Charcoal Large scale Drawings

After beginning to develop some film and editing work and then hitting an obstacle of no motivation and being a little confused on where I was taking the work, I decided to produce a few large drawings. I started by thinking about what gestures I wanted to create which resulted in different simple movements. I decided to use minimal amounts of charcoal compared to the earlier drawings I had produced because I felt they movements were light and so the materials I used needed to use needed to be light with not too much tone and shading. I have produced five drawings in this series all focusing on the fingers with different angles to distort them. I found some of the movements more difficult to produce due to the angles and the distortion from these.

Not only was I using this exercise to refocus my mind on your idea, but also to expand my portfolio to strengthen my ideas. I found this exercise enjoyable because I was able to get myself away from my computer and focus on the drawings. In the back of my mind whilst producing these was how my own hand was being manipulated to produce these. Although I was working from an image of my own hand, I also use my real hand to reference the drawings and to create a more realistic piece. The photographs give a very flat 2D interpretation but they do provide a decent foundation. Working from life is more beneficial for me and has allowed me to create a better interpretation and record the movement and fluidity. Although my work has developed a lot further than just sketches and simple drawings, it is always beneficial to go back to simple drawing to refocus and clear the mind. With everything going on in the world today, things have become unsettled and unknown and so taking those times to refocus and calm are essential. Not only this but, an artist should continue with small or simple sketches to keep the creativity flowing.



Derek Brueckner

The Canadian artist born in 1965 is a contemporary artist known for working with the figure in performance. These performances consist of a collaboration of film, digital editing, prosthetics, audio and a range of different environments.

Brueckner explains in his artist statement which unfortunately is dated back to 2007 but still provides a strong idea of what he explores through his art. Through the film, painting and drawing Brueckner is portraying the human figure in a way which explores gesture and emotion through its movements and stances. In his drawing, Brueckner has created a blurred effect with the pencil by fading out the figure. In the digital work, Brueckner captures the image on a digital camera, manipulates said image on Photoshop and then present the work on paper or on a canvas. The artist goes through a process of combining numerous images and versions of the images and mirroring images together to form collages. These create a repeating pattern which looks microscopic. It is interesting to see the way Brueckner has manipulated the images of the figure which he has taken to form these pieces. It is clear from these that Brueckner is exploring the figure down to the molecular level to truly understand it.

The film art Brueckner has produced has evoked the idea of internal and external journeys the body goes through daily. Through these Brueckner is combining technology with the figure to create what he calls ‘cybrids’. These creations are making that connection between the two phenomenons and provoke responds from the audience about the relation between technology and the figure. Brueckner is the only artist to have explore this idea but, he is the first I have come across which explores it in this way.

From the artist statement, it is clear Brueckner wants to continue explained his knowledge on the subject though his art and continue expanding his body of work. I am fascinated by his work because the way he blurs the images in the film and overlaps raw footage to create his films. This is also evident in his digital imagery work which I think creates an interest still with movement.

I feel his work is very relevant to mine at this current time with the way the artist uses this effect and creates illusions in his work.

Hanging my work – Eye Level and the scale of my work

When exhibiting my work there are many different aspects I need to think about including the space, the colour and mood, the lighting and where to place my work on the work.


When visiting exhibitions and museums, it is obvious that curators have taken where on the wall to display the artwork. Mostly, it is clear the curation has placed the work at ‘eye level’ which as suggested by the ‘Exhibition Walls Company’ is to ensure the viewing to comfortable in order for the viewer to enjoy the work. Why has art make you feel comfortable? Isn’t that a factor many contemporary artists take into account? Producing art which highlights issues in society such as Ai Wei Wei’s “Names of the Student Earthquake Victims Found by the Citizens’ Investigation, 2008-11 (injket print)” (installation view at the Hirshhorn Museum, Washington D.C.) and depict one’s through such as Tracey Emin’s My Unmade Bed’ 1997. These are both examples of how art is used to inform but also encourage the viewer to think and emotionally response to the work.

Where the art is hung in the space plays a factor which will alter the depiction on the viewer. This is something I am taking into account with my exhibition before Covis-19 but also with ArtSteps as the alternative.


Increasing the size of my drawings and photographs on ArtSteps has been a huge benefit for my work. Increasing the size has enhanced the impact on the audience. Along with the small scale films in a grid form and the large scale drawings and photographs, the exhibition has been broken up to form a more diverse show. I decided to increase the size of the charcoal drawings because the images are smaller than the real pieces but, also because the white canvas behind the art was less obvious. This canvas is a problem I encountered when using ArtSteps but I feel have been able to find a solution which does not fix but helps to reduce the problem. Even after editing out the background on Photoshop, I still ended with this canvas. I have had to work with the issue but feel I have still been able to produce a strong submission.

Reading up on curation and its importance

Curating an exhibition is harder than you think. The lighting, positioning, the relationship between the viewer and the artwork and the journey through the exhibition are just a number of the different judgements a curator needs to make. Before placing the work, if not the artist themselves, the curator needs to understand the artwork by reading up on it and talking it through with the artist. Curation has been a degree course since the 1990s where the students are taught the history of art and consequently, how to curate art itself. Curation is not always recognised especially by the generic public as an important part of the art world.

‘How to make a great exhibition’ by Paula Marincola references different arguments as to the importance of curation. Some suggest curation becomes part of the artwork and that the relationship between the viewer and the art itself is a key part of the display. Others talk about the importance of exhibitions simply having a purpose of display art and artefacts for viewers to see. These factors, I believe are both important in curation because as an artist who displays there work, the way the viewer engages with the artwork is just as importance as the exhibition being a way of viewing said art.

Taking Photographic Stills From My Hand Film

After editing the Polyopia effect into my film to show the flow in the hands. As a stopped and started the film, I realised the still images were quite interesting. The effects it created is a trailing effect which looks ghostly in the image. I decided to keep the photographs in colour to keep the realism within them. The different movements created an interesting series of photographs for my exhibition. I decided to included this in my final exhibition on ArtSteps because the movements in the gestures are highlighted through the effect and this in a series creates stories of the different emotions within each piece. The movements in these artworks are real life movements which I have produced whilst in a distressed state. You can see through the irritation in the hands and the intense pressure as the hands collide. I wanted to express this emotion because it is one which is commonly shown through body language.

Silvia Grav

Silvia Grav is a Spanish fine artist and creative director based in LA. The artist pulls and distorts the image to cause it stress resulting in the figure in the image showing distress. Grav’s art is characterised by distorting and changing bodies which blur into dark spaces. The ghostly imagery creates a disturbing view for the audience. I came across this artist through researching different ways to change an image for my work.

Grav’s work has a darker meaning than my own but, the intensity and darkness within the materials are relevant to my own and have an inspiration on my work. The actor in each image has readily prepared the photograph for it to then be further distorted through editing.

I enjoy her work because it holds great intensity and distortion through the stressing of the figure. This is relevant to my work because the monochrome along with the figure dissolving into the background. This distortion ins interesting but, not something I want to do with my own work. It is relevant though as another way I could produce my work with a deeper darker meaning. The trailing and blurring effect in her work is something I have used in my own.

Stills from Photography

After completing the film which has both hands, I decided it didn’t work with the movements I used and the Echo effect as a film. As I was editing the film I was fascinated by the still images. The blurred effect worked so well as images and showed a story through the dominant movement and the trail. After editing them on Photoshop by cropping and altering the brightness and contrast I feel I have created some interesting pieces. I can really feel the emotion and power through these pieces  and have express a story or pattern of change in emotion through this series.

If Covid-19 did not happened what would my Exhibition look like?

What were my initial plans for the final show?

Initially, I had planned for white space with three walls creating a boxed in space. The reason for this was to have a sequence of three drawings one displayed on each wall. I wanted the walls to be box shape so when the audience standing in the space they are surrounding by the work. Having been to exhibitions were this has been the case, I feel it creates a very powerful effect in itself because the large drawings with be intimidating to the audience. Also, as the viewer steps into my work, they are engulfed by them and not having other artist’s work within the same view so the audience will focus only on my work in that moment. Before Covid-19 I had thought about having a film along with my drawings. This film was a recording of myself drawing the large charcoal hands. The idea behind these was to show the relationship between my hand movements and the gestures I was creating. Although, the positioning of the film was not quite clear because of the space I wanted for my drawings. I have used ArtSteps to position the drawings in a boxed space to visually curate the work.

Screenshot 2020-04-28 at 11.36.36
Boxed area


How have my exhibition plans have altered?

As times have changed along with the plans for my exhibition, I have decided to still have the sequence of three drawings because I feel they impose the emotions I am reflecting the best. Being able to curate a solo exhibition using ArtSteps, I am able to include my work in this exhibition. (See ArtSteps & How my exhibition plan has changed since Covid-19).

Using both hands in the Film

I decided to play around with the idea of using both hands in my film because I was able to create more gestures with both hands. Showing typical hand ticks people may experience when they are anxious, stressed or annoyed at a situation. Playing with your finger nails, rubbing your hands together and tapping your fingers on a surface are all signs of distress. I wanted to explore this idea through a film along with the Echo video effect on Premiere Pro. I felt with two hands in the film, it created more emotion within the gestures because they are more able to tell a story than just one hand. I decided to keep the colour in this film because I felt it made it more life-like. I also wanted to try the Echo effect on the two hands with colour so see how the colours would be distorted.

Hand Movements


A Video Piece By Pablo Picasso

Picasso and Paper’s exhibition was predominately painting and drawing however, it was concluded with a video time lapse of Picasso drawing. The footage was displayed on a very large screen in a blackened room with some benches for the audience to sit on. The cinematic setting created a powerful ‘premiere’ of Picasso work. The exclusive footage displays the artist in his studio at work giving the audience a taster of how the artist works. the time lapse presents the methods Picasso carries out to produce his work. The setting too the blackened out room with a projection of the film gives a feeling that the audience are in an art class being taught by the master. Picasso is showing the ‘students’ his process of creation. Although Picasso does he communicate in the film, he is clearly showing his methods and materials he uses which in itself is a lesson for the audience. Having this piece at the end of his exhibition was a strong way to finish it because it has left the audience with a memory of the artist.

In terms of my own exhibition, I think the idea of having a blacked out room with a large video is the best way to represent my work. The cinematic display will provide a powerful presentation of my work. The current situation of Covid-19 has changed the ideas I have for my work drastically therefore, the virtual exhibition has provided me with the opportunities to present my work in this way. I think if the virus did not cause such disruption, I would not be able to create such a display. In that case I would have used a projector on the wall instead. I think this display would still create a powerful piece through it size but the light environment may neutralise the sensory mood. The blackened environment would focus all of the audience’s attention on the video and will create more intensity to benefit the work itself. This exhibition by Pablo Picasso has inspired me with my own exhibition because the experience I had in this exhibition is something that I wanted my audience to experience. The whole Picasso and Paper exhibition was displayed as a journey through the different stage of Picasso’s career to celebrate every part of it. I think this is a strong way to display art especially at the end of my degree because it will provide me with the opportunities to present my audience with the journey I have taken to complete my degree.