Today we had a screening from tom and zoë of alison goodyear's presentation on her work (parts 1 and half of 2) and it was really inspiring to see an artist combine the digital and physical, constantly playing with layers and pushing the boundaries of painting (VR, UV light, projecting on moving silk, etc.) and see how resourceful she is in her approach of funding and collaborations.
https://www.alisongoodyear.co.uk/
https://www.alisongoodyear.co.uk/topsy-turvy1 VR painting topsy turvy 2020
rough notes:
-achieved PHD . 2017 six contemporary artists working interviewed them two round table discussions. reading more up- in appendix.
-drawing on concept of David Reed, art historians in painting process. contemporary setting. practice led PHD. think of different ways to document. Rock Paper Scissors by David Reed. colours samples palettes. Collect own palettes in studio wall. grease paper, great way of recording that moment. what was intriguing me about the palettes, paint surface. viscosity colour, 2014 arts grants funding. project, exploring processes. Exhibition in animal gallery Bedford. photographs of her paint palettes painted onto silk. thinking about process in this show, somehow want to bring, light flood through window in times of day. close up of silks. after 2014, printed silks lying around studio. working on canvas, materials. inevitable that she’d try and paint on those silks. started to bring these together. Adobe Abodes. Digital and physical paints. under painting, painting. starting to work in groups more. describe as abstract narrative . paintings unfolding of process. Bringing dialogue that’s happening together. ‘unspeakable’ . Through grouping. another work floral dance, different sized shelves. distanced, experiment of. Atlantis 2016, surface of canvas. pale Lilac purple, took photograph of palette, medium , five canvases . Beholder. physical and digital impasto paints, working back into it, what we understand as authentic paint. production. machine made vs man made. / with this work here, raw canvas, softer effect. gives feeling of distance. Think of, representation of photograph, describes of power in photography, deconstruction in painting. real rather than figure.. / underpainting and overpainting. abstract marks. representational. call her works abstract but to some extent are they. consider ‘real paint’ , sense of depth. few elements of raised surface. some painted to look raised. Collect materials, graphite on Mylar / shortlisted contemporary British painting, 2018, experimenting of scale of brushes. 10 cm brushes, stretched photographic palette , tiny repetitive marks. during process, each painting becomes thought object. intensional, decided where paint is going to lay(green marks) . stretching of silk- serendipity don’t know how that will react. Once applied medium (again not sure) painting back into it, change in pace in thinking. start with a mark. Become this automaton, thinking process changes. intended parks aesthetic. Repetitive marks - not belittling but unthinking dash dash dash. this draws on writings of David josslyn? came about through her research. Katie Pratt. thinking and.. few more group works here . non strategic approach. blocking in of paint . Strategic manner - specific to beholder. / silk stretched over, can see light falling through. silk over canvas. not perfect objects. unfolding of making. Titles - ambiguous don’t want to suggest anything representational, for beholder to decide. 2018-19 artwork change. Tilt brush - google . allows painting in VR. was graphic designer for 14 years. used to live in photoshop for hours and hours a day. when this appeared, natural progressions Approached two companies as VR entertainment centres. Gaming, PC, VR... got back to her via email, why was she trusted to use tilt brush, wanted to have a go. Wanted to support her in her project, offered impormptu residency, used their hardware, headsets. used the google tilt brush software. was exploring all different tools. some painterly some more digital. Documents of VR painting. Only natural to combine with digital painting palette. silk, medium, physical over VR. started to use fleuroscent paint - the quality of light is like nothing else. pigment and light bouncing around. these works are in her studio, UV shots. brightness of colour . Really tiny brush marks. Some that look like photographs is paint. distancing effect. Hard to tie down.
part two: paint park project. looking at window vinyl that came about bc of VR project. from experience in painting tilt brush, very fun encounters, some very digital, some painterly. Encountering painting as Place. Playful place - like the park, games, move around, hence the name paint park. to achieve this project, physical and digital combined, approached this gallery, asked if interested in project. and they did, then wrote funding proposal, actually applied for arts council on three accounts. Got turned down, large amount of funding, previously secured smaller amounts, then went about breaking phase 123. running events in the last phase. even with that funding had to find collaborators and supporters. approached HTC loaned headsets, tilt brush google, marketing support, university student Invidulayors. ran a series of workshops, local schools colleges, disabled groups, open itself up to large and diverse audience, 11+ age limit safest, flashing light warning. this exhibition included several different areas, light controlled area, blackout curtains, create gallery space that she can control the lighting. 10 paintings in it, three lighting phases. lights go out, a film is projected onto the paintings. That film finishes and UV lights come on. Called the Grotto area.
the AR painting area. / top thirty of those marks, ongoing. Tilt brush station. a lot going on in project space. / shot of grotto paintings. Process involves underpainting, fleuroscent, image of physical paints , squeezey bottle of paint to audience. each of these panels connect. psp file large photoshop file to print, some of these are gigs in size. Limited resources. only one panel at a time. some planned but most making paint work. using oil paint to carry on dialogue between each panel . Very bright vibrant images. dynamic energy. / this canvas was flipped, attached silk onto the canvas just at top. allowed to activate that silk by using a fan. Projected onto moving silk. distortion. leaving unfixed in this way. Thinking about curtain. in art history - particularly the story of Zeus and par? this was written about, naturalist historia, painting competition that took place in fifth century BC. Who was the better artist. Zeus or p. both presented, his is first, grapes, on seeing grapes birds flew down to pick them bc so realistic. p. - the curtain was the painting. This curtain is a nod to that story. early parts of that research. Changed the way he looked at paintings. this concept of nemesis.. historical shift. Dominance in form of modernism. Rejected, her pointing at that, asking people to question what they understand as painting. Continuing thoughts of curtain. Didiro? hypothesised about theatre and how the best theatre would be act as if the curtain never rose. proceum curtain to see what unfolds on stage - the fourth wall, cinema terms, when the actor will turn to you and address you directly. best acting ignored audience, didn’t break concentration. There with story. art and object hood text 1967. more evident of photograph, and dribble painting. bottom, turquoise lines from VR painting. electric neon colours. Close up, very small brushes. scale idea going on. this panel, this changes when UV light appears. physical human interactions. / UV light that the physical paint is more . digital is knocked back. otherworldly connotations. can still see dashing going on, the unfixed silks still had luminous painting. as curtain moved, little hints were revealed. have stills on website. they look very different. in day light. almost black. installation shots in nighttime
https://www.alisongoodyear.co.uk/
https://www.alisongoodyear.co.uk/topsy-turvy1 VR painting topsy turvy 2020
rough notes:
-achieved PHD . 2017 six contemporary artists working interviewed them two round table discussions. reading more up- in appendix.
-drawing on concept of David Reed, art historians in painting process. contemporary setting. practice led PHD. think of different ways to document. Rock Paper Scissors by David Reed. colours samples palettes. Collect own palettes in studio wall. grease paper, great way of recording that moment. what was intriguing me about the palettes, paint surface. viscosity colour, 2014 arts grants funding. project, exploring processes. Exhibition in animal gallery Bedford. photographs of her paint palettes painted onto silk. thinking about process in this show, somehow want to bring, light flood through window in times of day. close up of silks. after 2014, printed silks lying around studio. working on canvas, materials. inevitable that she’d try and paint on those silks. started to bring these together. Adobe Abodes. Digital and physical paints. under painting, painting. starting to work in groups more. describe as abstract narrative . paintings unfolding of process. Bringing dialogue that’s happening together. ‘unspeakable’ . Through grouping. another work floral dance, different sized shelves. distanced, experiment of. Atlantis 2016, surface of canvas. pale Lilac purple, took photograph of palette, medium , five canvases . Beholder. physical and digital impasto paints, working back into it, what we understand as authentic paint. production. machine made vs man made. / with this work here, raw canvas, softer effect. gives feeling of distance. Think of, representation of photograph, describes of power in photography, deconstruction in painting. real rather than figure.. / underpainting and overpainting. abstract marks. representational. call her works abstract but to some extent are they. consider ‘real paint’ , sense of depth. few elements of raised surface. some painted to look raised. Collect materials, graphite on Mylar / shortlisted contemporary British painting, 2018, experimenting of scale of brushes. 10 cm brushes, stretched photographic palette , tiny repetitive marks. during process, each painting becomes thought object. intensional, decided where paint is going to lay(green marks) . stretching of silk- serendipity don’t know how that will react. Once applied medium (again not sure) painting back into it, change in pace in thinking. start with a mark. Become this automaton, thinking process changes. intended parks aesthetic. Repetitive marks - not belittling but unthinking dash dash dash. this draws on writings of David josslyn? came about through her research. Katie Pratt. thinking and.. few more group works here . non strategic approach. blocking in of paint . Strategic manner - specific to beholder. / silk stretched over, can see light falling through. silk over canvas. not perfect objects. unfolding of making. Titles - ambiguous don’t want to suggest anything representational, for beholder to decide. 2018-19 artwork change. Tilt brush - google . allows painting in VR. was graphic designer for 14 years. used to live in photoshop for hours and hours a day. when this appeared, natural progressions Approached two companies as VR entertainment centres. Gaming, PC, VR... got back to her via email, why was she trusted to use tilt brush, wanted to have a go. Wanted to support her in her project, offered impormptu residency, used their hardware, headsets. used the google tilt brush software. was exploring all different tools. some painterly some more digital. Documents of VR painting. Only natural to combine with digital painting palette. silk, medium, physical over VR. started to use fleuroscent paint - the quality of light is like nothing else. pigment and light bouncing around. these works are in her studio, UV shots. brightness of colour . Really tiny brush marks. Some that look like photographs is paint. distancing effect. Hard to tie down.
part two: paint park project. looking at window vinyl that came about bc of VR project. from experience in painting tilt brush, very fun encounters, some very digital, some painterly. Encountering painting as Place. Playful place - like the park, games, move around, hence the name paint park. to achieve this project, physical and digital combined, approached this gallery, asked if interested in project. and they did, then wrote funding proposal, actually applied for arts council on three accounts. Got turned down, large amount of funding, previously secured smaller amounts, then went about breaking phase 123. running events in the last phase. even with that funding had to find collaborators and supporters. approached HTC loaned headsets, tilt brush google, marketing support, university student Invidulayors. ran a series of workshops, local schools colleges, disabled groups, open itself up to large and diverse audience, 11+ age limit safest, flashing light warning. this exhibition included several different areas, light controlled area, blackout curtains, create gallery space that she can control the lighting. 10 paintings in it, three lighting phases. lights go out, a film is projected onto the paintings. That film finishes and UV lights come on. Called the Grotto area.
the AR painting area. / top thirty of those marks, ongoing. Tilt brush station. a lot going on in project space. / shot of grotto paintings. Process involves underpainting, fleuroscent, image of physical paints , squeezey bottle of paint to audience. each of these panels connect. psp file large photoshop file to print, some of these are gigs in size. Limited resources. only one panel at a time. some planned but most making paint work. using oil paint to carry on dialogue between each panel . Very bright vibrant images. dynamic energy. / this canvas was flipped, attached silk onto the canvas just at top. allowed to activate that silk by using a fan. Projected onto moving silk. distortion. leaving unfixed in this way. Thinking about curtain. in art history - particularly the story of Zeus and par? this was written about, naturalist historia, painting competition that took place in fifth century BC. Who was the better artist. Zeus or p. both presented, his is first, grapes, on seeing grapes birds flew down to pick them bc so realistic. p. - the curtain was the painting. This curtain is a nod to that story. early parts of that research. Changed the way he looked at paintings. this concept of nemesis.. historical shift. Dominance in form of modernism. Rejected, her pointing at that, asking people to question what they understand as painting. Continuing thoughts of curtain. Didiro? hypothesised about theatre and how the best theatre would be act as if the curtain never rose. proceum curtain to see what unfolds on stage - the fourth wall, cinema terms, when the actor will turn to you and address you directly. best acting ignored audience, didn’t break concentration. There with story. art and object hood text 1967. more evident of photograph, and dribble painting. bottom, turquoise lines from VR painting. electric neon colours. Close up, very small brushes. scale idea going on. this panel, this changes when UV light appears. physical human interactions. / UV light that the physical paint is more . digital is knocked back. otherworldly connotations. can still see dashing going on, the unfixed silks still had luminous painting. as curtain moved, little hints were revealed. have stills on website. they look very different. in day light. almost black. installation shots in nighttime