Looking back at all my art from the past :)

Pastel sketches

Adding more to my final installation:

Daniela Vulinovich, "Untitled," November 2013, vinyl, 580mm x 580mm

Installation views:

The real focus of this installation was to create an environment in which each work can buzz and pop individually . Simple collisions of everyday  colours and the selective placement of different surface and mediums create relationships between each of the works, bringing to together as a whole installation.

The intensity of colour, pattern and texture together have created an overload of sensual experiences for the viewer.

 

Final exhibition photos:

Daniela Vulinovich, "Untitled," October 2013, fluorescent orange felt, blue wavy ribbon, polystyrene ring, wool, left: 160mm x 250mm 

Daniela Vulinovich, "Untitled," October 2013, plastic plate, wool, 360mm x 360mm x 160mm

 

Daniela Vulinovich, "Untitled," October 2013, ribbon, polystyrene cone, 550mm x 170mm x 170mm 

Note: photo is meant to be vertical.

Installation View

Daniela Vulinovich, "Untitled," November, 2013, corrugated plastic, stripped material, vinyl, 1300mm xmm750mm x 15mm

Daniela Vulinovich, "Untitled," October 2013, polystyrene, wool, fluffy material, 470mm x 470mm x 55mm

Daniela Vulinovich, "Untitled," November 2013, orange felt, green wavy ribbon, optical patterned material, bean bag filler, 1100mm x 900mm

Note: image should be vertical.

Daniela Vulinovich, "Untitled," October 2013, vinyl, 580mm x 580mm

Daniela Vulinovich, "Untitled," October 2013, corrugated plastic, wool, 355mm x 422mm x 15mm

Installation view

Daniela Vulinovich, "Untitled," November 2013, artist's finger line, 360mm x 530mm x 30mm

Daniela Vulinovich, "Untitled," November 2013, wool, 1300mm x 1300mm 

Installation viewer

Closer to final installation:

 

It was said to me by one of my friends doing their masters that I should focus on following my gut!

This installation has been quite difficult for me as a yr 3 student who has not had much experience with a larger area, that could almost be its own room. I want to create an environment where all of the works can buzzy and pop individually. I have given them with enough space to give the viewer individual experiences but also make links between works with colour combinations and a balance of height and space between them all.  

 

 

 

Testing installations:

• trialling different colour combinations in relation to forming my own colour complexities and a senses of disorderliness or completion, harmony etc.

 

this work as an illusionary effect against the white walls. The shiny surface of the ribbon coated cone reflects onto the white creating a buzzy eye teasing experience.

I am still questioning my instalment of this work...I feel that it needs to be catered to more, as currently it is just material placed over a surface and I personally am interested in the effect but the to feel satisfied I need to place more care into creating an effective work with excess sensation.

Potential ideas:

senses through an overload of single colour....

http://www.colormatters.com/color-and-vision/color-and-vision-matters

The human eye can see 7,000,000 colors. Some of these are eyesores. Certain colors and color relationships can be eye irritants, cause headaches, and wreak havoc with human vision. Other colors and color combinations are soothing. Consequently, the appropriate use of color can maximize productivity, minimize visual fatigue, and relax the whole body.

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Which color is the most irritating?
 

Yellow, pure bright lemon yellow is the most fatiguing color. Why? The answer comes from the physics of light and optics. More light is reflected by bright colors, resulting in excessive stimulation of the eyes. Therefore, yellow is an eye irritant. Some claim that babies cry more in yellow rooms, husbands and wives fight more in yellow kitchens, and opera singers throw more tantrums in yellow dressing rooms. However, these reports  have not been scientifically proven.

In practical application, bright yellow - when used in large areas, will irritate the eyes. Therefore, do not paint the walls of an office (or any critical task environment) yellow. Note: Lighter shades of yellow can be comforting and cheerful.

Also, beware of  bright yellow legal pads  (but this may give you a jolt and temporarily wake your brain up) and do not use yellow as a background on your computer monitor.

On the other hand, since yellow is the most visible color of all the colors, it is the first color that the human eye notices. Use it to get attention, such as a yellow sign with black text, or as an accent. Have you noticed yellow fire engines in some cities?

Finally, yellow is a wonderful color, the most cheerful of the spectrum. And yellow is a symbol of the deity in many global religions.

Some tips for practical application:

Notice the difference between a yellow of the purest intensity and a softer tint. Also the size of the area that any color occupies determines the color effect. For best results, use softer tints of the hue or small quantities. A little bit of color goes a long ways.

 

Making decisions for my final:

Why colour matters:
http://www.colorcom.com/research/why-color-matters
http://www.colorcom.com/research/why-color-matters


How I want the viewer to interpret/experience my work?

• Although the olfactory sense (smell) was a human being's most important source of input in the pre-historic era, sight became our most important means of survival. Furthermore, as hunters and gatherers in the early days of our evolution, we experienced a variety of colours and forms in the landscape. This has become part of our genetic code.
• In our current state of evolution, vision is the primary source for all our experiences.

Focusing more on the experience of colour in our everyday:

• Colour plays a pivotal role in all our visual experiences.
• Colour plays a vitally important role in the world in which we live. Colour can sway thinking, change actions, and cause reactions. It can irritate or soothe your eyes, raise your blood pressure or suppress your appetite.

Colour is a powerful:

• Powerful as a form of communication.
• Many of the most recognizable brands in the world rely on colour as a key factor in their instant recognition.
• Colour engages and increases participation.
• Our nervous system requires input and stimulation.
• People cannot process every object within view at one time. Therefore, colour can be used a as a tool to emphasize or de-emphasize areas.
• It is probably the expressive qualities (primarily of colour but also of shape) that spontaneously affect the passively receiving mind, whereas the tectonic structure of pattern (characteristic of shape, but found also in colour) engages the actively organising mind.

 

I have reassessed my final installation and rewritten my contextual statement to focus on the general experience of colour in our everyday. After talking to Ian it was clear to me that I should avoid reading or interpreting my own work, and also to avoid adjectives that pre-empt a reading.

It is important to use my own words and speak generally about my practice and what has informed it. This reassessment of my installation has made me reconsider titling each work and the whole installation together. I don't want to give the viewer any preconceived expectations of my work, and to leave it fully open for them to interpret in their own way. I want excess colour and pattern to be a dominant feature in my installation and for my range of exploratory works to bring about new and memorable senses for each viewer. Therefore I am now planning to leave the work untitled and open for interpretation.

 

 

New "Eye-Teaser"

I have been quite against making anything to much like an object, but I am interested to see how I can place this work in the space. It could possible act as a support for another work, or alter the experience of the joining of the white studio wall. I am drawn to the shiny appearance of the ribbon and how, when placed under the studio lights, it can reflect colour onto the wall.

Supporting another work eg. "Daze," a black and white wool spiral made on a red plastic plate.

New addition to my series of "Eye-teasers."

 

Thinking about titles: touch, stroke, brush, caress, cushy...

"Untitled," October, Fur rug, finger line drawing.

 

I have been introducing a variety of materials to include a range of different sensual experiences in the viewer. By simply drawing the continuous line fo the swirl I want to draw the viewer's attenetion to its material qualities and feel drawn to its soft texture that can easily be manipulated.

Looking closer at the art practise of Bridget Riley:


Manser, Jose. "Design Museum." RSA Journal, Vol 137, No. 5398 (1989): 675-676. Accessed October 23, 2013.
http://www.jstor.org.ezproxy.aut.ac.nz/stable/pdfplus/41375011.pdf?&acceptTC=true&jpdConfirm=true


1) She has chosen incomparable paintings. All are rich in colour and detail: most touched or dominated by blue, a colour which seems glorious to Riley. She does not point out that narrative painting, as opposed to abstract, allows the artist to portray many observations and differing sensibilities at once.



Bridget Riley guides the onlooker through the static representations on canvas pointing out the movement which enlivens the imagery and supports the colour

Bridget Riley implores us to look closely. In my view it would follow that abstract art provides less to look at, less to feed our humanity, even if it has its own wonders. Who could not wonder at Riley's own ability to arrange bands of colour so that the flat canvas appears to project movement which neither begins nor ends, but is in motion when first seen and is active when left behind?

She chose abstraction because she found it 'sensual'. She rejects pre-planning as 'it gets in the way', maintaining that all decisions are taken on the evidence of her eyes: 'there is no right or wrong, only a judgement for the health of the work I am doing'.  

Bridget Riley, "Rock"

 

 

Recent works:

I have searched around and found this material that as the previous articles said...optical imagery is all around us in the everyday. This material struck me with its intense colour relationship between the black and white, and how they almost fizz against each other, making it uncomfortable to look at for too long. I am planning to intensify this sensation by hanging the material over corrugated plastic to warp the lines into genlte curves, greatly increasing the optical sensation and putting the viewer into a visually uncomfortable situation.

 Intorducing new textures and layers that will bring about new sensations in the viewer as they experience this eye teasing, sense awakening environement.

I have been thinking a lot about the overall effect of a moving work in my space and I will try it with the installation. I have a feeling that a work with actual movement may detract from the other works so I will have to trial it before I rule it out.

Working over corrugated plastic to explore its materiality again...I have specifically chosen cooler colours to slightly calm the viewers senses from the intense experience of this installation.

workign with black and white to give the viewer the sense of alluding to a faster movement and accelleration of the continuous line....."Black and white works oscillate between surface and infinity, while the use of color defines something in between." (from previous post)

The addition of the pink fluff was intended to soften the defined lines of the circle. I want play with a range of the viewer's senses, lighten the image and give the viewer the soft sense of wanting to touch it and experience the work intimately.