Another work focusing on the interior of the plane. In this work I put down a base of acrylic paint and ink before any detailing, the ink and acrylic being a little bit more abstract in composition but using colours reflecting the crash interior.
The seats themselves are referenced from both crash report photos of the actual crash and usual seats hat were found in Britannia’s 757s. On the left side of the work the seats included text from the crash report, however because of the ink and transferring it over the acrylic texture the text does not stand out as much as I would like.
I limited the lines of the smaller details to add to the overall fragmentation of the image which is complemented by the ink techniques on the paper so overall I like the piece aesthetically. I’m definitely going to experiment with something of this aesthetic style on a larger scale and with different subjects, making sure the text in the image is far more visible and integrated more successfully.
A few more updated images of the large plane painting which is not completely finished yet. I have used this image and technique in a smaller work, here I am experimenting with scale.
The image itself I feel does has a larger impact on the viewer and sense of space, of course I do think that how the work is eventually displayed will also affect this. I will have to take this into account if it’s one of the works I choose for the end of year MA exhibition.
I slightly changed the technique I used for the text image transfer. I pulled away the entire paper sheet from the emulsion for the majority of the text and also used the usual technique of wetting and rubbing away the backing of the paper sheet in some places to give different texture.
The left half of the image is distressed with ink and water added to somewhat reference the heavy rain and wet conditions of the runway on landing. On this scale the ‘hard’ edge of the ink and text I feel is more visible however I think the lines of the image being this big do not look as ‘fragmented’ as I’d like. When making images on a larger scale like this I think I should limit the lines used in outlines and the text to emphasises fragmentation.
I’ve also included some close up images of the texture of the paper and the ink. All images are taken with my phone so not impressive quality but when everything is finished I’m planning on taking better images with my DSLR.
As the Art Therapy MA operates in the same building as us at University and it doesn’t run throughout the summer like we do, I’ve been able to use one of their studios for the rest of the semester. I’m still in the process of setting it up and moving stuff over to here.
I get this studio all to myself until early September, extremely happy. Although the fact that someone drew a crown for the clock unnerves me.
Look at all the space. I’m hoping to start a 3 x 1.5 m work on Monday/Tuesday next week.
A quick sketch/study of some displaced seating in the 1999 Britannia crash. I’m planning to do some artwork based around the interior of the plane after talking to a Uni tutor. We were discussing ways to possibly making it relatable to the general viewer, as not everyone views planes as I do because of my love of the exteriors. Over the next few day I will be doing some prep work for bigger pieces incorporating text and other collage, this will help with finalising a composition.
I’m looking at using the interior apparatus of the plane to relate to the general passenger, I have also started to watch certain ephemera associated with the Britannia 757 on eBay. I’m possibly thinking about displaying diagrams and safety cards along with my artwork on the crash ( and other crashes i decide I want to look into for this semester.)
This morning I started my first large artwork this semester. Obviously based on the 1999 Britannia crash in Girona, Spain as that’s the crash I’ve been working on the last month.
This is the first stage that makes it onto the 200gsm Fabriano paper. The text is a mixture of crash report text and headlines at the time of the crash, the two types of texts use different fonts.
The image of the plane itself is a quick drawing of mine scanned in, enlarged and digitally added onto the text. It is then printed out onto 30 sheets of A4 for image transfer onto the paper via an emulsion transfer technique. This techniques allows me to print the text on a large scale (without the cost of a professional printer) and gives the paper a rougher texture. This stage shown in the photograph is the transfer being applied the Fabriano paper, when this is dry I then wet it and remove the first layer leaving the inkjet ink on the Fabriano
I then plan to draw and paint back into the image and use various ink techniques pertaining to the context of the crash.
Some more testing of ink and water techniques with the crash of Britannia flight 226A. Summary of crash report here.
I feel this suits flight 226A as heavy rain/ storms at the time of landing was one of the contributing factors of the crash and the ink is reminiscent of this.
In my next works I want to use techniques used here as well in the works in the previous post in relation to this crash.
From now I am aiming to use the textures of ink and paint to reference different elements of the air disasters I am making the work out of. Hopefully this will develop my way of demonstrating context visually to the viewer and will both complement and juxtapose the use of text and plane forms.
A continuation of experimentation work looking at the 1999 Britannia crash. These works use the same fuselage form as I was testing out various ink techniques.
The first image is a far cleaner, thinner outline of ink and the printed text is far darker. I prefer the second image as the whole work seems more vibrant.
The second work also emphasises the balance of the clean and the ‘messy’ of the disaster spectacle and I also like the use of the text on only one half of the artwork. I also used a mixture of report text and news headlines from the time of the crash, the headlines are shown in a different font to differentiate the two. Unlike work in the previous semester there is no painted scenery/landscape and the different elements of the image are only against the colour of the paper itself.
Some small artworks produced from my experiments at the start of the semester. As in my theory side of my MA I am looking at the ‘disaster spectacle’ I am aiming to balance the clean, safe representation of the spectacle in the mass media (described by Debord in Society of the Spectacle) as well as both the destruction and the factual information of the crash.
They are all based off the same crash, I find working with one crash at a time allows me to see effectiveness of composition, media, smale etc far easier as it’s a constant for me to work with.
These works are ink, acrylic ink, gouache and printed text on paper, none of the works are over 42 x 30 cm.
I am planning on making some of these far larger to see how scale effects the reading of the work and how it will fit the subject. To me, the smaller works seem to have a more personal tie and making them larger will hopefully both demonstrate the issues of the spectacle and the scale of the air disasters themselves.
Just a short post showing more experimentation with composition of text, image and ink. Both the text and image were left over from a previous studio session hence why an MD81 is mentioned but the plane is a Boeing 747.
Hoping to use similar techniques on some larger artworks in the next few weeks.
Just a small sketching and prep session for my work this semester.
Still focusing on the fragmented text and image of the disaster spectacle. I’m aiming to also look more at the technical information of the planes themselves and somehow look at incorporating the plane form or information about the plane before the crash so the viewer has a constant and a contrast to consider while looking at the artwork.
I am excited but nervous to start the final semester of my MA.