Author: aishalily

This independently led brief themed folklore, fable, fairytale, myth and legend, asked that I choose a story/ prose from within the theme and produce a response in any medium of my choice, and that I clearly identify the audience I am aiming my piece to engage with, throughout my responding body of work.

Similar in the way that I approached the six swans brief, I began this project with a design sheet and I read through stories thoroughly from which I conjured up scenarios for a painting, paint being my preferred medium to work in. Exploring a range of stories and composition ideas before settling for one ensured that the one I did settle for felt right and that I was  emotionally involved and interested, meaning that my body of work flowed and I remained inspired throughout. The story I eventually settled for being Catskin, a tale told by a few, including the Grimm Brothers, about a girl who flees into the woods wanting to escape her  father in a coat made from a thousand different animal furs, as he wishes to make her, his daughter, his bride.  Exploring a range of stories also meant that I was able to incorporate a few of my ideas from my experiments into one, therefore meaning my final piece revolves around multiple ideas and has to it, a a more complex narrative.

I was routined and disciplined while producing this body of work and made sure that I put in work most days, as to stay connected and involved with my project, which allowed also plenty of time for experimentation and practice in rendering skill. I soon discovered that my studies were generally suited most to an adult audience, being that they came across as  thought provoking, atmospheric, rendered- to an extent, and displayed raw nudity. And, given that I already knew I wanted to create a painting and that I most enjoy creating works that ignite discussion and provoke feeling amongst the viewer, I soon decided that my painting would be made with the intention of engaging with the audience of a contemporary gallery. 

I found that identifying my audience helped me to obtain an aspect of care and profession throughout my work, that I may not have paid such careful attention to, had I not been aiming specifically for a certain audience, and I would say this shines in the overall quality of my work for this project. Looking also at contemporary artists, such as Diebenkorn, George Braque, Gustav Klimt, Paula Rego and John Virtue, all of whom influenced my work, ensured that my work continued to link with a contemporary gallery audience as I found myself striving for similar qualities to my work as theirs displays. 

I certainly  pushed myself throughout this project for I chose subjects I have not yet studied before, such as woodland and dogs. I also pushed myself by choosing to work with oil paint for the final piece and lots of my studies – a medium I have not used very much in the past and am determined to grasp. By pushing myself out of my comfort zone in this way I allowed myself to find new ways of working and learnt lots in terms of technique and the ability to approach new subjects with confidence. I am pleased considering I have often shied away from painting trees or foliage previously, and I must say I ended up thoroughly enjoying painting the confusion of the branches. I realise now, that I could paint different variations of trees for weeks and there is just so much in simply exploring different branch formations in different lights. I shall keep this in mind throughout the future whenever I catch myself shying away from any subject matter. 

Choosing to work in black and white tones for the majority and final piece for this project was a wise choice, I would say, for it allowed me room to grapple with oil paints without getting distracted or confused by a more complicated colour pallet, meaning I was able to focus on brush strokes and the actual medium, which I am sure has brought me on a lot more than it would have, had I been using all sorts of colours. 

Also worth mentioning, I was careful, while executing this project, not to be lazy, for I realise in order to come on as an artist I must not cut corners. For example I drew from life wherever I could and I made myself familiar in drawing trees by conducting many different studies even though, at times, I found it tedious. I was also careful to explore shadows and light across my subjects through making drawings prior to painting the real versions, which has without a doubt made a difference to the quality and rendering of the final outcome. 

 I tried an oil painting a few years back and I really struggled which is why I think I haven’t properly attempted another until now. Overall I am mostly pleased with the end result. In looking at my painting I am most pleased with the fact that  it shows me that I am capable in overcoming any obstacles I want to, such as being afraid of using oil paint, if I put my mind to it, as long as I remain calm and joyful throughout. I would say the overall mood of the painting is enchanting and slightly melancholy. It also provokes feeling through looking at it and that  there is a narrative reflected within it. This feeds a curious mind, as well as the fact that the strokes are suggestive and there to be explored with the eye. As well as stirring feeling, I would also say it displays as decorative and therefor serves the purpose of pleasing the eye . And so, I am inclined to think I was successful in engaging with my intended audience, that of a contemporary gallery. 

However, I do realise that this painting is just an early oil study as the medium provides me with so much more  to learn still which is apparent upon looking at some areas of my painting that show lack of experience. Although I learnt a lot through making this painting, I still have a great way to go with oils, a mission which I am feeling ever confident in approaching for I realise, in having completed this painting, I am bound to continue to improve and learn, the more oil paintings I make.