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| 'A-R-T Triptych', Acrylic On MDF, 2015 |
A
few times now, while making excuses for the paucity of my own recent artistic
output, I’ve dropped hints regarding a commission that had me tied up for most
of the summer, and well into autumn.
Indeed, whilst it’s all been very rewarding, it has taken rather longer
than originally envisaged. Finally, I
can reveal some results.
Earlier
in the year, the Head of Rushey Mead Academy, where I earn my daily bread as a
Design Technology and Art Technician, approached me with a view to producing
some work for the school environment.
The school occupies a site extensively remodeled under the Government’s
‘Building Schools For The Future’ agenda a few years ago, and the architects did
manage to incorporate reasonable amounts of light, and the odd splash of colour,
into what are predominantly functional buildings, - built to a price. Nevertheless, it is undeniably a rather
corporate environment taken overall; hence, - the decision to introduce a
little more individual identity and implied creativity into various communal
areas.
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| 'A', 'A-R-T Tryptych', Acrylic On MDF, 180 cm X 100 cm, 2015 |
The
images here show the first of what is intended to be a long-term, rolling
programme of such projects, and show a triptych of shaped panels designed to be
a signature statement for the Art Faculty.
In the long term, it’s hoped that similar such faculty identifiers might
extend around various areas of the site, along with other more general
statement pieces.
Not
wanting to simply emulate my own existing work, I was happy to regard this as a
rather more conscious design job, and to produce something which might tell a
certain story about different aspects of the work of the Art Dept., and even,
at a stretch, form the basis for actual teaching and learning points. The three panels, spelling ‘A-R’T’ are intended represent,
Drawing/Printing and Sketchbook work; Painting and Fluid Media; and Photography
and Digital Media, respectively, - these being three of the main disciplines
our students currently study, (they do a fair bit of 3D work too, but something
had to give somewhere).
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| 'R', 'A-R-T Triptych', Acrylic On MDF, 200 cm X 100 cm, 2015 |
I
chose to borrow certain stylistic elements from both Roy Lichtenstein and
Michael Craig-Martin, feeling this would allow me to build-in considerable
complexity within a bold graphic, (and hopefully, still decipherable) scheme,
and to deploy a shamelessly bold, synthetic palette. Both artists have formed the stimulus for
more than one Key Stage 3 Art project, in recent years. Also, I see no point in being unnecessarily
subtle when trying to energise the environment of around fifteen hundred eleven
to sixteen-year-olds; if Art, as a subject area, can’t make a bold visual
statement, - who can? All those complex,
flat shapes and hard edges account for the considerable overrun in estimated
production time, but should mean that any necessary future repairs or
touching-up might prove easier.
It
seemed important that the students should have some input into what was hopefully
going to a fairly slick, professional-looking final product. The superficial style of the piece didn’t really
lend itself to short attention spans or free brushwork, so instead, a variety
of groups were asked to generate a selection of gestural marks, hand prints,
blots and brushstrokes as raw material. If
nothing else, I hoped this might provide an opportunity for a little
recreational, end-of-term mess-creation, free from the pressure of meeting set
targets or quantifiable standards. These
were scanned and reinterpreted by me for incorporation into the final
compositions. This was a strategy
inspired by Lichtenstein’s own formalisation of painterly brushstrokes into his
trademark, deliberate graphic style.
This idea of translation between different modes of mark-making, and the
processing of a statement through both hi and low-tech media is something I think
about a lot at the moment.
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| 'T', 'A-R-T Triptych', Acrylic On MDF, 180 cm X 100 cm, 2015 |
I
supplemented my stock of such compositional elements by trawling students’
sketchbooks for further pre-existing sources, (including various hatching marks
and the African mask motif), before bringing everything together as final
designs in Photoshop. That last one was part
of my response to the school’s request for a multi-cultural dimension to be
included in the overall scheme. The
preponderance of Asian-origin students in the school suggested the inclusion of
Rajasthani printing block motifs in the ‘A’ panel, whilst an African mask motif
from a student’s research drawing was reinterpreted in a consciously digital
style for ‘T’, in some attempt to
bridge the traditional with the contemporary.
Keen not to just ‘tick boxes’ I chose an indigenous Australian turtle
motif for the ‘R’ panel. It was an
attempt to reference a very particular and highly recognisable painting
tradition, outside our own back yard. If
Multi-Culturalism is to mean much, it should include some sense of the
universality of the arts, as well as own familiar interest groups, in my
opinion.
All
that stuff can be a potential minefield, of course, and I fully recognise that
the overall style of the triptych still leans on my own Western ‘Fine Art’ preoccupations
fairly heavily. However, it is my belief
that, to some extent at least, the highly knowing, technologically derived, and
self-consciously Pop aspects of both Lichtenstein’s and Craig-Martin’s work do
reflect the wider culture in which all our students, of whatever origin, now
swim.
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| 'A', 'A-R-T' Triptych', Original Design, Photoshop File, 2015 |
This
idea of bridging is something that extends through the references to various
media across the three panels. It was
never my intention to create a three-stage chronological account, but there is
a definite sense of the ancient and modern co-existing within the piece. The devotion of the third ‘T’ panel to modern, photographic and
digital media was a deliberate attempt to suggest current and future
preoccupations, but even within that context, there is already a sense of an
evolving tradition. It was the Head’s
suggestion that the panel should refer to older, analogue photographic methods,
(in the negative strip), as well as the obviously digital, (in the Photoshop
tools palette and pixelated elements).
For
similar reasons, I was determined to include the handprint motif in the central
panel. Apart from its superficial
decorative potential, it serves as a reminder of Paleolithic Cave Art, and that
artistic endeavour lies at the very core of Human experience. It was central to the experience of our
species from the start, and in a context in which technological advance and
expressive thinking were inextricably bound together. That’s something worth remembering, given the
current preoccupations with stripping creativity from educational curricula,
and prioritising the traditionally academic and the easily quantified.
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| 'R', 'A-R-T Triptych', Original Design, Photoshop File, 2015 |
How
much of all that will be communicable to the students who pass by the piece each
day remains to be seen. It should
provide a bold splash of colourful decoration if nothing else, but I hope there
is enough there to stimulate a bit of discussion beyond its obvious surface qualities. It was for this reason that each of the panel
designs also includes a digital QR code.
It would seem shortsighted to discuss all that inter-disciplinary stuff
without accepting the cross-platform nature of contemporary culture, - in which
everything is expected to act as a portal to something else. Thus, any student pausing long enough to wave
their phone over the piece currently, can gain access to websites devoted to
the school’s Art Dept. in general; our GCSE Photography course; and, hopefully,
the process of producing the piece in the first place. Those are, by their very nature, highly
adaptable in the future.
By
the time you read this, the three panels should be being finally mounted on the
wall. As they will reside in a
high-traffic corridor, each will be sandwiched behind a protective sheet of
clear acrylic, - cut to the same shape. For
that reason, I’ve photographed them in their raw state here, to avoid
problematic reflections. I’ll try to
bung up a couple of shots of them in their final state, once they’re in situ. As mentioned, the original intention was for
this piece to be the start of a much larger process. There is a considerable pool of creative
staff talent in the school, both above and below the radar, so there’s
definitely the potential to do a lot, should time and finances allow. I’ll keep you abreast of any future
developments.
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| 'T', 'A-R-T Triptych', Original Design, Photoshop File, 2015 |
Thanks
go to: Academy Head, Rita Hindocha, and Business Manager, Sheila Carr, for their
vision, and for creating a situation in which this project could happen; and to
Lead Teacher For Art, Tim Durham, for being a highly energized catalyst. It also goes to Steve Peach; Derek Foreman
(& Premises Team); and Kajal Patel, for technical
assistance and facilitation. Appreciation is also due, for positive feedback and a constant stream of encouraging comments, to: Jo
Woolridge, Heather McAusland, Amy Goodwin, Poonam Mistry, and numerous other
staff and students passing through the Art Dept. in recent months.
Finally: apologies to the cleaning staff for cluttering
the place up for so many evenings, in order to get the project finished!
