William Kentridge (1955 - )

Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. In a now-signature technique, Kentridge photographs his charcoal drawings and paper collages over time, recording scenes as they evolve. Working without a script or storyboard, he plots out each animated film, preserving every addition and erasure. - retrieved from this link

Kentridge works with stop motion animation, which is what I'm doing for my experimental materials project. I love the narratives that Kentridge creates and how they flow together. This is an example of one of his animations called 'Automatic Writing':

Drawing with string - experimental materials

For the experimental materials project I have chosen to record the model's form using string/ thread and tape and record the precess by taking photos and then making them into a stop motion.

I like how the shadow of the string makes its own lines; this is something I would like to further explore.

This is the video I made of the photos I took in today's class. I find that it is most successful when I take photos after each piece of tape I stick to the string. You get to see the figure evolve and appear. I made some colour corrections to make the colours a bit more vibrant and add some contrast. I think I will just continue building on this video and see where it takes me. When finished, I could project the film onto the used tape and string. Unfortunately, the resolution of the images is not that great and the video looks quite pixilated. Not sure how I would be able to solve that problem.

Experimental materials - part 1

Warm ups

Warm ups

Warm ups

Warm ups

Blind contour

Exploring movement

This one was first drawn and then torn and reassembled and the same pose was redrawn over the top.

This one was a collaborative piece involving everyone with electrical tape to use the tape to record the model's form.

The above exercise was also done using masking tape on the floor.

Mark Bradford (1961 - )

Looking at his surroundings, Bradford looks through the many layers of discarded papers to find recycled memories. He explores the many different layers of living in the black community. He picks and scrapes the signs off  the walls and gates. Those collections of papers are his resource materials to create large colleges that take on the look of large scale paintings.  Bradford is proud to say he entered the art world through the doors of his mother’s beauty salon. He attributes making her salon signs as the first steps in becoming a “MAKER”, not just an artist. Starting out, Bradford said he had no idea about abstract-expressionism? Or who Bell Hooks or Cornell West were? Grad school was were he discovered  artists through reading, writing, theory, and art practice. Although grad school has a heavy work load and tests the strength of artist it is a great foundation and door to walk through to the world of art makers. The balance is and can be accomplished. Mark Bradford has achieved it. - Retrieved from this link

Britta Lumer (1965 - )

Lumer's use of ink and water is particularly ghostly and quite dysgraphic. Her work is also quite textural, with the brush strokes visible. 

Robin Rhode (1976 - )

Rhode works with street art and performance art, creating a comic book-esque animation/ story by incorporating and body into a drawn story. I love the narrative that he creates and how he plays upon movement.

From this link

From this link

From this link

From this link

From this link

From this link

Wardell Milan (1978 - )

Milan is a prime example of dysgraphic representation of the figure. He subtly uses charcoal and gouache, getting interesting textures and tonal variation. Note his minimal use of line and how he largely blocks in the form with bold strokes.

From this link

From this link

From this link

From this link

From this link