Preliminary drawings using marker pens to consider alternative compositions. Characters sitting, standing on objects, characters sharing the same speech bubble, a single character creating a monologue speech bubble, a character speaking into three distinct speech bubbles, three characters standing on a line, speaking and the inclusion of the overarching brand name; The Sermon Show, as a banner. I'm considering producing pieces based on all of these individual ideas, however the strongest idea is potentially the use of objects from which each speaking character sits/stands to project their words.
Three pieces of dialogue, a single dialogue (multiple strands) and sharing dialogue are all new concepts that should be further explored. I'm finding preliminary drawings strangely helpful and not at all conclusive, in terms of limiting the next step of completing a large scale acrylic piece. Instead, these initial offshoots of ideas and start points only determine the initial idea, composition and potential concept. As I have found through experience, the final, acrylic piece always develops whilst being constructed and is not in any way tethered to or restricted by the initial marker pen drawing. Marker pen drawings are produced in between moments of time, when at work or simply when there is a gap between events or commitments. Small, A5 compositions allow the nucleus of an idea to evolve.
Digital (vector) drawings serve a purpose and are pleasing to construct. These seemingly complete and 'finished' pieces have also performed the role of preliminary (pre-cursors) to the acrylic pieces. Flat, vibrant colours are instantly applied, whilst text has been both 'mouse' drawn and appropriated from existing fonts, available in the application (Adobe Illustrator)
These are two of the initial pieces, created before any commitment or investment in the painting (acrylic) process started. Always perceived as idea drawings, however still published as complete pieces, behaving independently from prototype sketches and not as accomplished in status as the final A2 paintings.
Four completed paintings, in chronological order, from left to right. The first piece was directly inspired by my son's imaginative engagement with his Alexa device. Every evening, before the bed time routine begins, well actually, as part of the bed time routine, he will set a timer for brushing teeth. And every evening he will create a new and ingenious title for the Alexa timer. On this occasion, I made a note, thinking this would become a painting, in the future. The placement of the characters are in the same compositional space, in each of the four pieces. The blue avatars in the first piece also appear to be floating, within the wall space as defined by red paint lines. I'm particularly pleased with the floor, in this piece as it starts to evidence a certain energy and controlled chaotic brush marks that develop across these four paintings.
The second piece, from the left combines two distinctly different statements from Sermon Notes and the life style TV series, 'A Place in the Sun.' The two figures face each other, as if engaging in conversation, however this is clearly not a conventional conversation as there is no obvious question and or reply. Instead the figures are making statements that could potentially be part of the same dialogical frame, however they seem to miss each other and exist in their own monological space. The simplistic background consisting of a singe line works well as does the figure on the left side. The red hat and red object on the floor just to the right of the first figure (far left) also works effectively. The object creates an additional layer of meaning (or potential meaning0 whilst the red hat could suggest a type of uniform?
The SERMON SHOW banner appears first in this painting as a significant object and backdrop. I particularly like how the word 'show' is painted and I've considered replicating this within Adobe Illustrator as a vector image and potential brand (logo) design. Now this dialogue is more of an example of a conversation between characters as opposed to distinct statements. I am interested in the juxtaposition between text and how new meanings could emerge from differing statements. Statements that are appropriated and repositioned for contemporary art purposes.
This felt like an opportunity to explore a new linear composition informed by Giotto's landscapes, environments and spaces. These biblically themed 14th century paintings have an embedded vibrancy through both colour and formation of shapes that inspires further inquiry. Each painting beautifully choregraphed to reveal significant moments in Christ's life. Through appropriating the basic linear structures that ground the works, it feels like tapping into a supernatural aesthetic that, when incorporated into contemporary works will reveal something of the divine (or hidden, unseen divine).
Giotto di Bondone - c. 1267 – January 8, 1337), known mononymously as Giotto, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period.
A collection of secondary images of speech bubbles that could inform future paintings / art works. Since researching these images the speech bubble motif has already changed in the most recent painting. I specifically reviewed graphic symbols, as opposed to painterly versions of this image. Reworking the iconic speech bubble cloud appears to be effective, whilst maintaining a painterly (visible brush mark approach). The compositional placement of these graphic web based images has also proved fruitful, in terms of potential painting structures.
Title: WORK/FAITH - LABOUR/LOVE
Date: January 2025
Medium: Acrylic on paper
Size: A2
This is the most recent piece, responding to an initial marker pen drawing that explores an interior context. There is a stage, lectern and chair. The lectern is on the stag and the chair is in the main space. Two differing speech bubbles are used whilst the figure is painted with the same colour and brush. The text is taken from a sermon at Chawn Hill Church in January 2025 and the notes written are as follows:
Work produced by Faith
Labour promoted by Love
Endurance inspired by Hope
Bible Source:
We continually remember before our God and Father your work produced by faith, your labor prompted by love and your endurance inspired by hope in our Lord Jesus Christ. 1 Thessalonians 1:3 Paul also mentions these three qualities. “Now these three remain: faith, hope and love” (1 Corinthians 13:13). (web source)
The two figures (characters) are fleshy, non-proportional and clearly non-representational, however they still suggest a human presence. Again, there are two dialogical contributions within the context of the painting, where two distinct, yet similar statements are made. This, therefore is not a conversation, it is not an exchange of ideas, where one responds to the other, after contemplating what was spoken and then, contributing to the debate, discussion or dialogue. There is a hierarchy, where one character occupies the stage (seen as a higher level environment) where a leader would project to an audience, and the other, seated (not standing) and consuming what is being said. In hindsight, perhaps I should have used thought bubbles instead of speech bubbles, for one of the characters? One character speaking, the other thoughtfully considering (contemplating) what was said with there own, hidden response...Thought 'Bubbles', as evidenced below could be used for one or both characters, creating a new dynamic between them.
This piece explores a potential series of works where text is extracted from Psalm 34 (occupying the speech bubble) and words taken from my developing glossary (developing specialist vocabulary) as though bubble. There is a dynamic and dialogue at play here that I find quite interesting. The simultaneous act of speaking and thinking - or at least the almost simultaneous act is being explored here. The SERMON SHOW banner has reappeared again, which adds an additional layer, especially as the 'creature' 'character' 'monster' is holding the banner.
Starting to contemplate developing more of a figurative response to the 'character' form, within the paintings. Self portrait, responding to secondary images as illustrated below? Transformers, Garbage Pail Kids, and other references. Funny feet ice creams, fraggles and other 80's 90's references. Starting with self portraits and abstracted bodies and then considering the next steps. I could start to respond to characters from Churches, where websites present leadership teams and supporting staff? I could also look at business websites where all staff are pictured, including these painterly interpretations in to the work, where each character is either speaking or thinking.
An example of images readily available on the web, from which I could base characters.
NEW VIDEO / PERFORMANCE / MOTION GRAPHIC WORKS:
This piece started as an exploration into a frequently changing image appropriated from ESTATE AGENTS websites, where screenshots from the same HOUSE for sale would be used as an image layer over blender shapes. The floor, built in Blender was used within all of the motion pieces, where as the shape (building like structure) was covered with different screenshots from the selected house. The Blender 'house' shape was manipulated each time a new image was applied. This was the start point for the piece, and the slide-show of screenshots, used previously was applied as a type of back-ground. Associations from this imagery are clear and easily achieved at, from suburbia, to domesticity, to 'ideal homes,' to a sense of place, context and identity. The next step was to explore screenshots from a YOUTUBE video, as seen below. I was looking for visuals from local church services and this celebration seemed the perfect fit. Clearly filmed in the early to mid 80's, there were multiple shots to 'grab' from and the whole colour palette and aesthetic appealed to me, as material that would work within this piece. Originally I had all of the screenshots below working as a slide show, however, due to logistics in terms of fitting the images within the frame of the video, I decided to select just one screenshot. This focus and consistency of image, again, felt right, as the viewer had the central part of the video that was unchanging and provided a type of grounding for the viewer.
It was important, for this piece that I utilised all 18 Sermon Notes, using after effects and a typewriter effect to generate the text visuals. Positioning the text was relatively straight forward and the use of white just seemed to work instantly, as I was not concerned about all the text being entirely legible, all of the time. The final part was the performance, that continues throughout the video, on the right side. This performative piece was initially conceived as a direct response to the Blender motion graphics, where I would interpret the movement through sounds and bodily gestures. I recorded the Blender piece separately and took this into the performance studio, using it as a guide for the action. The performance, quickly became a completely different series of actions, simply based on generating gestures and sounds simultaneously. I had considered these gestures as 'worshipful' or a type of speaking in tongues 'glossolalia,' however, this idea also faded relatively quickly, as I was in a rhythm and almost 'dancing.' This recorded performance became material that would 'fit' on the end of the video piece, adding a sense of the bizarre, the unknown and the ridiculous.
The final piece combines four key elements, pre-recorded performance, still images, Blender animation and appropriated image slide show. There is always a hope, that the juxtaposition of disparate yet oddly connected images + text, provoke or stimulate new dialogues (converging conversations) that simply did not exist beforehand. Does the work have any power? Does the work resonate with a diverse audience? Can the work function in a contemporary gallery context? Have the objectives been achieved (what objectives?) Why do I continue to 'push' the religious themes? Can 'my' work have any form of impact outside of a literal inclusion of SERMON NOTES, or religious themes, methodologies and or motifs (symbols)? Can not God work beyond the structure and theology of scripture (and scripture re-examined - sermon notes). This is actually a good point...the term 'examined' or 're-examined' because this is simply not taking place, at least from my position...as the art work simply becomes whole, as I generate images, text, audio and marks. I am examining nothing, but proposing images to be examined...So I do not have to 'do the hard work' of interpretation, contemplation and building a concept, rationale or meanings as I am the deliverer of the work, and the work could mean something new / different for everyone that views it? I'm not writing a lecture, an academic piece of text or delivering an illustration of a theory (or theology) I'm simply mixing 'random' ingredients together, hoping (and praying) that the final dish will be edible...or even tasty! I'm in an endless loop of creative potential, endlessly reaching for the next start point, again, hoping that it will speak volumes and challenge audiences...and or simply be received by audiences as 'something to consider.' Maybe this is enough...the fact that I'm continually trying, continually testing ideas and continually moving (in a direction) - not necessarily forward...
SCREENSHOTS FROM ABOVE PROJECT:
Additional Screenshots for Didactic Delight piece:
New Work Idea - Performing AI scripts (As contemporary art) Performed against a green screen?
Studio provision at College. This is a space that I can use and will explore developing new work.
Asking Chat GPT to create a short script to be performed as contemporary art.
And Scene!
Multiple Cameras / Maybe Three...each recording (capturing) a different position, side and dynamic from the script reading.
FALLING WITH PURPOSE / FALLING LESSON SCRIPT
Utilising the college photo studio, I intend to print of a script and perform each character. Holding the script, moving around a little within the frame of the camera (s). Should I say (And Scene) as the performance concludes? I could always speak to my acting teacher colleagues and gain their thoughts. This is an AI generated script...There is no reason why I could not create my own short script...HI - human intelligence. I'm interested in performing the role of 'performing' as contemporary art (video art). The ai element is also an added factor that could suggest collaboration or engagement outside of the normal spheres. There is something interesting in terms of a tension or 'dialogue' between the parameters typed into CHAT GPT and the created (AI) content. The machine learning part of the application is also something to consider.
Work in Progress: March 2025 / Reading a CHAT-GPT generated script. Playing all characters. Interested in appropriation from artificial intelligence / collaboration with and through Ai. Acting - speaking out - monologue - audition - performing without distraction of a set / scene or digital background. Utilising work spaces to create art. Smart Casual - not acting, simply reading a script - or performing a monologue - without becoming the characters - I am the characters...The simplistic backdrop and plain aesthetic is good. Considering repeating the action and improvising a script instead of reading from one? Considering the spaces between, the pauses, the silences, the moments of listening not doing or speaking or performing...Considering a FOUR screen image, where only one character is performing at one time, whilst the other screens are frozen, paused. First used within the triptych pieces - hold frame or still frame within Premiere - the paused images could simply be screenshots...The next iteration of this work will be to perform without a predetermined script and to improvise, whilst using a green screen as a backdrop. Feedback from a colleague suggested that this piece was engaging and the person watched all three 'scenes.' This was 'something different to the normal constant image scrolling' that social media normally exhibits.
Notes from: THE ART OF PERFORMANCE / A CRITICAL ANTHOLOGY, edited by Gregory Battock and Robert Nickas.