Category Archives: Fall 2015 Peer Reviews UWS

Fall 2015 Peer Reviews UWS

VAP PEER REVIEWS 2015 OF MY WORK

VAP PEER REVIEWS 2015 OF MY WORK


LES SALINS II, 2015
Christine Anne Berger, LES SALINS II, 2015
MIXED MEDIA ON A3 PAPER

NICHOLAS McMAHON WROTE (Voicethread.com, 2015)

If I am correct in reading and translating the sign in this piece, is says “ Hunting Preserve” from “Reserve de Chasse”. From this I then interpret the small quiet fishing preserve at a country river. I enjoy the thick and heavy use of paint within the high grass and waters creating texture and value. The darkness of the long grass around the sign and the embankment is appealing, which I believe really helps bring out the texture of the grass and water. The use of collage is interesting. The torn and overlapped pieces of magazine or newsprint are loosely painted across in the same thick looking style. I am not sure what the collage is meant to represent? The creation of this contrast with the brushwork makes me think it signifies a less peaceful area beyond the hunting preserve. I am intrigued to know the translation of the words that are visible and readable in the collaged area, to know if these give clue to what this represents? The collaged area almost seems like a barricade to the idyllic, peaceful and what could be empty preserve? Does this represent the blockade of media, activists and growing awareness and acknowledgements of animal rights that is then hindering and/or imposing on the hunting community from the view of a hunter? Or is it the view of one of those people against hunting who sees the river, as it should be – natural and undisturbed, protected by a wall of media and awareness to its cause.
Churches, A. (2008). Bloom’s Digital Taxonomy. http://edorigami.wikispaces.com [Accessed November 8, 2015] Voicethread.com, (2015). VoiceThread - Home. [online] Available at: http://voicethread.com/myvoice/#thread/7188803/38506143/39877895 [Accessed 13 Nov. 2015].
LES SALINS II, 2015
Christine Anne Berger, LES SALINS II, 2015
MIXED MEDIA ON A3 PAPER

Karen Lupu-Jacobsohn (Voicethread.com, 2015) wrote,

The marks left by the application of paint in this piece give the impression that the work was done quickly, as my eye moves quickly around looking for a place to land. On the other hand, the right mixture between black and white in each brushstroke had to have been carefully determined so it didn’t turn into a mushy gray blur. I am curious about the technique used as well as the scale. Are these big brushstrokes or small? Was the composition decided beforehand or did it evolve? It has such a photographic quality, like a black and white picture, that I wonder was it based on a photo?  And why the collage aspect? What does the use of newspaper in the landscape mean? And what is the vertical mark directly in the middle?Overall I get a desolate wintery feeling from the painting, but there is too much activity for it to be depressing. It makes me feel as though I am standing just out of the frame. The bushes on the sides frame the work as though it should be seen in perspective, but the middle ground remains so active that it doesn’t recede very far making the horizon reachable. The result is that in viewing the painting, I don’t feel like a small part of the big picture or in awe of the nature, but rather a as bigger part of the scene, as though my presence is part of the story. The title on the sign Rue de la Chasse makes me feel like I am in the countryside, far from any hustle and bustle of the city but that I haven’t left the hurriedness behind. For some reason, the painting seems to me to be made for a single viewer at a time, who steps into the point of view, bringing with it all sorts of possible narratives. Is this a camping trip, a hunting trip, a quiet retreat, a place to go and write, or paint?
Voicethread.com, (2015). VoiceThread - Home. [online] Available at: http://voicethread.com/myvoice/#thread/7188803/38506143/39877895 [Accessed 13 Nov. 2015]  

My Response to Karen:

I am excited to read that you “don’t feel like a small part of the big picture or in awe of the nature, but rather as a bigger part of the scene, as though (your) presence is part of the story... the painting seems to (you) to be made for a single viewer at a time, who steps into the point of view, bringing with it all sorts of possible narratives.” Clandinin argues there are three main aspects to narrative inquiry, “temporality, sociality, and place” and “narrative inquiry is a way of studying people’s experience” and “experience is seen as narrative composition” (2013, pg.38). Are these big brushstrokes or small? The Painting is A2 in size done with palette knives and brushes in a way to create a sense of motion and motion would seem to imply temporality for me. Was the composition decided beforehand or did it evolve? It is a place that I spend a lot of time in my private life and so one could say the composition was found and was created out of experience, not only that of my own but in trying to understand the experience of others who where there. These “others” have left their mark on this land and have created a social interaction amongst us even without being personally present. It has such a photographic quality, like a black and white picture, that I wonder was it based on a photo? It was photographed and drawn on site and then played with in a sketchbook and then worked from memory onto A2 paper. This is a study piece for a much larger piece to come. The place had a distinctive étang seascape colour scheme that is maybe to influential in the narrative. Is the more-or-less achromatic scheme allowing viewers a easier entrance into creating their own narrative? “The function of art isn`t to sanction any specific experience, except the state of being open to the multiplicity of experience” (Sontag, 1969, pg.25). And why the collage aspect? What does the use of newspaper in the landscape mean? The collage represents relationships between “remnants of visual culture” and the “critical choices that (I/we) are making” (Garoian & Gaudelius, 2008, pg. 90). My life is a very multicultural mélange of languages making the very simplest of things complicated with multiple meanings, false translations and misunderstood values between and amongst these relationships. The newspaper itself is in German and the fishing preserve sign is in French representing one of these relationships when many layers of meaning behind it. I want to leave enough space open however for the viewer to engage into their own “possible narratives”. And what is the vertical mark directly in the middle? I am drawn to these images where there are singularities somehow unconnected to the world around it. It was a old wooden post- possibly for a small boat tie up but never the less it represents a story. Someone touched it, someone was there, but why, for how long and what should we do with it now? Clandinin, D. (2013). Engaging in Narrative Inquiry. Walnut Creek, CA: Left Coast Press, Inc.. Garoian, C. and Caludelius, Y. (2008). Essay Six, Curriculum and Pedagogy as Collage Narrative. In: Spectacle Pedagogy: Art, Politics and Visual Culture, 1st ed. New York: State University of New York Press, pp.89-97. Sontag, S. (1969). Styles of radical will. New York: Dell Pub. Co.
LES SALINS I, 2015 MIXED MEDIA ON A3 PAPER Christine Anne Berger, LES SALINS I, 2015 MIXED MEDIA ON A3 PAPER

Helen Millington (Voicethread.com, 2015) wrote,

This painting is quite ambiguous. At first glance I thought it depicted a seascape, however on closer inspection it could also be interpreted as a bleak rural landscape, with fields divided by subtle linear strokes, possible representing a fence or wall. On the concept of ambiguousness in the visual arts, Zeki (2002, P.67) ““Great art is that which corresponds to as many different concepts in as many different brains over as long a period of time as possible. Ambiguity is such a prized characteristic of all great art because it can correspond to many different concepts.” Although not as impressionistic as the painting by Toby Moate ‘Ambiguous Landscape I’ (2013) featured on the Saatchi art website. The painting in question does offer room for interpretation. Zeki, S. (2002). Neural concept formation and art. Journal of Consciousness Studies, [online] 9, pp.53-76.
Available at: http://www.imprint.co.uk/product/journal-of-consciousness-studies/ [Accessed 6 Nov. 2015]. Voicethread.com, (2015). VoiceThread - Home. [online] Available at: http://voicethread.com/myvoice/#thread/7188803/38506141/39837500 [Accessed 13 Nov. 2015].
LES SALINS I, 2015 MIXED MEDIA ON A2 PAPER
LES SALINS I, 2015
MIXED MEDIA ON A2 PAPER
I am drawn to the smooth gradient of tone in this peice as well as the application of paint used. personally I feel a representation of ocean waves due to the movement and brush strokes

Shaun McMeekin