Eye of the Beholder

I recently saw a university interview question for Natural Sciences. It asked ‘how far is sight the most important sense for humans?’ Whereas there is a range of scientific answers, I –of course- would approach it from my artistic background. I have always thought of our species as exceedingly visual, more and more so as technology progresses in the way it is currently. In a culture of consumerism, advertising, and social media, it seems that almost everything is based on image and visual value. But where does that place people who cannot see? Does that mean they cannot appreciate and contribute to our ever evolving world of visual art?

Watching a series of lectures about ophthalmology for Gresham College by Professor William Ayliffe, I found it curious that in his seminars on the lack of sight, images were still so important in his presentations. He decided to devote an entire lecture to the place of blind people as a theme in art, and the iconography of loss of sight, which made me reconsider the interview question above. 

Art has historically been important for the illiterate, to enable them to understand something without having to read it. This was especially important for worship as the poor could still appreciate Biblical stories using illuminated manuscripts. Clearly this would immediately be an issue for those who could not see. As the poor were more likely to suffer from disease and lose their sight, they were unlikely to be able to visually comprehend Biblical stories. Perhaps this is a reason why sight was used as a metaphor for being God-fearing.

Jesus curing people of blindness is an artistic and religious theme that has been portrayed and discussed time and time again. “He went his way therefore, and washed, and came seeing,” (John 9:7). It is clear that this is because it was seen as symbolic of Jesus allowing people to see and appreciate God. From a Byzantine mosaic to Poussin, from El Greco to de Mura, it is a popular religious theme in art history

  

 

Christianity believes God is incorporeal, so surely he can be appreciated through hearing as well as sight? But deafness is clearly not used as a theme or metaphor in the same way as blindness. Why is this? If God could be appreciated just as much through hearing as through seeing, there must be another reason for the difference. I wonder if it is because deafness is not as visually obvious, and so could not be used in classical and medieval art to display God’s power. It is much easier to portray blindness being cured than deafness. This in itself is therefore interesting as the very disability which renders people unable to see is portrayed much more in art as it is easier to paint, and easier to appreciate for those who can see. 

Then there is the art, not depicting blind people, but painted by them. The majority of their pieces are full of bright, clashing, vibrant colour. For instance the artist John Bramblitt (born 1971) creates breathtaking paintings of subjects he has –astoundingly- never seen.  It is understandable that his pieces are textured –he taught himself how to use haptic visualisation, and raised lines to paint- but it interests me that he manipulates colours so beautifully.

Perhaps this displays that contemporary visual art is as much for those who cannot see it as it is for those who can. Art is so much more than the initial sight of it. It is about the message it portrays in all of its other qualities too: size, scale, texture, composition, and most of all meaning. I think artists like Bramblitt still use colour because they want to display that they can still see it, in their mind’s eye.

 

Although initially I felt that sight is critical in a world full of visual art, I now understand that the message portrayed by the art is much more important than simply its visual communication.  We no longer live in a society where sight (or lack thereof) defines people's worth, which is why, even when our culture may be ever more visually orientated, those who cannot see are demonstrably active in the art world. 

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Hudi Charin

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James Malpas & Realism

I was truly saddened to read that the art historian and lecturer James Malpas died this summer. These past few months I have relied on books such as his Realism (1997) to complete my Extended Project on the factors that influenced the creation of the movement. Reading his obituary now I learn that he was not only an accomplished educator but a keen motorcyclist and a member of the territorial army.

Malpas’ Realism was the first book I read when beginning the project and choosing a title. I vaguely knew I wanted to study a 19^th Century art movement, but I had no idea about the scope of the topic and the many areas I could look into, yet his writing and analysis opened my eyes to this.

The EPQ has been so valuable, giving me a real insight into the movement and the artists within it. As it draws to a close this week, I am thankful to Malpas’ work which helped begin it.

James Julian Malpas 27^th May 1958- 16^th May 2015

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Burlington and Knight

For a while now I have been interested in finding a source for short articles on art- preferably on topics I know next to nothing about- which I could dip into to expand my areas of interest. I'm hoping I could have found this in The Burlington Magazine. Founded in 1903, the magazine publishes articles based on 'original research, presenting new works, art-historical discoveries and fresh interpretations.' Additionally, it has a handy monthly calendar on the majority of the must-see exhibitions across the world. Upon receiving it, I can now report it is also made with quality paper and printing. In an age of ever expanding platforms from which to access articles, I do love holding something like this (rather than a screen!)

As I’ve said, I really wanted to read something that could expand my knowledge and introduce me to new things to be interested in. Timothy Wilcox’s informative and concise article on the works of Laura and Harold Knight during the First World War has achieved this. As Wilcox explains, it is probably only Laura Knight’s gender which prevented her from becoming one of the best known and appreciated British artists of the time. Her Camp Life and other pictures opened at the Leicester Galleries in February 1918. The 28 works she displayed there contrasted compellingly. Whilst some the paintings depicted soldiers in physical training, others portrayed life at home. The women she painted seem suspended between normal life and the war overseas. As Wilcox notes, this was at a time when women were coming closer to being granted suffrage. This political and historical turning point is a clear message behind Knight’s paintings, perhaps most clearly seen in The Cornish Coast. One of the women sits, seemingly deflated, staring out to sea, wearing formal plain clothes. The other stands, hands on hips, far more bold a figure, in red and black.

At a time of such change, it is regrettable it could not come fast enough to give Knight the fame she deserved. I am pleased I was able to read more about her, and hope the next issues of the magazine are as informative. 

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Hudi Charin

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Fighting History

Since the very beginning of human-beings, art has allowed large events to be transformed into a single image or sculpture. I think that as highly visual beings, we need this connection with our pasts to allow us to present to others what we feel is important. From depictions of battles to those of religious stories, artworks often allow us to empathise with the artists’ views on certain political or social events. This is what Tate Britain’s ‘Fighting History’ aimed to explore.

The exhibition did not simply display paintings- many art forms were explored. From The Death of Major Peirson (1784) to a denim jacket from the Battle of Orgreave (1985), the exhibition blurred the lines between created pieces and contemporaneous objects that have become artworks. What is the purpose of these political/social artefacts? Are they there to shock or simply record fact?

  

There has been much criticism of the exhibition, particularly of its parameters of what constitutes a ‘history painting’. This I can agree with. A lot of the artworks shown were quite surprising, such as Alma-Tadema’s The Silent Greeting (1989). This oversight was unfortunate, as it took time and attention away from some of the best pieces.  

Walking in to the first room, eyes are drawn to Dexter Dalwood’s large The Poll Tax Riots (2005). Depicted is Trafalgar Square, the site of the riots of 1990, where around 110 people were injured, and 339 people were arrested. In the background are sections of the Berlin wall.  Perhaps slightly obvious in its message, the piece was still an effective way to begin an exhibition on political art.

 

However, a piece that was not obvious was Steve McQueen’s Lynching Tree (2013). The light box is slightly confusing at first. In fact, I stood opposite it for a few minutes waiting for ‘something to happen’. It is only after I read the description that a slow feeling of both understanding and remorse ensued. The tree in question –near New Orleans- once served as a gallows for slaves. This was one of the most interesting pieces in the exhibition, because of its subtle message. Understanding the context of the photograph is crucial, but it is not explained anywhere in the art- which was a thin line some of the other artworks failed to appreciate.

Photography is an interesting medium to be seen in an exhibition such as this. There is such a juxtaposition between these photos and the paintings of artists such as Gavin Hamilton and John Singleton Copley. These artists took such care and time to depict their subjects, but, in present times, photographs which are taken so quickly are often much better, more emotive representations. For instance, Richard Hamilton’s Kent State (1970) is simply a photo he took of his television screen which was zoomed in on the dead student. Hamilton said of this that it was “too terrible to submit to arty treatment”. I think this is a really interesting sentiment. It seems to be a very critical view of art, especially for an artist to take. But, considering that these last two photos are the pieces I most appreciated in the entire exhibition, perhaps it is true, that some events should not be turned into an artwork, but should just be displayed for what it is.

 

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Hudi Charin

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Waterloo

This time last week, I was in Waterloo. No, not the station in London, but the battle ground in Belgium. It was the bicentennial, and in commemoration, there was a large battle reenactment which involved 5000 reenactors, 300 horses and 100 canon.

Scotland Forever- the 1881 oil painting by Elizabeth Thompson (Lady Butler) which portrays the march of  the Royal Scots Greys at the battle

The battle took place on the 18th June 1815, and was where the emperor Napoleon of France was finally defeated by the allied troops of Britain and Prussia under Wellington and von Blucher respectively.

Although I've never really thought of myself as a battle-reenactment kinda gal, this is the kind of thing that only comes round once every 200 years, and I couldn't miss it. The incredible effort that the reenactors put in was really something to behold. Many of them made their own costumes, and they all lived in the realistic bivouac for the entire weekend: eating, sleeping, and washing like the soldiers and their families would have done two centuries ago.


 Sneaky shot of life in the bivouacs

Of course, the reenactment in itself was astounding: the sheer size, scale and sound was impressive, and actually quite shocking- I had never really understood how huge the battle ground was, and how insignificant one little soldier must have felt. Under the cover of the grey smoke -produced by the canon- the battle really came to life.

Trying to take a photo through the hazy smoke- the raincoats in the audience are a bit anachronistic! 

 However, the real surprise was how much I loved the museum! Yes, I'll admit it, museums of battles have always kind of been my nemesis, as I've always seen them as sucking any interesting part of the battle out and leaving the shell stapled to the wall. But this museum was really something quite different. Accompanied by an engaging English audio guide, I made my way through to the walls of paintings, only to discover that they were not in fact just paintings. Rather than having a static painting with a simple plaque underneath, there were high definition screens which zoomed in the most important parts of each painting. Most spectacularly, parts of the painting were subtly animated to really bring it to life. For instance, one of the paintings of Trafalgar had the ships gently rocking up and down on the sea, and splashes of water showing where the canon balls fell. What a way to present art from all over the world!

One of the best parts of the museum- a long corridor lined with wax figures wearing the gear from the time 

We also visited the Lion's Mound memorial (of 1820) and the Panorama of the Battle of Waterloo (designed in 1911) which houses the 360ft -in circumference- painting by Louis Dumoulin. Both of which were really great experiences. (Although I did rush out of the panorama after noticing a sign that read 'only 50 people allowed at one time' and seeing how there were at least 200 people crowding onto the wooden platform!) We even managed to get a photo of the brand new Battle of Waterloo monument which was unveiled by Prince Charles only a week ago!

Selfie with one of the poor souls immortalised on the Panorama 

All in all, a really important, interesting and engaging visit.
H x

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Four French Boys

When historians discuss some of the finest examples of prehistoric art, many of them will reference the cave paintings in Lascaux. The paintings are thought to have been created in Upper Paleolithic Era, and the majority of them represent animals such as lions and stags, as well as some mythical creatures and even a figure which could be a shaman or a hunter. The paintings have such high importance because of the incredible detail and size of them. Around 600 paintings and 1500 engravings cover the 66 x16 foot cavern.

What I find the most fascinating about these artworks- quite apart from their quality and content- is the way in which they were discovered. In the mid-1940s, whilst walking their dog in France, four teenagers dug around the area and stumbled across the cavern which has been estimated to be around 15,000 to 20,000 years old. These pieces-which have now substantially helped develop understanding into prehistoric lives- went unnoticed for so long, and were not eventually excavated by archaeologists but by teenagers. It is the kind of magic that makes me love history- what next wonder is just under our feet, waiting to be discovered by an energetic dog and their curious owners?

In 1947, Ralph Morse was the first professional photographer to visit the array of rock art. Speaking to LIFE magazine, now in his late 90s, he recalled how “the first sight of those paintings was simply unbelievable, I was amazed at how the colours held up after thousands of years-like they were painted the day before.”

As a very visual person myself- I always prefer to  see things when I learn about them, rather than just hear about them- I feel I can very much relate to these pieces. Of course, at a time when people did not communicate with the written word or even very much with shared spoken dialect, they would turn to art. Instantly, emotions and messages can be conveyed with particular colours or the pressure used when creating a mark. When looking at history, a common thread is often drawn between connections we have with our ancestors, and this here seems to be a very blatant one. Humans have always craved a connection and have always craved to share their knowledge and experience.

By starting at this beginning point, I have created my first common link with the past, and hope to find and develop many more.

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Hudi Charin

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Women Fashion Power

 Today is International Women's Day, and it seems very apt that I visited the Design Museum's recent 'Women Fashion Power' exhibition, which discusses the history of women and how they have used fashion to evoke power. 

Beginning with Eve, the exhibition starts with a quick walk-through of major female influences, from Hatshepsut (the first female Pharaoh) to Hilary Clinton, there are plenty of well-dressed and admired women there to make the connection between the words women, fashion, and power seem obvious. Starting with the corsets and ending with a mannequins wearing dresses such as one of Lady Gaga's iconic ensembles, the exhibition covers everything.

 I found it really inspirational; we really can make a difference, not just in fashion but in people's way of thinking. Imagine what Amelia Jenks Bloomer's neighbours thought and said when she first marched out wearing her statement garment! A lot of the time, we don't even need to imagine what people thought at the time, because they were often pretty vocal about it.

 One of the most fascinating pieces I found was this satirical handkerchief which illustrated what might happen in 100 years if women received equal rights and suffrage. All the men are pictured out of work, whilst the women dominate in politics, science and warfare. What I find so interesting is how this was meant to make people not want to give women suffrage. Okay, so men shouldn't just sit about looking after the kids, but women shouldn't either! The women here look amazing- wearing trousers (another thing that was supposed to be a dig at feminists) and doing everything they set their minds to. Over the course of the exhibition, the different steps towards all of these roles women now fill are displayed, and in a way that it just as sleek and stylish as the designs on show. 

It was such a great time to see this exhibition: wearing my jeans and converses on International Women's Day, and definitely not being sucked in or stifled by social conventions or a corset! 

Walking in the footsteps of fashion's iconic eras..

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Hudi Charin

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Hey Hudi Video

I was recently thinking more about different types of animation and decided to experiment with the type of stopmotion known as pixilation, where photos of people are used, and then often drawn on top of. As a 'trailer' for the blog, and an interesting thing to have on my Welcome page, I thought I'd do a pixilation looking at different things you could find on the blog. Mostly, of course, it was just another way to experiment with different mediums. 

Before I started, I wrote down a list of things I'm interested in, and different ways to present it. Of course, this being a blog, quite a lot of typing is involved, so that seemed like a good place to start. I used a lot of text in this short, with a lot of varied fonts: I love expressing themes using something as simple as a typeface...

It's hard to convey different ideas, using just my face and one hand but I was really pleased with the outcome of the next few ones: the little bookworm coming out my ear, coughing and blowing out singing notes, my imagination coming out in book pages, and painting a mustache on my face...    

One of the most fun things to do was holding my own blog pages in my hand, and it kind of embodies technology for my generation: I am able to take a photo of me, use my ipad to place a screenshot of my blog full of my ipad pieces on my hand, whiz it around a bit using stopmotion, and place it in a little animation available on youtube! We have a lot to thank Tim Berners-Lee for...

Anyway, stop listening to me babbling on about the work behind it, and click play! Stay tuned to see more of my experiments in animation...

Hx

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Hudi Charin

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Relationships - Federico Bebber Reference

                                               

When it is announced that my new topic in art is 'Relationships', I am immediately reluctant to explore ideas of the standard definition of relationships. I want to stay as far away from Romeo and Juliet as possible! So, I soon start thinking about the relationships between the human race in general and our environment. What is our relationship with each other? How do people in Russia effect people in Haiti? What is our relationship with our environment? How is Earth effecting the Universe? What is our relationship with nature? How do our actions effect wildlife?  

To begin looking at these different ideas, and the art I could create when answering these questions, I researched digital artist: Federico Bebber.

   

                                                       

Bebber was born in 1974 in Italy and he creates digital photo edits that are often portraying very dark themes. The surreal pieces depict the relationships and similarities between nature and emotion, which works well with the concepts I had had. Many of Bebber's surreal pieces edit women's faces with elements of nature, like birds and insects, or plants and clouds. these pieces are so captivating because of the beauty displayed in both elements, which makes his work so relevant to mine as I am interested in the relationships between humans and the world around us. 

Taking everything I have seen in Bebber's work, I conducted my own photoshoot and went on to edit these photos, into Bebber-esque photos, combining my favourite parts of his work...

I am really pleased with how these edits turned out- because of all of the different elements I was able to combine in the different pieces. I also really like the range of compositions seen here. Stay tuned to see where I go with this!
H x

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Hudi Charin

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Final Piece Jan 2015

In the aftermath of my eight hour art exam, I thought I'd take some time to write up the process. The last you've heard of my art topic was with the zip edits, and my work on those. I began to work more into this, experimenting further with layers and text. Here is a large canvas I did in preparation for my exam. As you can see, I used cardboard layers to display other pieces from the collection of ones I did in this area. I also used laser cut stencils to print on some text, using quotes from Millicent Fawcett, Martin Luther King Jr, and Mala Yousafzai. All of these amazing people 'broke' the constraints of their different cultures and society- much like I have been trying to present with the zip concept. 

From here, I went on to take another photoshoot, using myself as the model (in order to reference Cindy Sherman's self-portraits which I had researched earlier) and began to edit these pieces, before creating digital paintings of these.  

 

 

From all of this, I went on to create my final piece: on top of a canvas print of one of my digital paintings, I built onto it using cardboard layers, text, zips and paint. I think this effect is really successful, because of all of the many different elements that have gone into it. I especially like how all the different parts of my work since September seem to thread through it. It relates well to the topic of 'Rehash Remix and Edit', whilst also exhibiting some of my different skills. Now I just have to prepare for my next topic!

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Hudi Charin

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