13-16/04/2018 - JIC PAINTING

Now my board was prepped I could paint the rest of the work in around my sketch. I had decided to keep my work greyscale and use watered down acrylics as a way to build up gradual tones, as are percieved by the eye in the minute crosshatch of the etchings we saw.


I over these days I made a few key changes to elements of my design from my initial plan in my sketchbook. Removing the thylacine skull, I had replaced it with a human equivalent in typical momento mori fashion. I also thought it conjoured up interesting dialogues surrounding the ways humanity has changed and recontextualised itself in conjunction with its expanding knowledge of the world around it over time. Placing a human skull in the place of an animal specimen turns the magnifying glass back upon ourselves, instead of subjecting an unaware being to such inspection upon it's barest form, we instead are made to look upon an example no different to ourselves.

Aswell as this, I made the small detail of overfilling the hourglass beside the bell jar. This is to suggest that things may be going too far, and functionality may be being disregarded in the pursuit of more product, in response to the questionable motives of the research at the John Innes Centre, and their consumerist and commercial interests.

Next I added a pine marten in the oak tree in the top left corner, as I felt when looking back at my initial sketch this area of the work was a little bare, and lacked a focal point unlike every other corner. This species was once prevalent throughout the british isles, however numbers were decimated over the 19th century (the same time period as all of the botanical references I have been influenced by) by deforestation across England along with a rise in game shooting and populations were pushed into the british highlands and Snowdonia. Now, numbers are stable throughout Scotland, relocation projects have been integrated in several locations in Wales, and there are now intial talks of a new project in the Forest of Dean. There has been 'unoquivocal' evidence that pine martens control the invasive and highly problematic grey squirrel population, while leaving the native and much cleverer red squirrel unaffected. This is a great example of finding natural methods to rebalance ecosystems and limit pest species as well as restoring biodiversity, so it felt right to include this fun little character.

I also fleshed out my concept butterfly from the sketch into the High Brown Fritillary. This large quick flying bright orange and brown butterfly was one prevelant across all of the UK but populations have declined by 90% since the 1970s. This is thought to be down to the halting of the traditional woodland practice of coppicing, where trees are felled and left to regrow every year as a source of sustainable timber. This is much more efficient as the trees already have developed root systems, making regrowth quicker, however it is ineffective on a commercial scale. The act of coppicing makes room for smaller plants to grow in the time between regrowths of the tree, providing food for insects and butterflies, and by extension other creatures in the ecosystem. The story in this example is again of the change from sustainable and connected practices and relationships with nature, in favour of the detatched and commercial, and the damages that can do to parts of an ecosystem. This all links to the change I tangibly felt when seeing the reconstructed 19th century botanical gardens of Heligan.

Fritillary have come up previously in my print sculptural work, however in that case it was the Arctic Fritillary being affected by the phenomena of high arctic butterfly shrinkage. I found it really interesting how I was finding myself opening repeated narratives with similar animal motifs throughout unconnected works. This was through no specific choosing of my own, I merely research wide varieties of creatures until I find a story or situation which captures my interest for use in an artwork.

As such is the case in the next corner where a single probing shoot of Japanese Knotweed can be seen poking over the edge of the table. I featured this plant in my work for the Figured Fabric showcase, the highly invasive species which is currently wreaking havok on the diversity of UK hedgerows across the country. Once again, the widespread introduction of these as an attractive and cheap 'bamboo-alternative' ornamental garden plant was championed over the 19th century, so this was another narrative I wanted to thread into the piece. As well as this we have the ivy creeping over the microscope, architectural features and beginning to peep over the bell jar also, reinforcing the permenance of nature in the face of manmade products.

And finally there came the Latin quote which I had theorised on my sketchbook plan. 'Homini dominion commodatus non donatus est' or 'Mans domian is lent not given'. A humbling reminder that this planet does not belong to us, or anyone, and that we are all just passengers casting out into and forming the world around us, yet it is not ours.

 Overall I was really satisfied with how the work was looking at this point. I think developing the idea slowly, around a strong and diverse basis of varied both primary and secondary involvement in the contex around my work had really allowed me to flesh out exactly the voice I wanted to convey. Being able to work with the examples of the etchings at the JIC also allowed me to freely employ a range of motifs and narratives in a way which felt natural and uncluttered. It stopped this inclusion of heavy narrative and symbolism from being overly didactic or forced, as has been feedback from previous examples of my work.

It also felt exciting to be creating work about a situation which was unfolding in my area, and also about something which I had researched as a case and developed my own opinion on from my findings, instead of much of the research I do where a conclusion is already worded based upon the findings of whatever report has been conducted.

I also just loved the way the style had come through on this piece, as I am always a sucker for sharp linework and strong detailed features. Working onto a hard board instead of canvas was much more enjoyable too, as I prefer an unyeilding surface to work against when working on larger things in particular from my times painting infront of audiences at live art events, and the smooth finish makes for smooth painting. I do think I may have forsaken some of the stylistic features of the etchings in pursuit of my own tastes and ideas, however I have produced an outcome which I feel is a meeting of the two styles, and is something I am very proud of as a continuation of the development of my own artistic direction and voice.