Marwan’s practice is said to be defined as a continual process of internal burrowing. That impulse to locate and translate an inner state of being ties together a neo-expressionist perspective on the healing properties of art and painting. Marwan’s work is not similar to mine on the contextual side, because his paintings represent figures and faces with distinct features (whereby mine could be recognized from the start) and are identifiable as political or intellectual characters from the Middle East, such as the 1965 portrait of Munif al-Razzaz, former secretary-general of the Syrian Baath Party. The reason for still including him here is more because of his brush strokes/marks. He seems to be using a flat brush (which I used for my latest painting myself) and is using many colours with the aim to create an optic illusion of colour pallete.


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The artwork that Im working on at the moment is a connection between mediums. The mediums used in it will be projection and a oil painting.
Main idea of this project is to literally connect those two. A video will be projected onto a painting.
The theme/narrative of the artwork is not really specific, but is looking into a ‘innocent’ version of a male gaze projected in a 1969 movie Le Cerveau. In this movie, we come across a scene, where we see the main protagonist ride an elevator down in the middle of a stair spiral. On those stairs, we see the female (which is one of the main figures as well) running up in a short skirt. In this scene, as the elevator goes down, the main protagonist gets a clear view under the female’s skirt (or at least her legs), which reminds us about the term voyeurism. The voyeur here¬† gets a innocent like opportunity to become one and smirks with pleasure before ‘snapping out of it’. It is a short second, but we can still see some kind of discomfort on the female’s face as she realises that there is someone watching her.

The painting will hold the image of the voyeur, smirking and looking up. The video will be projecting a loop of the part where you can see the female’s legs and maybe also the part of realisation. That is not decided yet.

Update 18.01.2022
Because of our visit to the place of the future exhibition (The Hold), I found out that the place where I’d like to project my projection onto a painting is very light and may end up with the projection not being visible and also lost in the painting until there is less light in the room. Those news got me confused and ended up with the excitement surrounding my idea fading away. That meant only one thing: It was time for a plan B. A plan where a still from the projection would be painted next to the painting (In various positions et cetera).
Through this week, I will be able to fill in a risk assesment and borrow a small projector from the university to still give the projection a go, but if it doesnt really work in the end, the plan B is already prepared.
I have prepared two paintings that are going to be underneath each other if not connected together to create one big canvas. 

 

 

A TWIST 24/01/2022
The paintings were not apprecciated as much as I would like, with the feedback surrounding the fact that the painting was a little flat, not showing many colours etc. I have realised that I have to approach my idea in a different way. The blue was no longer working for me as I had to change the painting several times and just got sick of it so I changed the pallete to be more about the colour red and its shades.

The colour palette was quite literally mixes of red with green-yellow-brown-white-blue-purple etc. and those created what my lecturer has been talking about, which is the optic illusion of thinking that the painting is made of one certain colour but in detail is connected to many other colours not expected to make an appearance.

Another new thing that I tried with this painting is also leaving some of the original canvas peeking through. I think its an interesting detail and isn’t taking away from the quality of the painting.
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This painting is 1/2 as the 2/2 is still in the making.
25/01/2022
The second painting is done, now is the time to find how to curate them


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