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Experimental concertina sheet

We folded a concertina sheet, used collage, a background wash, acrylic paint, modelling paste (for depth, also know as impasto), masking fluid to create sharp edges that allows for free and expressionist mark making in a small space before the masking fluid is peeled off (we discovered if you leave the acrylic paint on too long it becomes impossible to peel the masking fluid off - masking fluid works really well with inks because this does not happen).

Concertina experimental / mark making 


Pasted down newspaper adds texture. Laid down simply here but a more considered approach could follow the forms of the shell and create a sense of movement beyond its 'textness'

Modelling paste (medium)

Creates real movement, texture and rhythm. We really get to see the brush marks and their depth. This loose and thickly applied  expressionistic use of paint is called Impasto.

Brush technique

The circles created by spinning the brush was an experiment in mark making, Actually I could have made more experimental marks on these sheets - I will do this on the third sheet which is still unfinished.


Of course writing gives us direction around an artwork it can lead us to meaning - what does it imply in itself even if illegible? as in the right hand corner.

Masking fluid

Using masking fluid to create well defined shapes. It also allows a free use of the brush in many different ways to create texture, pattern, blending, allowing lines to flow off the edge of the shape.

Oil Pastels

Oil pastels will impact over any medium it sits on. Experimenting with the medium is important to build confidence as it is such a decisive medium. On the square above notice how the light blue sits so strongly on the dark acrylic.

Dry brush

dry brush creates texture as it drags the paint.

Useful reference - for synonyms etc: 

LAND ART / references

Concertina landscape / annotations 

I have included a few annotations here, please also have a look at the writing sections on the site for good art and design words and the elements and principles of art. Please add annotations to your own artwork - as many as you like. I have used red type just to show ideas that I might take forward from these annotation. We will develop this in class. 

This process of writing helps us reflect on what we are doing, are we experimenting enough, what might I like to take further. It also helps us build a vocabulary and a way of talking about our art and others. Writing also helps us develop ideas - one thing always leads to another - you can see from my red text below I am starting to think about concepts and ways to progress. We will develop the third section below when we are back in the studio along with FEC - The Formal, Emotional and Conceptual.

Soft blended edges contrast with more exact lines

Ridged lines in modelling paste - could be used for ploughed fields (also using fork or ridged clay tool)

Modelling paste gives depth to mark making - called Impasto

The cracked and peeling edges of this patch of modelling paste looks urban - it was not intended here but can develop

Initial acrylic wash as underpainting

Yellow lines on green (pale) (Pebeo bright green) side of palette knife

Graph paper - grid structure

technical lines contrast with more fluid and expressionistic painted lines

Google Earth set to terrain used here as reference - enclosed areas or demarcated spaces are both NATURAL and with HUMAN intervention

Balance - have used darker blue on both sides of the artwork to create a sense of balance 

Lines define the contours or the edges of the spaces

A local space (family/home) An edge of the town, a hinterland - beyond the populated but safe -

Masking fluid demarcates spaces and using dry brush for texture

Positive and negative spaces are defined through colour and tonal range

Robert Smithson (sculpture and land art)

Any Goldsworthy 

(sculpture and land art)

Reference Kurt Schwitters here - this peeling paste reminds me of the work of Schwitters - billboards, urban decay (atrophy). Using a sense of the urban environment to represent the countryside - could this also work in reverse?

 reminds me of a book by Raymond Williams The Country and the City. Others...

The sea though is the outlet to danger - uncontrollable, migration, crossing, cold, travel, excitement, sublime.

Contour lines are symbols (agreed upon language) to stand in for physical space - could develop this use of symbol.

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