Several tasks were placed online for you to complete as basic and quick drawings. These didn't need to be great or hugely technical, but even at a 'just complete' level would generate enough evidence for 2.2. Please continue to work on these over the course of the year.
Space - eerie
2) Making these tasks relate back to your kaupapa
If your kaupapa is distilled down to one to two words, how does this then translate into the following:
-Line
-Mark-making
-Colour
-Space
What have you got as drawings that actually represents these things from a more abstract point of view?
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| "On the wire" by Harvey Thomas Dunn 1917 oil on board |
Mark making - patchy, bitsy
Colour - fairly monochrome
Line - undefined, quite smudged.
kaupapa = World war one and the desperation of the war, hopelessness, the loneliness felt by the average soldier.
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| "Les Demoiselles D'Avignon" Picasso, 1906-07, oil on canvas |
Space - tilted up, shallow
Mark making - bold, unrefined, not neat, but not messy. Really confident as it is.
Colour - fairly simple, defies the colour theory of warm in front, cool in the back.
Line - sharp and angular
Kaupapa = presentation of prostitutes upfront and in your face (these women were, in fact, prostitutes, who were considered less-than). Their 'primitive' appearance with the tribal mask on one (wouldn't be acceptable in today's climate) speaks to the primitive nature of sex, sexual need/desire and yet societies inability to accept these women or their work as it was. Generally, they were meant to be hidden away not paraded as proud, strong, and right 'there'. Lack of space within the picture space could represent that there is no room to run away from this truth of who they are and where they are.
3) Moving forward with your folio work using the internals to justify it.
Make sure every time you plan a work, your lines, marking, colour, space all count towards how your kaupapa speaks. these should all originate from the Artists you have already studied. Make it all link together.
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