Research
Research and experimental pieces contributing to my practice.
research contents:
Collecting primary research.
As my primary research, the central focus of my current practice is a collection of childhood images and experiences that I use throughout my work.
Methods and Process's
I learned the key developments and processes that contributed to my final pieces of work.
Studio Journal
A Collection of my journal notes, including thoughts, processes, ideas and Tutorial Feedbacks.
Landscapes and Memory.
I am researching the correlation between landscapes and memory, and how this relationship relates to my practice.
Childhood influences.
Research on childhood influences and their impact on a person's development, particularly in relation to my practice.
Michael Armitage
Research of the contemporary artist Michael Armitage, including studies of his paintings, articles on his previous exhibitions and videos of him talking about his work.
Neo Raunch
Research of the contemporary artist Neo Raunch, about his work which involves collage in a form of painting
Plinio Nomellini
Research of the artist Plinio Nomellini, a historical italian painter who's painting create an impression of nostalgia and memory .
Daniel Pitin
Research of the artist Daniel Pitin, a contemporary painter who focuses on an investigation into the past motivated by an unexplainable impulse of trying to dig up lost experiences
Lina Gordievsky
Research of the artist Lina Gordievsky, a contemporary artist who's pastel paintings of landscapes that seem to transport viewers back to a specific time and place based on Nostalgia as remembered by her childhood.
collecting primary research sources
The fundamental aspect of my work revolves around imagery, specifically focusing on family and childhood themes. I have primarily chosen images featuring multiple subjects that are interlinked or connected in some way. My goal is to illustrate the connections within a family through memory, imagery, and painting, creating a collage-style piece. Photographs greatly influence my work; I have always referenced them or painted directly from these images to adapt my memories, using color and imagery as triggers for recollection.
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methods and process's
To expand my work beyond just painting childhood images, I developed various concepts. The most motivating idea was to incorporate actual imagery into my pieces. However, I faced the question of how to achieve this. I began brainstorming in my mind about the desired outcome and printed a range of images to cut up and arrange. After this exercise, I thought, "How would this look with paintings?" So, I created miniature tests to see if my ideas could actually work. This process left me with several questions: "How can I scale this up?" and "How will this better represent memory than before?" This reflection ultimately led me to the technique of photo transfer.
Digital collage- example of one which i did before starting a new peice.
First collage's with paintings involved.
First canvas Photo-transfer and painting test
Learning to photo transfer:
How to do it:
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Prime the canvas with Gesso, make sure the canvas is completely dried. For extra results sand down the canvas to create a smoother texture and smaller grain.
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Print off your image of choice, beware the image is flipped once transferred, if this won't work then print the image inverted before the next step.
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Get your PVA glue and put it directly onto the canvas where you will want the image to go. Make sure the glue is evenly spread across the area
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At the same time add a similar amount of glue to the photograph and covers all areas.
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Place the photo onto the canvas where the glue is, make sure there is no creases and grab a card, squeeze any glue build up to the edge so it stick firmly with no lumps or too much glue underneath.
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Leave the glue to dried preferably for 24 hours or at least overnight.
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Once dried get some water and paint over the image, you should be able to see the image appear through.
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Gently while it's still wet use your fingers or a cloth to rub the paper off the image, the glue will trap the image onto the canvas. Be careful to not press too hard or over work it as the image can start to distress and rub away.
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Once this has been done and dried the paper may show up again and create a while glaze over (similar to second image on left below) but once water is added back over its shown again. During this time while it's still wet and the image is clear add another thick and even layer of glue onto. Once this glue has dried the image transfer is complete.
Once I mastered the technique of photo transfers, I was eager to explore the impact of different color bases. I cut eight A5 canvas squares and primed them with a smooth layer of gesso, setting the foundation for my experiment. I applied various acrylic paints beneath each canvas, creating a vibrant array of colours to assess their effect on the image I intended to transfer.
I used the same image for all tests, and the results were clear: only the canvas with the white base was successful. This outcome prompted me to consider whether my approach was too rushed; I hadn't allowed the canvases enough time to dry completely, likely affecting the image's adhesion.
Additionally, I recognise that darker colorus failed to deliver the desired results, while the white base excelled in capturing all the nuances and variations in the colours. This experiment underscored the critical relationship between colour and texture in the art of photo transfers, and I am now equipped with these essential insights for future projects.
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STUDIO journal
Reflections and notes taken during this semester have been invaluable. My studio journal allowed me to document lectures, one-on-ones, group critiques, and my personal reflections. This was incredibly helpful in reminding me of the ideas I had created, such as drawings and concepts for paintings I wanted to produce. It significantly contributed to my progression in each piece and influenced how I envision my next series of paintings, as well as how I want them to be perceived.
The feedback from my peers has also played a crucial role in helping me understand their perspectives on my work. This input has enabled me to track my progress and has encouraged my development as an artist.
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LANDSCAPES AND MEMORY
Landscapes and memory have an unspoken connection that can vary depending on individuals, locations, or their historical background. In an article published by Cambridge University Press, authors Cornelius Holtorf and Howard Williams explore the relationship between landscapes and memories, specifically in relation to history. I have found several insights from this article that are useful to my practice:
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​Everything we see, from nature to urban landscapes have a history and memories attach to those locations which each person has different ones attach to. Urban in two ways holds many memories, modern day ones created in areas build specifically to create memories such as cities which have shopping malls or zoos speficallu build for the aim of creating human memories. Then going back to before human influence changed the structure of the landscape there is history deep in the soil, from the wildlife which roamed freely before human interaction as well as human influence but before major infrastructure, lives and memories were created from the place people walked, collected food, or just lived their lives. We as Humans are unknown and possibly never to know the true history of an area or landscape unless told all accounts from any person ever to have a memory created
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A location can vary from person to person. For one person It could have positive connotations and to another have negative, a landscape although rarely changing can evolve and adapt to a humans individual response.
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We can learn from our landscapes by finding remains of predisposed lives or time periods which are trapped in a landscape until discovered such as fossils, rocks, sea scape rock formations etc.
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landscapes can hide history or make people forget the history for example, World war battle field now grown back and beautiful yet hold such a devastating past taken place on those locations, but locals or families of those involve who past down generational stories keep the memories alive.
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In relation to my work:
Two of my individual landscapes utilize similar color palettes, yet they present two unique perceptions. When looking at the image on the left, which depicts a more traditional green landscape, we can assume that it has remained largely unchanged over the years. In contrast, the image on the right shows a clear seascape, which, due to the nature of its location, is likely to evolve much more quickly because of weather conditions. This comparison suggests that memories associated with the seascape may be more fleeting or susceptible to change, influenced by the dynamic environment in which it exists.
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What does certain landscapes evoke that others don't? and why? why do some people connect with one landscape more than the other? What do I connect with the most and why? Is it because of the everlasting memory in a traditional landscape or an evolving seascape?
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Both of these landscapes my paintings are based on locations I have childhood memories attach to (Left: Lake district, Right: Flambrough Head) but why do I associate memory specifically with the landscapes more like the painting on the left? Is it because of the amount of time spent in the Lake District growing up or is it because of the positive associations I had with the area?
Childhood Influences
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outdoor interactions within childhood
Outdoor play plays a significant role in shaping childhood experiences. As someone who grew up enjoying the outdoors through walks, hikes, and exploration, I found the insights from an article by Merete Lund Fasting and Janice Høyem particularly resonant. The authors discuss the freedom, joy, memories, and experiences associated with outdoor play during childhood. They conducted a study involving a group of 24-year-old men and women from a small Norwegian town who shared their experiences of outdoor play.
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Any memories and experiences are all shaped from young. Any memory involves an element of 'activeness'​ and that being connected to happiness.
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The more a child can freely explore the outdoors, using imagination tend to create more memorable locations, is this people we start to develop out understanding of the outdoor world because its where our independence grows from learning our own morals, experiences and outlooks without the influence of an adult. Does the experience of an adult hinder a Childs development of a place or a memory because that's what were taught. Therefore independence where we can shape who we are can be a major influence in our personalities. If someone had a lack of outdoor experience in their childhood does it generally shape their adult views on the outdoors? Is that why I like to paint landscapes and have such a strong connection to the outdoors.
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Does the increasing amount of technology which can limit a Childs outdoor play affect development, what will happen in years when these children grow up surrounding technology, what impact will that have on the next generation.
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Places where children with their friends can use their imagination and become creative can create 'emotional bonds' to places. Do I have a subconscious attachment to the lake district and English countryside from growing up with my brother and sister in the outdoors.
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They discussed in their research that once a memory from (where part of childhood was spent) is created in a location that becomes part of a place and its history which attaches us to that place for ever, for example the back garden we played in, the most places we visited on holiday. Similar to what I was discussing in my research on location and memory above. ​
In relation to my work:
In much of my recent work, the landscapes I have depicted come from memorable places from my childhood. While some were based on photo references, the majority stemmed from my memory. All of these landscapes are set in the English countryside, primarily in the Lake District, which played a significant role in my upbringing.
I used vibrant colours across my paintings, incorporating many unique colour combinations that I associate with my childhood. To me, childhood is filled with bright, colourful atmospheres and landscapes. Although my memories may not be clear or frequent, they often lack colour. This raises many questions: Am I recalling locations and memories prompted by photographs and narratives I have recounted, or are these genuine perceptions from my childhood?
This is the balance I seek to explore in my work.
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Michael Armitage
Possible use of layers of thick paint, built up in areas on top of less worked up areas.
Hidden meanings behind everything, what does the parts mean, why does there look to be an element of fire.
Feelings of distress surrounding the figure with him running, as well as the red, orange and yellow but sense of calmness in the background with light pink, and light green.
paradise Edict, 2020
He uses memories and a mixture of 'pop culture' stories to create his paintings, the materials he uses originates from Uganda usually used for healing rituals. All aspects of his work have meaning or though out process down to the materials he uses to create his paintings.
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He uses his colours from rural and urban contexts in Kenya in order to bring awareness to traces of colonial attitudes. Creating further meaning and drive behind his work.
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Not only does Armitage bring in East African 'modernism' he bring in European art ad ideas into his paintings by creating pictures which how's current social and political matter.
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His powerful memory influenced paintings creates a very touching and relatable painting for all viewers to feel to represent 'Human violence, love, sexuality, religion' while also creating dream like unrealistic paintings which create an unrelateble aspect to his work.
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I like the subtly to it, the more you look at the painting the more you notice.
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I like the personal touch of a mother and her child, with my painting primary surrounding family connections I love the way Armitage shows connection in his pieces of work.
Amongst the Living, 2022
He meticulously scrapes and layers his paint to vividly emphasize the essence of Eastern Africa in his artwork. His diverse colour palette, infused with rich earth tones and vibrant hues, creates a dreamlike quality that starkly contrasts with the serious social and political themes he often explores. Through his brushstrokes, he captures the nuances of everyday life, crafting relatable yet profoundly moving messages that resonate with the experiences of the individuals he portrays.
Believing that painting extends beyond mere representation to become a powerful means of thinking and expressing significant events, he finds it to be his most preferred artistic medium. His creative process is enriched by his experiences in multiple locations, including the lush landscapes of Indonesia, the dynamic cultures of Africa, and the bustling urban environment of London. This geographical diversity allows him to fuse elements from these three distinct cultures into a cohesive visual narrative, often creating a “timeline” that adds layers of meaning to his work.
Each piece he produces is thoughtfully crafted, serving as a mirror to the collective human experience by addressing poignant and weighty subject matters. The magical atmosphere he conjures in his art reflects not only his unique vision but also an outsider’s perspective, shaped in part by the media portrayals that can often skew or simplify the complexities of the actual events he seeks to represent. His work invites viewers to look beyond surface impressions and engage with the deeper realities of human life.
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Makes me think of dreams or memory, the bright colours in and around parts of the figures and landscapes creates a sense of happiness especially with the figures dancing which has a predisposition of happiness.
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The bright colours has influence me to include it in my work and try to add an element of abstract art with parts of realistic paintings.
The Accomplice, 2019
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All of Armitage's work have bright colours and unique shapes which creates a nostalgic feeling, something which I want to achieve in my work.
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The colours used looks to be thought out, they are in a similar colour range and compliment each other well, the dark background with the figure blowing the bubble looks like he's creating a memory or dream, similarly how inside the 'bubble' is bright and calming.
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The bubble could symbolise growing life like a featus. his work creates many ways of viewing his pieces and can change from day to day.
Cave, 2021
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"its a place where people come together and find commonality and can see something in another person from another background and recognise a common humanity" I believe that his art can connect people both physically and spiritually. It also serves to link modern audiences to history through the materials he uses, the stories he aims to tell, and the colours he chooses for his work.
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His work and his vision for it are constantly evolving because he believes he needs to "fundamentally question who my audience is." Initially, his first choice was Kenya; he wanted people to be able to walk off the street and recognize that his art is relevant to them and their lives. This insight led him to pursue figurative paintings.
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His work focuses on socio-political events that impact his thinking and ultimately change his creations. He considers every aspect of his painting; all of his choices are carefully thought out and researched, sometimes taking years to complete. He also incorporates materials that have lost their original meaning, such as canvas made from tree bark found in a tourist market in Eastern Africa, which was previously used in burial rituals. By repurposing these materials in his art, he revitalizes the culture they represent and brings a piece of Eastern African history into his work. He spends months preparing for a body of work in this region.
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Armitage established the Nairobi Contemporary Art Institute, a vibrant non-profit art gallery dedicated to supporting local and emerging artists. This innovative space not only showcases a diverse array of artistic works but also fosters collaboration and creativity within the community. By providing resources such as workshops, exhibitions, and artist residencies, the institute aims to empower artists and promote cultural dialogue in the heart of Nairobi.
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Once he comes up with an idea, he starts creating drawings and conducts research into events that may have occurred. He looks at art history to find references for his paintings.
The texture and interesting qualities of his materials influence where and what he decides to put on his canvas. This forces him to incorporate all aspects of painting into his work, including the surface texture, which is often made from bark off a lubugo tree. The materials he uses not only give his work a distinctive presence in that specific region but also connect it to the culture and history behind their creation. His approach allows him to integrate both historical and contemporary cultural references.
He often references colour related to a particular place; however, the narrative of the painting guides the colour in a specific direction.
He works on multiple paintings simultaneously because he believes this gives him time to digest the marks he's making and understand how he wants his paintings to be perceived, as well as how they interact with one another.
The way his paintings react to each other is a key reason he chooses to work on several at once. A decision made for one painting often influences another.
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This exhibition brings together 15 of his large-scale paintings, alongside 31 works by six East African contemporary artists chosen by Armitage.
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Neo Raunch
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The combination of the images reminds me of memories and how I picture stories and events.
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The lack of intense details and reminds me of how we remember things which less detail and accuracy than real events.
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I like the way he used limited colour range with only 3 / 4 main colours: red, green, blue, black.
In relation to my work:
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The way raunch combines the Images could be a way I blend the photo transfers with the paintings – I have tested out in a practice collage of mine.
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When doing my paintings i prefer the style where the image blends into the painting, rather than separate, simiarly if the images fit with the theme of the painting. I feel i have been most successful in this peice and the way the paitning works.
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The artwork features multiple figures from different generations and time periods, including a man wearing a large top hat. There seems to be a religious element in the piece, highlighted by a woman who appears to be praying. However, there is also a fantastical aspect, as the man on the left has horns.
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The bright pink background, along with random shapes, figures, and buildings, creates a dreamlike effect in the paintings. The seemingly unrelated shapes form a jumbled collage that defies logic, and the longer you look, the more details you discover.
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I admire the artist's colour choices and their ability to weave multiple stories and figures into one cohesive piece.
plinio nomellini
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Circular Composition: The round table serves as the focal point of the composition, enhancing the overall sense of harmony and unity.
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Framing: The surrounding foliage, lighting, and interior features create a natural frame that guides the viewer's attention to the emotional core of the scene—the interaction between the two figures.
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Light is a key element in the painting, he uses distinct strokes or dots of colour to create luminous effects. The colour palette is warm and vibrant, featuring rich yellows, greens, and subtle hints of violet and red, which together evoke a sense of life and energy.
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The painting exudes a sense of peace, intimacy, and familial affection.
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It reflects human connection within nature, a common theme in post-impressionist and symbolist work.
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There’s also a nostalgic, idyllic tone, evoking a slower, more reflective moment of life.
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This painting is painted to be an impressionistic style, that evokes warmth, nostalgia, and intimate human connection.
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Light plays a central role. It appears to be coming from behind and above, creating a glowing ambiance. The light reflects off the ground and foliage, bathing the scene in a shimmering quality.
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The technique resembles Pointillism/Impressionism, dense, layered, and textured with a mosaic of small dabs or dots of colour.
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Texture: Rich and dynamic. The layering of colours creates depth and movement, making the scene feel alive.
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Peaceful, nostalgic, and contemplative. It invites the viewer into a quiet moment of human connection within nature.
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The Trellis/Vines could symbolize growth, shelter, or the passage of time.
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The Generational Figures, the comparison between child and adult, May symbolize wisdom, legacy, and the passing of knowledge or tradition.
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The painting is in an Impressionist style, evoking warmth and familial intimacy.
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The viewer's gaze is drawn into the scene at eye level, creating an immersive and intimate feeling, as though we are quiet observers of a tender moment.
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The dappling of light on the ground and table suggests the time of day, likely morning or late afternoon, symbolizing peace and contentment.
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The use of high-saturation colours conveys warmth and joy, while the careful modeling of light adds dimensionality without creating sharp outlines.
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Rather than focusing on fine details, the artwork suggests form through the interplay of color and light, enhancing its emotional tone.
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It is tranquil, familial, and joyful, capturing a fleeting moment of daily life that feels both timeless and almost sacred.
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The painting represents life, growth, and protection, framing the family as nurtured by nature.
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The children symbolize innocence, potential, and continuity, and their presence enhances the painting's themes of love and the future.
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About the artist.
In relation to my work:
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We both share themes centered around nature and human connection. Plinio Nomellini often depicted human figures immersed in natural settings, highlighting a harmonious relationship between people and the environment. Similarly, my painting features two children seated in front of a majestic, almost magical waterfall, evoking a sense of peace, wonder, and communion with nature.
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In my artwork, there is a similar relationship with light, particularly in how it interacts with water. The cascading blue and white strokes of the waterfall convey an almost energetic quality, mimicking the luminous, fragmented light seen in Nomellini’s coastal and landscape scenes.
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Both Nomellini and I use figures from everyday life, often children, to represent innocence.
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There is a romantic idealism in both our works; nature is not just a backdrop but serves as a source of magic, wonder, and emotional clarity.
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Daniel Pitin
Daniel Pitin is recognized for his richly layered and psychologically complex paintings that blur the distinction between figuration and abstraction. He skillfully manipulates space, form, and surface to create emotionally charged, cinematic artworks that evoke feelings of memory, disorientation, and psychological complexity. His work encourages viewers to look beyond literal meanings and immerse themselves in a realm of visual and emotional fragmentation.
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Pitin creates compositions resembling visual collages, combining elements from photographs, film stills, architecture, and classical art, resulting in a dreamlike quality.
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His figures and spaces are often distorted or layered, with brushy textures and abstract marks disrupting the sense of realism and challenging viewer perception
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His backgrounds often evoke film sets or decaying interiors, influenced by filmmakers like Tarkovsky and Hitchcock, creating tension and ambiguity through dramatic lighting and composition.
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His work reflects psychological themes, with fragmented surfaces suggesting memory and shifting identities. Unfinished areas evoke a sense of decayed memories.
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Utilizing both traditional and contemporary oil painting techniques, Pitin creates visual depth by layering and manipulating the paint.
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In relation to my work:
Pintins and my artwork both feature layered narratives. Pitin’s pieces, characterized by surreal, fragmented figures and ambiguous spaces, evoke a dreamlike or psychological atmosphere. Similarly, my painting incorporates multiple figures and vignettes integrated into the hills, suggesting themes of memory, personal stories, or the passage of time.
Each painting prominently includes the human figure. Pitin’s works focus on dramatic and often abstract interactions, while mine centers on a child and other figures that appear memory-like, representing moments or people from the past.
The green painting can be seen as a more personal to Pitin’s abstract and psychological work. Both of ours explore themes of human presence, memory, and fragmented perception, but they do so through different visual and emotional perspectives.
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Lina Gordievsky
Lina Gordievsky is a talented artist who draws profound inspiration from her childhood memories of the natural world and the diverse landscapes that surrounded her. Her paintings, characterized by vibrant colours and intricate textures, evoke a deep sense of calmness, inviting viewers to pause and engage in reflection about their own environments. Each piece serves as a window into serene moments spent in nature, whether it’s the gentle sway of tall grasses in a summer breeze or the soft light filtering through woodland trees. Through her evocative artwork, Gordievsky aims to cultivate a tangible feeling of peace and tranquility, encouraging a moment of stillness and appreciation for the beauty that exists in everyday life. Lina Gordievsky creates artwork inspired by childhood memories of nature and landscapes. Her paintings evoke a sense of calmness and encourage viewers to pause and reflect on their surroundings. Through her work, she aims to create a feeling of peace and tranquility.
My take aways from her work:
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Her landscapes evoke an eerie feeling; the calm, reduced colour palette instills a sense of nostalgia.
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The muted colours remind me of how we recall memories as foggy, similar to how we think of childhood.
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Her nostalgic paintings transport you back in time, prompting you to reflect on past memories.
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Due to the simple and generic atmosphere in her work, it becomes relatable to anyone who comes across it.
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I believe her work has a spiritual or religious quality, characterized by a high level of exposure and dreamy colours. These elements combine to create an image of what I imagine heaven to look like. She achieves this by creating a calm and peaceful environment through her brush strokes and colour palette.
Her work revolves around similar ideologies to my own. She bases her landscapes on memories, specifically from childhood, which makes me think of the research by Merete Lund Fasting and Janice Høyem on the importance of outdoor play during childhood. She aims for her work to capture happiness and evoke familiar places from people's pasts.
