This project focuses on the man made problems which occur in the 21st century through the hands of us humans. For example, pollution is being produced by corporate companies such as SHELL, CHEVRON, BRITISH AIRWAYS and PEABODY energy; and it is regular working class people who aid and pay for this, therefore my work took a turn to focus on print made logo's of these companies, then juxtaposed against the natural state on a floral background in the medium of paint. Each piece consists and is made up of metaphor's and juxtapositions from the two mediums of printmaking and paint, parallel to the logo's of these toxic companies on painted floral background's, almost wallpaper like (Allied to William Morris).
William Morris patterns are naturalistic , and all processes of my work start by me painting on A4 scale and then enlarge them-all mostly to A1,sometimes A0. I print on top floral engraving’s from the likes of William Morris , who’s work politically is very compatible to my own as he believed people are depended on 'parliamentary agitation’, and such reforms would be sucked into the tremendous stream of commercial production. These pieces politically reference him and his work obviously evokes naturalistic charm. I used his prints as a representation to nature and juxtaposing this with my objectification and exemplification about pollution.
The process of these pieces all started out the same ; by painting on A4 scale in acrylic paint of polluted landscapes, then digitally added a 50% opacity of William Morris print, enlarged and printed A1 or A0.
Painting is a long-standing human activity, and is as much the outcome of thought and reflection as writing a novel or a theoretical scientific paper. An awareness of the history and traditions of the painting are fundamental to the making of one.
When painting, I tend to reflect the complex and changing conditions of art today, whilst responding to new ideas and encouraging innovation.
What's interesting about printmaking is the 'new age' in which it is transcribed. Print exists as a vital force in our everyday lives, it produces an effective means for communicating ideas and disseminating information. Understanding the continuing relationship between reproduction and expression of print, the original and the copy, Fine art and the printed information, engenders an awareness of the print as a primary form of visual art, whilst supporting the creation of work informed by critical debate ; which is why when creating this project I took on these acknowledged concepts and embraced and used them to my advantage and as a cognition to my pieces. I have always believed it is very important to understand your references in your own work and make it evident and significant; especially when one is generating their work back into the art world where it is full of credited and acknowledged artists. The beauty of printmaking is that once you understand the basic processes, there are infinite ways of experimenting to make new and exciting marks by combining or modifying techniques.
I was dependant on this idea of man made misfortunes around environmental crisis but displaying this through paintings of pollution. I referenced William Morris by using his wallpaper prints but also making attribute to this painterly and print dimension. I manifested these prints on 180GSM as traditionally, this is the thickness which forms wallpapers.