The Caribbean Sea Project Time-Lapse

The Caribbean Sea Project Time-Lapse

Well people, I finally finished my Caribbean Sea Project time-lapse video! At a total time of 13 minutes and 47 seconds, this video combines over 24 hours of footage. 24 hours, 35 minutes and 49 seconds to be exact. 

By filming the whole process of creating and painting the Caribbean Sea Project piece I wanted to allow the viewer to understand how the process worked and how much time was taken into creating this piece. I also find by looking back at myself in my creation process I can learn about it. 

In addition, Jim Lambie creates time-lapses of his Zopob piece being ‘laid-down’. His video quality is also unimportant, sometimes using CCTV footage. The main aim of the video is to see the piece being slowly ‘built’. 

Below is the vimeo link to my time-lapse! 

Hannah Foreman: Artist

Hannah Foreman: Artist

Finally finished my website!

Let me know what you think!

Creating ‘The Caribbean Sea Project’

Six Days; Monday 24th March – Saturday 29th March

Total of 24hrs, 35mins and 49sec of painting/working time.

Series of photos showing the creation of The Caribbean Sea Project:

Time-Lapse Video of the whole process soon to come! Watch this space!

Arte Ederra presents Memorias

Today is our exhibition opening event! My piece is finished, our maps are printed, the alcohol is bought, the CD is burned and my sister is here! 9hrs and counting!

 

Frank Fischer

Born in Switzerland, based in London.

“Frank Fischers gloss-on-aluminium paintings hits the viewer with a highly charged linear surface of reductionistic colour code, introducing a synthesis of technology, traditional study and a highly mastered process that challenges chance.”

Fischer chooses his work depending on their colour spectrum. They all come from another artists work, such as “White Canoe” by Peter Doig

White Canoe – Peter Doig 1990-1

White Canoe – Frank Fischer 2008

Fischer takes a one pixel line scross the paintings in photoshop, to get every colour from that line, expands it and that turns it into a paintings.
His technique is dripping gloss household paints onto the surface and letting gravity do the rest, therefore his paintings have drips falling off the edge of the image.

http://www.frankfischer.co.uk/frank_fischer/Home.html

Fischer’s way of working is very similar to mine. I am interested in extracting only colour from an image and in therory, so is he. However, I do not want to interfere with classical/famous paintings or other art images, I am rather interested only in memories, or location images.

I am going to try to use his method of extracting colour from an image for my exhibition piece.

The Caribbean Sea (2014)

06:46  2014
Acrylic Paint on MDF board

06:46 (detail) 2014
Acrylic Paint on MDF board

12:28 2014
Acrylic Paint on MDF board

12:28 (detail) 2014
Acrylic Paint on MDF board

18:32 2014
Acrylic Paint on MDF board

18:32 (detail) 2014
Acrylic Paint on MDF board

Upcoming Exhibition Update

The other day,  (25.02.14) I had a tutorial with Chloe, where I asked her about how to insure my work and research is cohesive, but more importantly about my idea for the Exhibition (as explained in the pervious post, Upcoming Exhibition).

Basically, she advised me away from this idea because it was too literal, and to be honest I was more interested in another idea I’d been exploring at the time.

Over Christmas I had an idea to create paintings of just pure colour with an emotion or experience in mind. Originally thinking of this idea, I had my Norfolk park experience in mind.

Above is a scanned page of my sketchbook with original ideas, followed by a final painting of one of these sketches.

I found this idea to be quite successful, and so did Chloe. I had said this idea to Yuen as well, who also liked it and got quite excited about it! I think I got distracted with the other idea because of the painting workshop I’ve been going to, an idea which I plan to store away for another day.

With this idea I wanted to have aspects of the Caribbean as well, therefore I’ve been thinking about sunsets, sunrises, and particularly landscape/horizon images of the Cayman Islands.

I tried it first with just thinking about the ocean.

Chloe saw this piece, which originally I was going to fill in completely with colour, like I have in my sketchbook, however she said there is strength in the breaking of the colour. White space adds depth and perspective in the image and can force the eye to see a ‘distance’. The above piece is not the best example of this, because when I started it, that was not my intention.

I plan to do more of these. I do enjoy this more defined and specific way of working. I feel like, as an artist, I have more control over the outcome of what the piece will become. In addition, I’ve been working with acrylics, which I absolutely love working with.

Also, this work can progress so far and in lots of different ways but still sticking true to the original, basic idea.

Memories.
Emotions.
Experiences.
Locations.
Visualization from a distance.

The Miracle Tree

Artist John Newling speaks about his Moringa Oleifera Tree.
I saw his work originally at Nottingham Contemporary last year and absolutly love it. His slight engagement with science, mostly for his own interest, connects with my Art and Science Context module this year.

Inspiration

Since my 40% assessment didn’t go as well as I would have liked it to last Thursday (16.01.14), my mum (bless her), sent me this inspirational quote.

Worrying is not the way forward, just doing the art is.

Experimenting with Collage

I’ve always loved collage, and ever since speaking to Col a few weeks ago I’ve been thinking about it more. Therefore I’ve been creating new collages. There are some I like better than others. I’ve been looking into white space and colour.

I find some of these successful but others just don’t feel ‘done’.  I’ve spoke to Yuen and he feels I should try and find a better progression from my Swarm piece. I agree with him on this but within my practice I have the problem of constantly creating ‘projects’ for myself and once I finish a project then I’m at a loose end and make a new one. This is why my work is always changing mediums and always looking different.

Therefore, I’ve been thinking a lot about my location and how I miss home because I’m so far away. In addition to this depending on which country I’m in (Sheffield or Cayman) the colour palette is different, there are different things that inspire me and different ideas which come to mind.

Over Christmas I plan to explore these ideas more and try to incorporate my ladybug experience at Norfolk park since that was the standing point for Swarm and ultimately the image and emotion I can’t get out my head.