Conclusion

Apocalypse series Evaluation

Over the course of the project I had begun in mind with the motivation for expression that had evolved over the course of the year. Beginning with meeting Ghislaine Howard a contemporary artist whose work is rooted in expression and we had a conversation about Goya’s influence on her work. I also imagined a piece of work that would be of fantastic realism and intended to create an interesting interpretation of this.

For this I decided that I would develop on the apocalypse series as my personal FMP and was wide enough to produce a variety of interpretations and a lot of room for a personal self. For this I was attracted to a variety of artist influences and methods to express an apocalyptic imagery the “scenery of a Doomsday” and was most attracted to April A. Taylor photography that had driven me to take pictures of Blackburn. These images have gone through a good deal of change as I was looking for different ways to change the setting to suggest abandonment, isolation, pensive loneliness and other poignant or apocalyptic notions and so concentrated on specific areas or motifs including abandoned buildings, dark alleyways, creepy statues, graveyards, sign posts, traffic cones and other items of urban significance.

My other informative artist have been equally helpful as reviewing the work of Goya and the more modern Doig two artists that while conflictive in style are similarly able to produce powerful expressive pieces that inspired the progress over the course of the project. My final three works were eventually finished with my most comfortable and confident medium painting and has been put up for exhibition which I think for the most part remains true to the original purpose that I had moulded over the year. These works have exhibited certain strengths as my tutors have often been pleased with the painting style and execution although may have appeared naïve, flat or just simply less developed but I believe with these final works I have largely averted that and learned from the fundamentals that had been taught to me at the beginning of the year. My series has let go on some of the realism but I believe it works for the piece creating this strange world that just looking into and pondering on can be kind of exciting.

The free unrestrained painting of the brickwork can help to make the melted urban decay look and the moss that was growing on the original photograph is clearly accentuated on the entrance to the Saatchi. The dark gritty environment of the middle piece is emphasized by the dripping paint and rough composition. This is the only subject with figures in it and they are made like spectres composed of blackness and a red aura that permeates their silhouette. The result I hope is a sense of fear and superstitious wondering about them that would be worthy of A. Taylor and Goya. The third final piece consists of a notable arrangement of brickwork that seems rough, worn and crumbling; the conflicting words “no parking” juxtaposed with the long stretching line of cars serves as a reminder of human civilization that my viewers can relate to.

As I look back to some of the artists and can draw comparisons I feel that I would change the piece to look more overtly apocalyptic and possibly come out of my comfort-zone more. The works have been made to be isolated and explore the environmental aspects of the setting and may necessarily work better with more apocalyptic elements that I had reviewed over the beginning of the project. I am also delighted with the spatial perception of the pieces which has turned out fairly well and a whole, been put to good use during its installing into the gallery, and arranged side by side with a spatial continuity that captures the viewer leading them to the centre.