Emma SmythĀ Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Creative Enquiry Critical ReviewĀ
4th year BA(Hons) CAP 2024Ā
Throughout this project, I have explored the idea of shadow figure phenomenon through a surrealist approach to my painting process. I aimed to capture these sinister, monster like figures through experimenting with a range of painting techniques and scale. I have always been drawn towards the other worldly and darker aspects of life and our imagination. It is an outlet for my imagination whilst unsettling the viewer and enticing feelings similar to when watching a horror movie. I have been inspired by many artists, theories, art movements and horror movie imagery, but most importantly my own imagination.Ā Ā
At first, I aimed to convey the idea of shadow figure phenomenon whilst evoking fear, uncertainty, and discomfort within the viewer. Shadow figures may be a paranormal phenomenon, for example a ghost or even a demon, lost souls trapped or beings from an inter-dimensional plane. These figures may move quickly, appear as solid shapes, swirling smoke and have a similar appearance to humans. We can usually see them at the corner of our eyes for a fleeting time before they disappear leaving us scared, perplexed and uncomfortable. However, from a scientific point of view, they are viewed as shapes that appear due to a lack of light and occurs due to our eyes simply trying to fill in the blanks (Haunted RoomsĀ®, 2016).Ā Ā
As my practice developed, I realised that my works depict sinister and ambiguous characters, rather than only shadow figures. This fuelled my imagination giving me the confidence and ideas needed to produce more works whilst experimenting with unfamiliar painting techniques.Ā
The Creative Enquiry project has allowed me to experiment and strengthen my painting skills. I found the process very daunting at the beginning, however I embraced the discomfort and continued to make. I realised that I do not need to overthink my paintings and strive for a refined finish, but instead allow myself to be more relaxed by handing control over to my materials through the use of specific techniques. The eerie images came very naturally and instantaneously at first with a surrealist approach. However, it became challenging and frustrating to visualise these sinister characters. I therefore engaged with new techniques of painting, such as āun-painting.ā This technique involved applying acrylic to the canvas and using water to lift the colour before the painting dried. I used a spray bottle, allowing the water to take control over the movement of the paint and overall appearance of my works allowing them to become more ambiguous. I incorporated other techniques that worked for my concept into my practice; limited colour palette, sgraffito, dripping, lifting paint with water and using other tools such as squeegees, a hard bristle brush and a variety of paintbrushes. The techniques and ways of working enhanced my paintings by taking them to another level of ambiguity due to the unfinished and abstract appearance,Ā creating a stronger element of fear and uncertainty within the viewer.Ā Ā
I will continue to produce as many paintings as I can and experiment with ways of displaying them. I aim to un-stretch many of my canvases and arrange them in a slumped manner over handmade black wooden stands. This will hopefully remind the viewer of experiences where they have seen an item of clothing hung on a door, in the dark and thought it may be something more sinister and un-welcoming. Through researching installation art, I have decided to arrange my work in a way that allows the audience to engage and interact with my paintings by walking around the stands. The viewers will hopefully be able to see my slumped paintings in their peripheral vision no matter where they situate themselves, hopefully conveying the ideaĀ of shadow figures. Ā
Throughout this project I have struggled with self-confidence within my artistic abilities. I chose to paint on large scale canvases, which is not something I have a lot of experience with when undertaking the stretching process. This involves the wood workshop, an environment I am not familiar with, in turn pushing myself out of my comfort zone.Ā
Metaphysics was defined by Aristotle and communicates ideas surrounding the nature of reality and the possible questioning of nature's structure i.e. sensation, memory, mind, matter, abstraction, space, and time. This usually involves questions that cannot be answered by scientists due to these thoughts and possibilities surrounding existence, and nature, being considered obscure and highly theoretical. It involves the questioning of reality, regarding the possibility of worlds existing outside of ours, as well as the existence of other minds and is often discussed within religion, spirituality, and the occult (www.encyclopedia.com, n.d.). My art communicates the idea of other worldly phenomenon such as ghosts or demons, hopefully enticing similar questions and conversation relating to metaphysics. Do ghosts and demons exists? If so, what do they look like? What are they capable of?Ā Ā
Julia Kristevaās āPower of Horrorā discusses the idea of the abject and how this may cause intense reactions within oneself, both physically, emotionally, and mentally. Something can be very intense, unfamiliar, scary, and fascinating, in turn unsettling oneself and creating an eerie atmosphere within the viewer (Kristeva, 1982). The faces within my paintings are unusual and unfamiliar due to the exaggerated facial features, such as extremely high cheek bones, sharp teeth, and gaping mouths. They are uncanny giving you shivers and create an eerie atmosphere, which may cause the viewer to feel uneasy when engaging with my work. Moreover, the theory of the uncanny discovered by Sigmund Freud is the idea that something, for example, a robot is human like and familiar, but also different and not quite right. This in turn allows the object or thing to become unfamiliar creating feelings of uncertainty and discomfort (Ruers, 2019).Ā
The surrealist art movement, pioneered by Karl Marx, has informed, and influenced my practice. Marx aimed to explore the unconscious mind allowing our abilities within our imagination to surface and bring our visions and thoughts to life through our art (The Art Story, 2011). Similarly, I delve into my imagination uncovering images that I can depict through my paintings. The images I conjure are not seen in everyday life and may remind the viewer of their distorted fears and evoke feelings like ones experienced when watching a horror movie. My works involve intense facial expressions and features, unnatural round eyes and colours creating a dreamlike or nightmarish image.Ā Ā
I have found that the techniques used within my works create similar imagery to the figure seen depicted on the front cover of the horror movie Sinister directed by Scott Derrickson. The front cover depicts the main antagonist, 'The Boogie Man' in red substance, on a wall. This blood like substance drips to the floor creating a haunting, and abstract image. By spraying water onto my painting, this creates a similar appearance to the movie imagery. Recognising these connections between my artĀ and the movie imagery, my work becomes even darker and unsettling.Ā Ā
My paintings have been inspired by many artists and their ways of working. Such as, Francis Bacon, who was involved with surrealism before creating works focusing on conveying motion and emotion. The imagery created within his work Study after Velazquez Portrait of Pope Innocent X is dark and haunting due to the gaping mouth of the subject's facial expression. The violent downward brushstrokes enhance the sinister atmosphere created by the unnatural and ghostly facial expression of the figure (The Art Story, 2010). Similarly, Edvard Munchās The Scream, 1893 depicts a screaming figure with a wide gaping mouth. The figure resides on a bridge surrounded by warm lively strokes of colour conveying a hellish coloured sky, creating a chilling atmosphere (The Art Story, n.d). There areĀ times within my practice that I have depicted figures with gaping mouths. I use lively brushstrokesĀ and distortion techniques to convey motion and the idea of fleeting figures moving in the night.Ā
Artist, Callum Innes, creates abstract works by painting the surface with a variety of pigments before removing layers and sections with turpentine. The artist does not have control over theĀ finished appearance of his works due to the āun-paintingā technique (Ingleby Gallery, n.d). Recently within my practice I have utilised an āun-painting' technique by using water to lift the acrylic and allowing the water to drip down the canvas, giving control to my materials. These techniques have been successful in enhancing the sinister and haunting atmosphere within my works due toĀ them becoming more unrefined and natural. Scottish artist, Ken Currie creates unsettling, eerie, uncanny, and figurative works that hold a cold atmosphere whilst depicting luminescent masks positioned, almost floating in the middle of the painting surrounded by darkness (Normand, 2002). The figures within my paintings seem to float or reside in the centre of the canvas whilst surrounded by darkness creating a ghostly or even demonic likeĀ appearance. I also utilised a limited colour pallet within my practice;Ā I made use of cobalt blue, burgundy, green, red, and black. Although limited, I developed onto use other coloursĀ as I felt that limiting my colour pallet further to; black, burnt umber, and red, would enhance the ambiguity as well as create a darker and more nightmare like atmosphere.Ā Ā
Overall, this project has improved my painting skills as well as bring attention to my abilities, and weaknesses. So far, I have achieved more than I expected through the experimentation of painterly techniques and continuous development of my ideas. I had an intention of what I wanted my works to communicate, and I feel I have achieved this. By experimenting with unconventional ways of displaying my paintings this further enhances and communicates my sinister and unsettling works. I have undertaken extensive research that plays a significant role in influencing my overall ideas and will continue to plan and remain organised throughout the creative enquiry project.Ā Ā
Haunted RoomsĀ®. (2016). Shadow People 101 - What Are They, What Do they Look Like? [online] Available at: https://www.hauntedrooms.co.uk/what-are-shadow-people.Ā
Ingleby Gallery. (n.d.). Callum Innes - Overview. [online] Available at: https://www.inglebygallery.com/artists/44-callum-innes/overview/.Ā
jude-white-a2-media. (n.d.). Horror Iconography. [online] Available at: https://chalky500.wixsite.com/jude-white-a2-media/horror-iconography#:~:text=Children [Accessed 6 Apr. 2024].Ā Ā
Kristeva, J. (1982). Powers of Horror an Essay on Abjection. New York, Ny Columbia Univ. Press.Ā
www.encyclopedia.com. (n.d.). Metaphysics, History of | Encyclopedia.com. [online] Available at: https://www.encyclopedia.com/humanities/encyclopedias-almanacs-transcripts-and-maps/metaphysics-history#:~:text=as%20a%20blueprint.- [Accessed 16 Apr. 2024].Ā
Normand, T. (2002). Ken Currie. Ben Uri Gallery & Museum.Ā
Ruers, J. (2019). The Uncanny | Freud Museum London. [online] Freud Museum London. Available at: https://www.freud.org.uk/2019/09/18/the-uncanny/.Ā
Sleep Foundation. (2021). What Are Waking Dreams? [online] Available at: https://www.sleepfoundation.org/how-sleep-works/hypnagogic-hallucinations.Ā
The Art Story. (n.d.). Edvard Munch Paintings, Bio, Ideas. [online] Available at: https://www.theartstory.org/amp/artist/munch-edvard/.Ā
The Art Story (2010). Francis Bacon. [online] The Art Story. Available at: https://www.theartstory.org/artist/bacon-francis/.Ā
The Art Story. (2019). Metaphysical Painting Movement Overview. [online] Available at: https://www.theartstory.org/movement/metaphysical-painting/.Ā
The Art Story (2011). Surrealism Movement Overview. [online] The Art Story. Available at: https://www.theartstory.org/movement/surrealism/.Ā