintings. However the man presented in Wiley’s painting wears an army uniform, giving his modern interpretation of the painting of Napoleon. 

The painting, ‘Alexander the Great’ explores the male identity in a distinctive way that references the past and present. The painting is full of juxtapositions for example with the man’s headphones and the centuries old sword he is holding, the modern designer logo on his coat and the ancient textile pattern behind him. In paintings, a sword symbolises protection, strength and courage, which are all  traditionally ‘typical’ male traits and something that Wiley strives to challenge. These ideals clash with the background colour which is green which represents peace, harmony and balance. These are more favoured male traits nowadays. Furthermore, it is possible to see that the background brocade pattern comes round and over the figure in the painting in some areas coming into the very foreground. The swirling and smooth pattern softens the painting and wraps around the strong and proud pose the man stands in. Brocade fabric and patterns are typically expensive and historically show upper class. The pattern makes Wiley’s painting appear more ornate and regal and also softens the proud pose of the man and shows delicacy and gentleness.

The pose in the painting is reminiscent of the painting ‘Napoleon Bonaparte in his Study at the Tuileries’, 1812, which presents Napoleon in a similar pose, with his hand on his hip, looking straight at the viewer in an imposing way, with a sword also featuring in the painting showing his masculinity and strength. Paintings of Napoleon are often grand and show his great power, but his violent tyranny and invasions are said to have been ‘grounded by an aggressive over-compensation for his short stature’ some historians say. 

I think that this pressure of being as masculine as possible was something felt in the past as much as it is in today’s society which is something that Wiley intends to convey in his paintings. In my opinion, Wiley intends to show changing attitudes toward the male identity by referencing hyper masculine historical paintings. Wiley contrasts these attitudes with flowers, soft colours and intricate patterns, challenging the old ideals of male identity but also giving them a different and new relevance in the modern day.

References:

https://www.britannica.com/biography/Alexander-the-Great

https://www.artsy.net/artwork/kehinde-wiley-alexander-the-great

https://www.theartstory.org/artist/wiley-kehinde/

https://cxainc.com/edition/portraits-inspired-by-napoleon-by-kehinde-wiley-and-jacques-louis-david-come-together-for-the-first-time-ever/

As my resist dyeing didn’t work, I decided to use the fabric and print my designs on top with white acrylic paint. This is to mimic a traditional blue print. I think that all of the shapes turned out well and I am quite happy with the outcome as the design looks quite illustrative.

The last 2 days of the textiles work shop. We printed with real plants using disperse dyes to achieve more delicate and fine prints. I printed these on cotton and on polyester, which brought the colours out more. The last day of the workshop was experimenting with screen printing, using plant shapes that I had used for the previous two workshops. I experimented with different colours  and layered my prints to create interesting patterns. This was a great experience!