Marble Print Series
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Exhibition Text
Title: Marble Print Series No. 1 Medium: Polish on Paper Sizes: Varied Time of Completion: July 2018 Primarily inspired by both Franz Kline and Jackson Pollack, Marble Print Series No. 1 contains vastly different colors, lines, and shapes that have each been repeatedly manipulated throughout the series of prints in attempts to alter the overall tone of each work. Furthermore, this was chosen in order to showcase the beauty of differing opinions and values throughout our diverse society. |
Critical Investigation/Artistic Inspiration
Primarily, my marble printing piece was primarily inspired by the abstract expressionism movement that took place during the 1930s in both the United States and some parts of Europe. As a result of severe politically instability during this time period, several artists reacted with abstract expressionism in attempts to combat the chaos and ruggedness of their surrounding environment. Artists such as Jackson Pollock, Willem de Kooling ,and Franz Kline - of which were previously subjected to creating provincial and generally stereotypical artwork - started to expand past the conventional boundaries of certain artworks at the time. The idea of avante garde artwork was quickly becoming popular amongst the artist community, and paved the way for the United States to be internationally recognized as a hub for modern artwork. Heavily inspired by the Surrealist art movement, abstract expressionism similarly showcased feelings of both trauma and anxiety, but in a new style than previously seen. In addition to this, abstract expressionism captured aspects of figurative painting that similarly grew more commonplace during the 1930s.
From this art movement, I primarily took inspiration from artists Jackson Pollock and Franz Kline, both of which were proclaimed abstract expressionists. Franz Kline was an American artist most known for his large black and white works, of which were intended to showcase motifs considering confidence and similar emotions. Originally a realist, following his meeting with Willem de Kooling, Franz Kline started creating increasing amounts of abstract artworks. His various abstract works - of which include the series of black and white pieces - frequently contained a series of motifs, structure, powerful contrasts, as well as hidden messages. However, as Kline’s work continued to increase in popularity, Kline grew considerably reluctant to share the hidden meanings of his works to the public. Even today, several art critics debate the intentions behind his works such as, “Black and White No. 2” (1960), and “Chief” (1950). These two pieces were major inspirations for my marble printing pieces, as I felt his technique could express powerful emotion without being overly dramatic or dynamic. Not only this, but the various techniques he uses in order to showcase differing emotions of messages inspired me to create a considerably diverse set of artwork. In addition to Franz Kline, abstract expressionism Jackson Pollock was a primary inspiration to create my project. Known for his famous ‘drip paintings’ Jackson Pollock was a well known abstract expressionist that used his paintings in order to emphasize an idea of human entrapment and anxiety, as the unusual works were described as being entirely unique and modern within the artist community. The two pieces from Jackson Pollock that I felt most inspired by are formally known as, “Blue Poles,” (1952) and “Mural” (1943). I used these pieces as inspirations for my marble, as I felt the various techniques presented within each work was capable of expressing vastly different emotions without relying on much more than line, color, contrast, and shape. |
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Planning Phase
Compared to previous art projects I’ve completed over the past year, the planning phase for my marble printing artwork was considerably unique. However, with my previous experience regarding the abstract expressionism art movement (of which I researched while completing my triptych painting) I was able to gain a small sense of direction to plan out possible ideas for my works despite the simplicity of certain abstract pieces. More specifically, for the duration of this project, I primarily focused on analyzing and evaluating various, individual, aspects of the marble prints, opposed to focusing on the bigger picture in regards to this project.
For the first planning sketch, I focused on the analyzing the different possible curves I could make using a toothpick in the water-filled bin with the nail polish. Furthermore, I analyzed how different types of shapes (sharp, rounded, etc) would affect the overall appearance and tone presented within each artwork. These sketches, although generally simple, helped me consider what prints I should make more jagged, and in contrast, which pieces I should make rounded and gentle. This also helped me consider possible colors I could use that are frequently associated with sharpness and fragility. The swatches along the edges of the sketches were my attempts to determine which colors would best suit certain types of line.
This second set of planning sketches was initially an attempt to make my marble print series considerably more cohesive. However, as I continued sketching out this generally indistinguishable set of prints, I began to feel reluctant towards creating the vision I had planned out. Not only is it a physical challenge to make multiple prints of nail polish almost completely identical to each other, but doing this additionally would take away from my theme, as I was promoting the idea of diversity and varying perspectives throughout modern society. As a result, I ditched the idea and decided to return to my initial plan, where I would primarily rely on using color to create cohesion throughout pieces.
For this final planning sketch within my planning phase, I primarily focused on creating a chart of colors and how the contrasting hues worked with one another. Furthermore, I mixed the two hues to ensure that the prints wouldn’t turn out blotchy and muddied as a result of blending colors.
For the first planning sketch, I focused on the analyzing the different possible curves I could make using a toothpick in the water-filled bin with the nail polish. Furthermore, I analyzed how different types of shapes (sharp, rounded, etc) would affect the overall appearance and tone presented within each artwork. These sketches, although generally simple, helped me consider what prints I should make more jagged, and in contrast, which pieces I should make rounded and gentle. This also helped me consider possible colors I could use that are frequently associated with sharpness and fragility. The swatches along the edges of the sketches were my attempts to determine which colors would best suit certain types of line.
This second set of planning sketches was initially an attempt to make my marble print series considerably more cohesive. However, as I continued sketching out this generally indistinguishable set of prints, I began to feel reluctant towards creating the vision I had planned out. Not only is it a physical challenge to make multiple prints of nail polish almost completely identical to each other, but doing this additionally would take away from my theme, as I was promoting the idea of diversity and varying perspectives throughout modern society. As a result, I ditched the idea and decided to return to my initial plan, where I would primarily rely on using color to create cohesion throughout pieces.
For this final planning sketch within my planning phase, I primarily focused on creating a chart of colors and how the contrasting hues worked with one another. Furthermore, I mixed the two hues to ensure that the prints wouldn’t turn out blotchy and muddied as a result of blending colors.
Process
To begin the process of marble printing, I started by taking a considerably large bin and filling it with hot water. This hot water keeps the nail polish in a liquid state, of which allows it to stick to the paper sheets more efficiently. While filling the bin with water, I also collected gloves as well a set of toothpicks to use throughout the printmaking process. Once the water was about halfway up the bin, I took the material and moved it to a flat table where there was plenty of space to lay out my prints. Following this, I grabbed a stack of regular printing paper, as well as a stack of cardstock paper. I did this just in case the nail polish wouldn’t stick to a certain kind of paper, as I didn’t want to waste a majority of my materials on prints that were unstable or ineffective. At this point I then collected a plethora of nail polish paints from one of the art bins in my house. I then decided to sort through them to ensure I would have a decent variety of paints to use throughout the process of making my marble prints. Previously, I had made a chart of colors that I found worked well together, and collected them accordingly.
Once all my materials had been gathered and sorted, I then began the actual process of creating the marble prints. The very first step to creating these prints is to take one of the colors you desire to have on your print, and to pour it into the water bin. Unfortunately, during this period of time, some nail polishes sunk to the bottom of the bin, and were deemed unreachable with the paper. After many trials, I was successfully able to determine which brands of nail polish worked most effectively in the water. Furthermore, another commonplace issue was that some nail polishes would dissipate in the water, leaving little amounts left to sink into the paper. A large majority of time was spent emptying and refilling the nail polish bin, as it would easily dirty with unusable materials. However, when the polish would stick to the top of the water, it would create a distinct layer on the surface. Once this happened, I would then take another color of polish and introduce it into the current mix of colors. Then, I would quickly take one of the toothpicks from the set and stir the water so that the nail polishes would mix together. This created a technically complex piece, while it also ensured each print would be diverse in appearance, and establish a sense of movement to the viewer. Unfortunately, I could only stir the polishes for so long before they started to solidify and sink to the bottom of the water bin. So during each trial I could only manipulate each piece to a certain extent before the nail polish would ruin. As a result, some of my pieces appear sloppy, as I rushed to complete them during this portion of the process. After the colors were mixed efficiently, I would then take a sheet of paper and lay it on top of the print. During the first trial, I attempted to use a regular sheet of printing paper to capture the nail polish, however, it was considerably thin and didn’t catch many colors. All of my final prints were completed on cardstock. Once these pieces of cardstock were dipped into the water and removed, they would be set aside to dry for a few hours to ensure the polish couldn’t be disturbed while I worked with the artworks later. After these hours passed, I would cut the papers accordingly to get the highest quality section of the print. Some sheets of paper would yield multiple prints, while others had to be thrown away entirely. |
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Experimentation
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For the most part, this project provided many potential opportunities for experimentation to take place. With the most frequent example of this being the opportunity to experiment with the various colors of nail polish I would use throughout several trials of the marbling process. In order to successfully relate these pieces back to my theme of differing perspectives, I ensured to keep a decent variety of different polishes spread out across my multiple works. In addition to this, I also attempted mixing colors to showcase that some perspectives intersect with one another. Unfortunately, some nail polish brands didn’t work as well as others when mixed with the hot water, so pieces containing those colors didn’t weren’t always refined as others. Furthermore, certain colors of nail polish would sink to the bottom of the bin, while others floated near the surface. As a result, the paper wasn’t always able to catch both colors, hence resulting in generic and considerably simple marble prints. However, polishes that did interact well created a beautiful contrast, and furthermore supported the mix of differing perspectives within my theme.
Using toothpicks to swirl and mix the nail polishes together was essential to creating diverse and technically successful pieces of artwork. As a result, lots of freedom and experimentation were available to me during this portion of the art-making process. Although, admittedly I had less freedom with mixing colors opposed to picking the colors initially. This is because the nail polish solidifies and sinks considerably quickly, and as a result, must be applied to the paper sheets almost immediately after pouring them. In order to combat this limitation, I would keep a toothpick on hand, so that after I poured the mix of colors I could maximize the amount of time to swirl and blend the colors together to develop patterns throughout my various works. Mixing these colors didn’t necessarily add anything to the theme of my piece, but rather, it ensured my artworks remained unique and dynamic compared to simple paint-dripping techniques. |
Reflection
Considering the final physical appearance of my artworks, I am pretty happy with how successful each print came out. Although some pieces had empty spaces or globs of nail polish throughout them, in general I feel happy with my ability to create such quality prints when I consider the fact that I’ve never worked with this particular medium before. Furthermore, I worked with several Elements of Art throughout the duration of this project, and therefore feel more confident using them in my works efficiently, while also effectively discussing them in my writings. Some Elements of Art that I consistently worked with throughout the duration of this project include color, line, shape, and space. In addition to my increased understanding of the Elements of Art, I am also considerably happy with my ability to make each piece decently diverse from one another.
In contrast, considering the theme I desired to present within my piece, I’m decently disappointed with how it turned out. Even though I deliberately attempted to replicate the commonplace style presented within abstract expressionism artworks, I still feel that the movement isn’t enough to successfully present the themes my work centers around. Even though I enjoy working with the artwork, and furthermore am fascinated by the common motifs within the art movement itself, the work I’m creating doesn’t really fit the standards assigned to me within this class. Although this piece would be a decent entry for experimentation, the significance is considerably weak.
In contrast, considering the theme I desired to present within my piece, I’m decently disappointed with how it turned out. Even though I deliberately attempted to replicate the commonplace style presented within abstract expressionism artworks, I still feel that the movement isn’t enough to successfully present the themes my work centers around. Even though I enjoy working with the artwork, and furthermore am fascinated by the common motifs within the art movement itself, the work I’m creating doesn’t really fit the standards assigned to me within this class. Although this piece would be a decent entry for experimentation, the significance is considerably weak.
Connecting to the ACT
1) Clearly explain how you are able to identify the cause-effect relationship between your inspiration and its effect upon your artwork.
2) What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
3) What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
4) What was the central theme or idea around your inspirational research?
5) What kind of inferences (conclusions based on your evidence and reasoning) did you make while reading your research?
- It was primarily through the use of color, shape, and contrast I was able to establish a series in-depth connections between my marble printing piece and my inspiration pieces. Specifically, it was through the use of these Elements of Art - as well as various Principles of Design - that I was able to capture the themes and general the general appearance presented within the abstract expressionist movement. The vibrant colors create distinct visual connections to my inspiration pieces, while the idea of using these colors and shapes to showcase emotion in abstract ways also captures a common trend in the abstract expressionist movement.
2) What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
- Throughout my researching process, the authors I referred to typically focused on discussing the trends surrounding the more popular artists from the abstract expressionist movement, as well as their relationships with one other. This is in opposition to the discussion of common characteristics within the movement itself, and furthermore the discussion of the factors that specifically influenced the start of the abstract expressionist movement. This was beneficial to my research process, as various sources had input on my inspirations.
3) What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
- Primarily, I have come to the conclusion that the abstract expressionist movement was a considerably short, and furthermore that this movement frequently took aspects from other movements and altered them in new ways. This can be observed through the colors from the Impressionist movement, as well as the darker themes and abstraction from the Surrealism movement. Furthermore, I have realized that the abstract expressionist movement only consisted of a few artists major artists, opposed to it being a wide spread movement.
4) What was the central theme or idea around your inspirational research?
- The central theme that I focused on investigating throughout my inspirational research was the abstract presentation of emotion through various artistic elements such as shape and color. This idea is presented within certain abstract expressionist pieces, of which ultimately lead to me using the movement as my primary source of inspiration.
5) What kind of inferences (conclusions based on your evidence and reasoning) did you make while reading your research?
- Throughout the process of conducting research, I concluded that color, line, and shape have much larger impacts on art then I initially thought. In most paintings, we tend to overlook Elements of Art such as color and line, yet through my investigation I was able to observe how much it affects the overall appearance of the abstract expressionist pieces I used as my inspiration.
Bibliography
Franz Kline Chief 1950. Retrieved May 14, 2018, from
https://www.moma.org/collection/works/78319
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Franz Kline | Black and White No. 2 (1960). Retrieved May 14, 2018, from
https://www.artsy.net/artwork/franz-kline-black-and-white-no-2
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Franz Kline Biography, Art, and Analysis of Works. Retrieved May 14, 2018, from
http://www.theartstory.org/artist-kline-franz.htm
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Jackson Pollock Biography, Art, and Analysis of Works. Retrieved May 13, 2018, from
http://www.theartstory.org/artist-pollock-jackson.htm
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Jackson Pollock | Blue poles (1952). Retrieved May 13, 2018, from
https://www.artsy.net/artwork/jackson-pollock-blue-poles
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Jackson Pollock, Mural. Retrieved May 13, 2018, from
https://smarthistory.org/jackson-pollock-mural/
https://www.moma.org/collection/works/78319
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Franz Kline | Black and White No. 2 (1960). Retrieved May 14, 2018, from
https://www.artsy.net/artwork/franz-kline-black-and-white-no-2
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Franz Kline Biography, Art, and Analysis of Works. Retrieved May 14, 2018, from
http://www.theartstory.org/artist-kline-franz.htm
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Jackson Pollock Biography, Art, and Analysis of Works. Retrieved May 13, 2018, from
http://www.theartstory.org/artist-pollock-jackson.htm
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Jackson Pollock | Blue poles (1952). Retrieved May 13, 2018, from
https://www.artsy.net/artwork/jackson-pollock-blue-poles
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Jackson Pollock, Mural. Retrieved May 13, 2018, from
https://smarthistory.org/jackson-pollock-mural/