Damien Meade​'s Show in Peter von Kant Gallery

When visiting Damien Meade’s show, Meade talked about the problem of when to stop the painting. He left the strokes in painting for its ambiguity. He thought this would leave enough room for audience’s imagination to complete the work in their mind. It was similar to the idea of empty and full in traditional Chinese painting - it looks for the spiritual resemblance rather than just the physical likeness of the subject matter. I was struggling about when to stop the painting. It always looks like it’s unfinished if there’s drips of paint and sketchy line. During the tutorial, Mark Fairnington suggested me should stop and start a new painting by that point, so that I could explore on the new piece without losing the uncertain piece.

[Lecture] Anna Bunting-Branch,"See Through Paint"

Anna showed me the possibility of bringing  painting and moving image together. She said she explored painting objects as props through making different parts for the movement of the object image. She thought animation is an alternative reality in digital world. Her works involved many science fiction references and fan-art. I think this could be a direction for me to look at the metamorphosis of the wood in my paintings. 

​[Painting Research] Kicking the Dog Will Do

The talk is about paintings, suburbia, boredom and punk music.

Prof David Rayson talks about how suburbia inspired him the idea of world of inside and out; People in the house doing things they won't when they are outside on the street, and the two worlds are just separated by a wall. This reminds me Rachel Whiteread's artwork 'Place (Villages)', featuring a community of empty doll houses. When you look from a further place outdoor, you can see boundary between outside and the inside world (through the windows). It's a interesting thing that when I walk on the street I love to look at the window to see what people are doing or just how their furniture arranged, whether it's a shop or house. When I am inside the house I don't feel like I am inside until i pull the curtain so that I won't see the pedestrians on the street.

During the discussion section, Fay Ballard wonder how the imagination be affected by technology in my generation. Back in 70s, television and music had great influrence on them and the objects in Ballard’s childhood home are evocative because she spent a lot of time being with them, wondering throught the space in the house and doodling. She wonder what we did at home when we were children.

 

I grew up with computers and my imagnations comes from video games, animes and fiction novels. I slept in lower bunk of a bunk bed and my mum used the upper bunk for storage. My room is a corridor linked my parents’ bedroom and the living room. I don’t really have a room and I don’t have curtain to set up privacy space. I had a little gate on my bed to prevent me falling from the bed. I always imagine I am living in a train cabin or a caravan house in Mickey's Trailer (1938) and I am on my journey whenever I closed the gate of my bed. I also doodle, but mostly in my textbook during the school lessons. I wonder through the space between the text and the pictures in the textbook through doodling because I don’t have much space in my house to wonder through. This could be a interesting direction for work.

This talk introduced me to the relationship between suburbia and the 70s teenagers life. I am curious of suburbia because I come from city and always surrounded by buildings. It’s not easy to go to a proper park in Hong Kong. Since I arrived London I can’t keep my eyes from grass and trees. I even stopped and stared at messy field on the street. I love punk music and I find a video called 'Boy George's 1970s: Save Me From Suburbia' on Youtube. I will be watching it later. 

​Visiting Mark Fairnington’s Studio

I love to visit artist’s studio to see their working environment, how they modify the studio for their personal need to create their works. However, the most important thing in this visit is that I have the chance to see Fairnington’s works. I love how he enlarges the object in the giant painting with details and focus on the form of object by using plain background colour. There was a time when I started to be attracted by the shape of the objects. I was criticised for letting object float on the painting without constructing the space in painting when I was making the apple series. Since then I started to think about the space where the objects in and I did few landscape paintings to explore putting objects back to the setting.

Fairnington’s giant flowers and animal paintings told me that it is okay to neglect the setting for viewer to focus on the objects. When I started my tree paintings series I focus on the object itself once again.

I also like his work series 'Collected and Possessed' which has animals covered with layer of plastic bag. I like it not only because I did a painting of my cat's face covered with plastic bag not long ago, but also the idea of collecting objects in container, which reminds me my thoughts on wrapping objects with a white layer. 

© 2020 by Sirius Chan