My Own Photos For My Pathway Project Which Were Inspired By Charity Henderson’s Work. She Paints Portraits

Putting up exhibition space :)

Landscape art, Jeanne Claude and Christo.

Wrapped Trees, 1988

‘Wrapped trees’ by Jeanne Claude and Christo, is a unique piece of land art. The two artists worked together and were an art duo which focused on large scale artwork throughout their careers. Claude was from Morocco and Christo from Bulgaria, they were both born on the exact same day in the same year on the 13th of June 1935 and got married in 1960. Their artwork focused on wrapping up huge man made structures or huge natural structures. One of their most famous works was wrapping up the Reichstag in Berlin in 1995 which took 90 climbers and 180 installation workers to complete. This was done with polypropylene fabric and rope. Another piece that they are particularly well known for is wrapping up the West Coast of Australia in 1968. The fabric covered one million square feet, its size shows the sheer scale in the work of Claude and Christo. 

The piece of land art ‘wrapped trees’ was created in 1988 and took 9 days to complete. 178 trees in a park in Riehen in Switzerland were covered by transparent fabric, and this artwork was left up for 3 weeks. The original plan was to wrap 330 trees in the Avenue des Champs-Élysées in Paris, however their plan was denied. The trees were wrapped with 592,015 square feet polyester fabric which is the same fabric used in Japan to protect trees from frost, snow and general winter weather. The fabric was all tied on just by using rope. The finished piece is very effective and the trees look ghost- like, mysterious and out of the ordinary. The fabric changed shape slightly and blew in the wind, at different times of the day, different colours light and different intensities of light would shine through the polyester fabric. This created a diaphanous effect which allowed all of the individual branches to be seen. The piece of land art was up in November, so the start of winter once all the leaves had fallen off of the trees. This allowed the branches and main structure of the tree to be seen clearly. The fabric also shrouded the trees in a way that gave the impression of the shape that all of the leaves would take if they were there. This use of negative space almost highlighted the absence of the leaves which gave a ghost-like quality to the work.

Christo once said “Jeanne-Claude and I borrow space and create a gentle disturbance in it for just a few days. When they appear for a few days, they carry this tremendous freedom of irresponsibility.” This quote reveals a lot about the intention behind the work of the artist duo. After all of their work, Claude and Christo made sure that the ropes and fabric that they used were never thrown away but recycled. It is possible that their work overall reflects the alteration of the natural world for our human needs; it could be a message about climate change and the environment. On the other hand, the work ‘wrapped trees’ could be about the fact that nothing lasts forever and everything is fleeting. The artists have to take their work down eventually, if they don’t then they would be intercepting with nature. In the quote, Christo talks about the ‘freedom of irresponsibly’. The artists had the freedom to put their work over the trees but then it is their responsibility to take it back down. This may reflect the importance for everything in nature to return to its natural state.

References

https://christojeanneclaude.net/mobile/projects?p=wrapped-reichstag

https://coveringchristo.wordpress.com/rationale/

http://www.artnet.com/artists/christo-and-jeanne-claude/

https://christojeanneclaude.net/mobile/projects?p=wrapped-trees

https://coveringchristo.wordpress.com/rationale/

Inspired by one of my favourite illustrators Katarina Kerekesova for the graphics workshop :)

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

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/

Some lino cuts for the book i’m working on...

Prints from my own woodcuts.

What does the Sagrada Familia’s form tell us about its function?

Antoni Gaudi, La Sagrada Familia, Basilica

The Sagrada Familia is a basilica that has been under construction since 1882, designed by Antoni Gaudi. Gaudi dedicated his life to this masterpiece and near the end of his life he even lived in the Basilica. When Gaudi died in 1926, only a quarter of the construction had been completed. Construction is estimated to be finished by 2026. 

Gaudi was always inspired by natural forms and once said ‘originality consists of returning to the origin’. He stayed true to his words and did not include straight lines in his designs as nature has no straight lines. The Sagrada Familia is one of the most well known buildings designed by Gaudi and inspired by the natural world. It’s function is to be a place of worship, however Gaudi uses the idea of nature to uphold religious values and reflect biblical moments. The inside of the Basilica has been designed to look like a canopy of leaves while the pillars, which are 22 metres high, are intended to look like huge tree trunks. So that inside it feels like a forest where the canopy allows a lot of natural light to shine through. Another fascinating feature of the Sagrada Familia are the two main facades. One façade is the Passion façade, and the other, the Nativity façade. These two represent the birth and death of Jesus Christ. On the Passion façade, the stained glass windows are green and blue, which when the sun shines through them, drench the whole Basilica in blue melancholy light, to reflect death. On the other hand, the windows on the Nativity façade are red and yellow which then allow orange light to shine through to represent birth. These aspects of the natural world are used by Gaudi in his architecture to give the impression that we are in a natural space. 

The Sagrada Familia’s appearance reflects the importance of the natural world and brings us closer to the origin which is nature itself. When approaching the Basilica from the outside, you feel overwhelmed by the monumental scale of the construction and the details of the façade. This building gives an instant impression about it’s function, as a place of worship, glorifying something higher and sublime.

~I have used my own photos.

Sources:

https://theculturetrip.com/europe/spain/articles/15-amazing-facts-you-need-to-know-about-la-sagrada-familia/

https://blog.sagradafamilia.org/en/divulgation/stained-glass-windows-how-they-were-created/

https://www.barcelona-tourist-guide.com/en/gaudi/sagrada-familia.htmlhttps://time.com/sagrada-familia-barcelona/

Multiculturalism and prejudice, Elizabeth Catlett

Elizabeth Catlett, ‘I have always worked hard in America’, Lino cut 1946, printed 1989

The linocut ‘I have always worked hard in America’ presents three women all undertaking the same chore but all at different stages. The image seems to be in a house and the three women appear to be maids showing how hard African-American women worked in America.

Elizabeth Catlett was an artist who tackled themes of feminism, racism and prejudice and the African-American experience in the 20th century in America in her work which is mainly lino and woodcuts. Her work reflects the experience of African-American women and was inspired by her own experiences, black history in America and the experiences of three of her Grandparents who were slaves. She once said; "(My) purpose is to present black people in their beauty and dignity for ourselves and others to understand and enjoy and to exhibit my work where black people can visit and find art to which they can relate."

After graduating in Fine Art in Iowa, she won a fellowship which allowed her to join the most important printmaking workshop in Mexico, the Tower Grafica Popular. In this workshop artists tackled social issues such as fascism and literacy through prints. There, Catlett made a set of 15 linocuts called ‘The Negro Woman’ in 1946-47. The print, ‘I have always worked hard in America’ particularly stands out. The three women seem to be doing the same chore in a repetitive manner. They all look the identical and are completing the same task which I think hints at the racist notions toward black women in America throughout the 20th century, treating them like the same person, and the fact that the only work that women could find was domestic housework. The hand of the woman in the foreground is large, it is not in proportion at all with her body. Catlett did this for expressive purposes but I also think that it could be signifying that African-American women were overworked. The fact that the hand is in such awkward positions may indicate the women feeling exhausted and drained. Furthermore, it is so noticeable that the women look very similar, they could almost be the same person. Catlett could be showing one woman at different stages of her work, implying the repetitive nature of the work of the women and the never-ending nature of their situation, highlighting the exhaustion of African-American women in the US.

This print may also reflect on Catlett’s own life experiences as she was arrested in 1949. This was due to her own activism and because of the fact that some of the members of her printing workshop were members of the Communist Party. She was banned from entering the United States and was labelled an ‘undesirable alien’ by her home country. In 1962, she renounced her American citizenship and became a Mexican citizen. This makes me wonder if her piece ‘I have always worked hard in America’ challenges her exile from America. The print was created long before she was banned from entering the country however in a way, I think it is relevant to her own life and may have reflected her feelings toward her circumstance.

References:

https://www.youtube.com/watch?v=qI5o3cqrBb0

https://renee-phillips.com/famous-black-artists-who-confronted-racism-and-inequality/

https://www.clevelandart.org/art/2000.95

http://nationalhumanitiescenter.org/pds/maai3/segregation/text5/catlettnegrowoman.pdf

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.