Wednesday 29 March 2017


Here is the email request, the copy and image for my Artist CV sent as part of the promotional material to be used for the first ever International Printmaking Conference due to take place in Nicosia 22 - 24th November 2017 - very apprehensive and extremely surreal. 


CLARE WYATT – ARTIST CV
I have 25 years of teaching, printmaking, drawing and fine art practices in educational establishments and as a private tutor for community groups in the United Kingdom.

Drawing is a process of making parallels – of engaging in the world physically and emotionally – of casting your mind out and grabbing what you see. My practice is a combination of drawing and printmaking – using both digital and screenprint processes.
It investigates female Renaissance portraits through these processes and brings them into the contemporary arts arena.

The angelic female faces I select from paintings are meant not only as an homage to the original but also, when combined with digital patterns and drawn figurative forms, reinforce a sense of the contemporary ‘Madonna’. This offers an acknowledgement of the iconic and recognisable imagery of the past and is also a way for me to make my own contemporary female portrait, which is accessible to the modern viewer.

Recent exhibitions include: 
MA Postgraduate Exhibition - Atkinson Gallery, Millfield, Somerset. UK
‘Miniprint Exhibition’ - Arnolfini Gallery, Bristol. UK
Current Digital submissions to:
International Print Centre, New York, USA
Royal West of England Academy, Bristol UK
MERCK KGaA Performance materials, Frankfurt Germany


Tuesday 28 March 2017

ROBERT RAUSCHENBERG  - Tate Modern

Female figure (1959) -
R. Rauschenberg & S. Weil

1 December 2016 – 2 April 2017

I was excited to see this exhibition. Rauschenberg’s eclectic range of work on display here was stimulating but left me wanting more. I hoped to find a link to my own portrait work with Rauschenberg’s use of common or recognisable images. 
  
Rauschenberg’s signs and assemblages particularly appeared to create a more ‘sophisticated’ aesthetic due to his use of nostalgic or ‘timely’ ephemera.
However, this sophistication could have been due to the fact that we as ‘viewers’ are appreciating this work in the 21st century; his ‘ephemera’ (ephemera: interestingly defined as collectable items that were originally expected to have only short-term usefulness or popularity), with their faded colours and subject matter, hark back to a simpler, more wholesome, bygone era. Therefore, it may be that we are unable to fully appreciate Rauschenberg’s work in the manner that it was made as we are five or six decades removed from that time.

Retroactive (1964) Oil paint & Silkscreen - R. Rauschenberg
I think the value of the work on display was that strong association to consumerism. The idea of Mass Customerisation (see Arthur Buxton blog entry) was revisited in the application and considered production of each of his pieces; in particular Rauschenberg’s silkscreen prints using photographic repetition is manufacturing in multiples, he allowed disparate works to become connected with each other with his abstract imagery giving way to the recognisable.  The example, Retroactive (1964), a mixed media hybrid, incorporating oil paint with silkscreen and pigment transfer, used instantly recognisable iconic imagery relating to the space race and military action. This piece was created only three weeks before Kennedy was shot and ‘embodies the optimism and tragedy of the 1960s’. The work was an opportune piece of creativity ‘manufactured’ by the artist.

Mirthday Man (an anagram (a pun)) 1998 - R. Rauschenberg
My favourite example of Rauschenberg’s work was the huge cacophony of texture, colour and repeat pattern that was ‘Mirthday Man (1997) – an inkjet dye and pigment transfer piece on poly-laminate. This large print, sometimes abstract sometimes realistic, conjured up a life and energy which had been dampened and diluted in some other pieces of his work. It reflected art and life and has directly inspired my multi-layered digital print "Milfi'.
'Milfi' - multi layered digital print inspired by Rauschenberg




‘Painting relates to both art and life. Neither can be made (I try to act in the gap between the two)’. 
Quarry (1968) - R. Rauschenberg

While this exhibition pulled Rauschenberg’s work together in a chronological sequence and reflected the diversity and multiplicity of his obvious talent, it gave little insight into the true proliferation of his work. What moved me most of all were the series of descriptive quotes by the artist of work on show – these words were more evocative, perceptive and human.


‘A picture is more like the real world when it is made out of the real world’.

‘I want my paintings to look like what’s going on outside my window, rather than what’s inside’.

‘We move from movement to movement, mood to mood making decisions that control our acts, in-sighting and recognising that facts are changing like the light we are seeing them in and in our motivation to look’.
Caryatid Cavalcade (1985) - R. Rauschenberg

Monday 20 March 2017

WHAT IS SOFT IS STRONG

“Water is fluid, soft and yielding
But water will wear away rock, which is rigid and cannot yield.
..what is soft is strong”.

Lao Tzu – chinese philosopher

silkscreen sequence of print inspired by the 'Madonna of the Rocks' by Leonardo Da Vinci

Friday 10 March 2017

ARTHUR BUXTON

Telling Stories with Colour

Arthur Buxton is an artist whose practice reveals the interaction between traditional and digital methods. He has obviously been influenced greatly by his father Richard Buxton and you can see this influence in much of his current and previous digital print work. Arthur’s work is precise and ordered yet eclectic with a specific ‘style’ shaped using both silkscreen and digital processes and also laser cutting and mixed media.

The main body of work he showed was created using online code and reproduced as limited editioned digital prints (A1 editions of 50 prints), sourcing the work of recognisable artists, Vogue magazine covers or children’s books and converting the paintings, covers or book illustrations into simplified pie chart icons or slices of colour.  Each painting, magazine or book page was simplified into its major colour components. Then these individual opaque coloured chunks were imported individually into illustrator and laid out either in a linear block or circular format.  The ‘Chronological’ themes linking differences in colour palettes through time have been explored – for example the series of pie chart icon prints inspired by paintings of Paul Gauguin, Monet and Van Gogh and also the linear prints inspired by Vogue London and Paris series from 1981 – 2011.

Originally I think the idea of dissecting famous oil paintings was a means for Arthur to ‘make recognisable artist’s work accessible’, something I am attempting to do with my own Renaissance prints. However, he said that the work was ‘not created for an art audience more for online audiences’ where his famous painting pie icons (which became limited edition prints) were meant initially as an online colour quiz.

The colour narrative and sequential theme led to the creation of the COLOURSTORY APP This app is designed to ‘tell ones own story with colour’. One can upload an image and extract the main colour values from it. These colour values are then simplified into slabs of ‘relevant, recognisable’ colour and used to generate personal objects for posterity; i.e. using landmark photographic images and by extracting five simple colours, generating personal patterns for prints, products for use in the home e.g. Framed prints, lampshades, soft furnishings etc. 


Arthur was self effacing and sincere about his practice, describing many digital print art pieces with quiet passion. There is something sophisticated but also scientific about his approach, particularly linked to these themes of ‘Mass Customerisation’.  
Arthur’s motivational approach was inspiring but what stood out for me was his hugely generous collaborative spirit – the belief of sharing ideas unconditionally with others. Art Smart!

FREA BUCKLER

Shifts and Variations

Frea is a fine artist who paints with print. Her work is sequential where one piece ‘organically’ evolves into another. The themes are subtle, yet consistent and her use of overlapping geometric shapes reflects a love of precision but also the challenge of the abstract.

Frea was inspired initially by her parents and by the work of Ben Nicholson. In my opinion, her work is extremely personal but tries not to be. She plays with colour and she too uses digital means to produce silkscreen outcomes - Photoshop layered imagery transferred onto film positives. 


Other inspirations include: Louise Bourgeois, Agnes Martin and Carmen Herrera (who is still making work at 101 years of age.)

Frea has a refined colour palette when producing work but has no idea of the final outcome. Therefore it is ok to follow your intuition and gives a sense of freedom to the work. She uses ‘Instagram’ as a recording and reminding tool – rather like a sketchbook. It saves time in a busy life and snippets of information can be collected and saved at the click of a button.  Her geometric print editions relate to daily processes of her life and the processes and emotions generated when ‘making’ work.

I was inspired by the heartfelt and impassioned way Frea discussed her work and her own inspirations. She was humble yet fervent and gave us an insight into how emotive a subject her work is for her and how generous of spirit and advice she is. Nothing is certain but she is attempting to ‘make the ordinary extraordinary’ and that is what all creatives strive for I think. What a pleasure to see her in action.

THINK, MAKE, SHARE




Tuesday 7 March 2017

SPECTACLES: Sue Perkins LIVE

SUNDAY 7.30pm 
26th February 2017
B11 Level 3 Circle Angorfa
Wales Millennium Centre
SUE PERKINS - SPECTACLES
Being in the presence of SP was reminiscent of slipping into a pair of cosy fluorescent flamingo slippers whilst sitting on the sofa laughing with your best friend and having 150% extra cake. 
Like SP the Millennium Centre was impressive and did not disappoint. A beautiful typographic beacon of architectural splendour with coloured light spilling out onto the damp road, through the letter shaped windows, like rainbow drops falling from a child's hand. 

Standing heroically on stage, recounting snippets of family life taken from her autobiography 'Spectacles' - the content of this 'stand up' routine was relatable, relevant and real. All manner of womanhood was stuffed in here, all were welcomed and all suitably charmed. From Mary Berry to drawing cats that looked like vans, SP was funny and professional yet appeared sincere and self effacing. Her finale was a song - Bad moon rising by Creedence Clearwater Revival (number one in the charts in the year of her birth 1969).  It was a surprising conclusion performed with a voice that was unexpectedly sweet, tuneful and full of colour... bit of a crush now to be honest.

'Most of this book is true. I have, of course, amplified my more positive characteristics in an effort to make you like me. 
Thank you for reading'



Monday 6 March 2017


WHY THE SHIFT?

The long, layered, heavy garments worn by women depicted in the paintings of the Renaissance appear impractical and restrictive - both physically and psychologically and although the garments are 'of their time' the 1960's 'Shift' dress is the antithesis of this. It is not only classic and simple but also flattering and easy to move in. Therefore, with this idea of freedom in mind, I wanted to re-create a non restrictive, freeform shape which mirrors the skin we live in. (See Mary Quant, Pierre Cardin, Biba, Givenchy, Lilly Pulitzer).  have chosen to construct a series of comfortable 'Shift' dresses in conjunction with the Fashion Designer Lisa Bailey for my MA degree show.
Lisa Bailey
Lisa is a talented and highly experienced Fashion Designer and Teacher who has been designing and teaching in Bristol for over 25 years.
 
With her help I am producing garments as another way to interpret my Renaissance prints; using digitally printed fabric over silkscreen fabric printing allowing me to produce more complex printed designs, no limit in scale, huge variation in colour blends and ease of mass production.

Paper pattern for Toile
Cotton Linen Toile's 
Shift Pattern 
have been made to test and perfect the finished pieces as this fabric is a cheaper alternative to Juniper Linen, which will be used for the finished garments. I have been using a simplistic 'shift' style pattern and my sample designs have now been pinned and fitted - using Linen for the base gives one a 'feel' for how versatile this fabric is to work with and also its 'fluidity' when draped over the human form compliments the shape of the female body.  

V & A Mary Quant Shift Dress designs

The initial simple 'A line' sleeveless garment has the potential to hang better and most importantly not impact on the Renaissance designs I've chosen to print and I am hopeful that my final trio of simple shift dresses constructed from Juniper Linen, will appear as an uninterrupted blank canvas when worn - without the addition of darts, zips or buttons to spoil the line of the garment. 
Cotton Linen Toile with Da Vinci inspired Madonna of the Yarnwinder design
Cotton Linen Toile with Da Vinci inspired Madonna of the Rocks design
Cotton Linen Toile - with Baldovinetti inspired 'Lady in Yellow; design




'arnolfini the feminine' and me

MILLFIELD

MA & Other Postgraduates 2017

20 February – 18 March 2017

Atkinson Gallery

Millfield Atkinson Gallery is a beautiful airy display space within the heart of Millfield School. This purpose built gallery housing Millfield Art Department and showcasing work from MA students across the UK is impressive. Outside, current Millfield pupils artwork is displayed on the staircase and within a series of Art classrooms situated opposite the gallery. Previous years exhibition posters adorn the staircase walls, possible reminders of the art worlds' great and good.
panoramic view of Atkinson Gallery and my work
My digital print piece ‘arnolfini the feminine’ is now hanging alongside other MA students’ work - conceptual, paint, print, multimedia - from across the United Kingdom at the Atkinson Gallery, Millfield Somerset. The inclusion of my work in this the '20 year anniversary' of the exhibition showcasing MA student talent has been a bitter-sweet experience, one that I am extremely grateful for but which has left a slightly sour aftertaste. A personal analogy can be described thus: unexpectedly kissing a luscious being fully expecting to taste mint but finding marmite.
panorama of other MA student exhibits


The description of 'arnolfini the feminine' in the Atkinson Gallery catalogue
My work combines traditional paint, digital and hand rendered designs to produce silkscreen and textile prints inspired by the female form. The patterns that make up these images are taken from a variety of sources and blended digitally to provide colourful compositions.

'we are not worthy'
The Portrait of Arnolfini and his Wife by Jan van Eyck was the starting point for my digital print ‘arnolfini the feminine’. For this work I incorporated my own drawn figurative studies, organic silkscreen prints and linocut projections (juxtaposing the traditional and recognisable) where the idea became more stylised whilst retaining the feminine subject of the original painting by van Eyck. I have blended these variations so that they appear as a fusion of repeated pattern, colour and form.

Wednesday 1 March 2017

LA BELLA PRINCIPESSA by Leonardo da Vinci?

La Bella Principessa ( "The Beautiful Princess"), also known as Young Girl in Profile in Renaissance Dress and Portrait of a Young FiancĂ©e, is a portrait in coloured chalks and ink, on vellum, of a young lady in fashionable costume and hairstyle of a Milanese of the 1490s.

"What a wondrous thing: a newly attributed portrait by the man who painted the Mona Lisa - Leonardo da Vinci  – but the principessa might not be quite so bella after all. She may, in fact, be Sally from the Co-op. Convicted art forger Shaun Greenhalgh claims that he faked this “Leonardo” and that the model is a girl he knew in Bolton in 1975."
https://www.theguardian.com/commentisfree/2015/nov/30/leonardo-da-vinci-experts-painting-la-bella-principessa
La Bella Principessa: The Story of the New Masterpiece by Leonardo Da Vinci
Book by Martin Kemp and Pascal Cotte (2010)
'' In October 2009, a major artwork by Leonardo da Vinci was uncovered. The 500 year-old portrait is one of the most extraordinary discoveries of our time. This is the story of how a team of experts - led by Professor Martin Kemp -pieced together the evidence, detailed historical research and technical analysis to follow a trail that leads back to the 15th Century. There is an element of mystery and an aura of mystical glamour that surrounds Leonardo. Martin Kemp takes us on a journey of discovery recounting the steps he and Pascal Cotte took in authenticating the painting including the use of forensic methods usually reserved for criminal investigation. He recounts how experts matched a fingerprint found on La Bella Principessa to the great Renaissance master. This discovery throws new light on Leonardo da Vinci and his world. 
The sitter, a beautiful young girl, displays a sense of melancholy and strength, a tender and fragile beauty. But who is she? By far the most likely candidate is the illegitimate daughter of Duke Ludovico Sforza. Martin Kemp tells, too, the tragic story of this princess who was to die when she was just fourteen years old. 
 As 'La Bella Principessa' (The Beautiful Princess) finally goes on display to the world, the people responsible for proving it is one of Leonardo da Vinci's tell the story of its discovery. La Bella Principessa reveals the Renaissance and its great master in a new light."

Sequence of images to make up 'La Bella' silkscreen print
My interpretation of this controversial 'La Bella' colour portrait uses an amalgamation of Renaissance oil paintings and photographic collage to create an individual and contemporary woman.  Sections of background from 'The Ghent Altarpiece' by Jan Van Ecyk forms part of the overlaid design on the body, combined with my drawn nude repeat patterns. 
Sequence of patterns used in 'La Bella'