Twigs

Twig shapes cut from plywood with found marks.

Second twig after sticking photocopies of maps in areas, 

covering parts in white emulsion and binding with blue electrical tape.

Zander Olsen

Cadair, Oak 2010 

 Untitled (Cader) 2008

 Untitled (Corbi) 2005

No Mans Land 2004

An artist that I stumbled across during this project is Zander Olsen and the photographs of the trees he has wrapped.

‘This is an ongoing series of constructed photographs rooted in the forest. These works, carried out in Surrey, Hampshire and Wales,involve site specific interventions in the landscape, ‘wrapping’ trees with white material to construct a visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.’

 Text and images from http://zanderolsen.com/

Viewing the work of Genzken made me want to try similar techniques for myself using the same twig shape as I have been doing throughout the project. Peeling the top layer of cardboard off left me with a much more textural surface to work on, two I left alone and the third I painted with white emulsion. As the scale of the twigs differs quite dramatically from that of Genzken's mirrors I decided against using any newspaper or magazines over the shape but still wound thin strips of electrical tape around the shapes. I really like the effect created by this method and it really is pretty simple!

Out of the three shapes I bound this is my favourite, painting the shape white made the shadows stand out more. On the first twig I feel that there is too much conflict between the colours, probably because the shape I was winding the tape round was so small. I chose to just use a couple of colours on the final twig and think this looks much more successful.

Isa Genzken at Saatchi Gallery

Isa Genzken- Kinder Filmen

I viewed the work of Isa Genzken during my most recent visit to London as part of the Gesamtkunstwerk: New Art From Germany exhibition in the Saatchi Gallery. In this particular piece she has used newspaper, magazine pages and paint over mirrored surfaces and bound adhesive tapes in different colours over the work. I imagine this is a relatively easy, and rather quick method to use. 

Giuseppe Penone at Tate Modern

Giuseppe Penone- Tree of 12meters

During the summer I spent a fair about of time down in London; visiting exhibitions, sightseeing, shopping etc.ect.ect. I came across 'Tree of 12metres' in the Tate Modern gallery, it interested me at the time so I took a quick photo and I guess after that I kind of discarded the image as it had little relevance to what I was interested in at the time. It is only through the Collecting, Walking and the Creative Process that I rediscovered Penone's work and thought about how I could encompass some of the ideas behind this particular piece into my own work. I think it was more the scale of the pieces that I found attractive rather than anything else, although I do love love love the idea behind Penone's work (looking at the relationship between industry and nature, suggesting that a sensitive approach to materials is still possible in such an industrailised world.) So I began transforming my filmsy paper cut outs of the shape of the twig into larger shapes cut from plywood. 

Twig shapes cut from map and bookpage.

Twigs cut from large scale plywood board.

Guy Laramee -book landscapes

http://www.guylaramee.com/

Incredible!

Terry Winters

After studying the twig more and more I decided to start drawing the basic shape out in an almost blind drawing kind of style. This really allowed me to concentrate entirely on the shape and the twists and turns rather than just drawing what I thought the shape was like. I used a variety of materials (brown paper, book pages, fine liners, pencil, charcoal and chalk pastels) to make the shapes more interesting, I also think it adds a slight feeling of texture to the twig shape.

 

There are some similarities between the piece in my sketchbook and the work of Terry Winters in that the colour pallet is made up of the same shades and tones, the drawing is of natural forms and the marks that have been made have a naive quality about them. Although Winters' work isn't something I would usually like I am starting to appreciate some of the qualities of his pieces. 

'Defying Gravity'