Reaching for PassionSize : 9 in x 6 in
Medium : Lino Cut Completion Date : August 2021 Reaching for Passion is a contrasting short series that delves into the desperation for beauty and its qualities. One depicts the yearn for the subject, yet they begin to lose them self in their own self hatred, resulting in decay. The next piece is the opposite of someone who finally achieves beauty. This can be from self love or a forced interaction. These prints were inspired from Peter Paul Rubens artworks that portray despair in an expressively sensual aspect.
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Artist Inspiration
Peter Paul Rubens was born in 1577 in Siegen, Germany. However, once he was 10 years old he went to school in Antwerp where he had his first job as a court page to a countess. The career led him to art as he thought the stifling job to be too boring. His career choice soon shifted towards being an artist as he traveled through Spain and learned the techniques of Renaissance works. With his new knowledge he applied it to his own pieces which eventually shifted towards the Baroque style. Rubens became a court painter at the age of 33 as his reputation grew, so did his commissions. His new job allowed for more income and his requests for artworks kept piling to the point that he created his own studio within his home. From there the artist hired apprentices and assistants to get his commissions done faster.
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Rubens is most famous for his intricate themes of presenting the consequences of war and the sensuality of humanity. The culture of war constructs a somber mood filled with angst. His subjects are positioned in twisting compositions without regard to discomfort. Portraying such objects as is allows for an expressive topic where emotions are presented through body motions and facial features. The most common emotions throughout the artist's works are: Despair, depression, longing, pride and envy. All feelings compliment each other as they illustrate each story of the subjects within. From a man returning from war with pride yet those around are affected by his presence of destruction, to a man who lives with ferocious lions to avoid the harshness of society. |
Planning
The planning phase of Reaching for Passion required sketches to lay out the ideas of how to approach the project. The first step was to plan the topics. I knew I wanted to make a positive vs. negative prints to demonstrate the contradiction within the world. These led to topics such as: Love vs. Hate, Dark vs. Light, Dreams vs. Nightmares and so much more. Once the basic topics were laid out, I made them more specific with sketches that correlated to the theme. The first one depicted a disconnected love that is broaching onto hate. The next one presents a love that is connected like bodies that are trying to melt and morph into each other. |
An inspiration was needed and the themes seem to resemble the following artists: Vincent can Gogh, Gustav Klimt and Peter Paul Rubens. They followed the concepts of depression vs. joyous and low self esteem vs. confidence. Both ideas used people as the subjects in order to portray the emotional features and feelings to the audience. The attention to detail in the background opposed to the simplistic figure in the latter idea, demonstrates a poor self worth. To only focus on one's surroundings and not oneself is a characteristic of an inadequate individual. This is different from the joyous plan where all subjects are simple to create a carefree atmosphere. It ties into an excited person to busy to pay attention or a depressed one who can't focus on anything at all. |
After inspecting the tools that were provided, I learned that one was meant for thin carvings and the other for thick. The plan was to use the thick one for empty space and thick outlines in order to cute back on both time and effort. This is different from the thin one which would create highlights and fine details down to the outlines. From there I planned the actual design which consisted of a rose with two different hands as they're either gripping or reaching. The difference between both would be their positive and negative connotations. Additionally, they would have a majority of empty space for the background as opposed to one having a printed one that would allow for more dark space. |
Experimentation and Process
In order to start the project I needed to create a stable image to replicate. This was done by hand, as I drew the outlines of two surrealistic images. Both with a rose and hand, yet with differing backgrounds and interpretations. When I drew the outline I made sure to press hard with the pencil in order to make the lines thicker and more visible. After it was done, I cute and aligned the paper with a black and taped two sides in order to keep the paper still. From there I used the edges of a pencil to rub the paper into the block. Peeking under made me realize that it wasn't going onto the block as best as possible. The solution was to use the handle of a scissors, it covered more areas and transferred the images nicely.
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With the blocks already designed, the next step was fairly easy to grasp. The first block that was carved was the positive one and I started the process at the top right. The sections that weren't colored in remained, as the black areas were carved. I tried to follow the horizontal line concept in order to create clean indents. With this technique I would be able to present the inked areas efficiently and the carved area would have no clear indication of lines when inked. Areas that needed outlines were any surrounding places that would need ink. To do this I carved around the object before continuing the horizontal line carves.
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The next print was the negative and I followed the same steps from the previous one. The outline of the subjects was traced with the carving tool, occasionally switching between the thin and thick ones. With this print, I started from the bottom to the top and once the basic outline was done I started on the skeleton hand. Using the thin carver for both highlights and the spaces in between the bones was the best option. After the outlines were complete I went back and carved the remaining sections out so there was a difference between the empty space and filled areas.
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Once the blocks were fully cut out I inked them by rolling ink on a tray with an ink roller. After the ink was evenly dispersed I transferred it onto the block and went in both vertical and horizontal motions. From this point I lined a piece of paper above the block and rubbed the paper with a pad to transfer the image clearly. After about a minute or two of using the pad, I set the paper aside to dry. This was repeated five times in order to have a variety of works and to see which patches needed more ink than others. This was then repeated for the next block. |
Reflection
This project is somewhat unfamiliar yet it was easy to comprehend. The difficult part relied upon the thought process of where the ink will go once a portion is carved. Will the ink hardly cover the area or will it take up a majority of space. This was a struggle as I begun the process and if I were to do this again, I would use the knowledge to better plan the carvings. When I sketched it on paper it was hard to interpret which areas would be empty and others full so I carved the background from the negative, despite wanting it to be dark to relate to the somber theme.
Reaching for Passion illustrated a sense of yearning that left one waiting for too long in their wallowing, that they begun to decay. A death bug is nearby the rose and the moon shines downward to illuminate the objects. The positive conception of the ink was to present a person who achieved their goal and holds a death grip onto it as though control was all they ever wanted. Both topics hold an underlay of cynical interpenetration and that was the intention when creating bold lines and a center movement.
Reaching for Passion illustrated a sense of yearning that left one waiting for too long in their wallowing, that they begun to decay. A death bug is nearby the rose and the moon shines downward to illuminate the objects. The positive conception of the ink was to present a person who achieved their goal and holds a death grip onto it as though control was all they ever wanted. Both topics hold an underlay of cynical interpenetration and that was the intention when creating bold lines and a center movement.
Compare and Contrast
DifferencesValue -
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SimilaritiesTheme -
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ACT Responses
1. Clearly explain and describe how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
Rubens depicts his themes through expressive body language, from facial expressions to the contour of a body. This followed through my art work as I illustrated the emotions through the form and movement of the hand. When it was longing, the hand begun to decay and the positioning of the fingers is seen as a fragile. However, when it was strong it was clenched into control.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
The artist is supportive of the inspiration as he is known for implementing the same topics throughout his works. This theme is expressionism and attention to detail. Specifically, feelings and how they are the effect from a despairing cause.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I have come upon the conclusion that people are more opening to artworks that they're familiar with. Countless people commissioned Rubens for artworks, even ones who are of royalty. They liked the intricate designs and the attention to detail for the realistic aspect of his works.
4. What was the central idea or theme around your inspirational research?
The central idea around my work was emotions being portrayed through intricate concepts. The rose represented beauty as the hands depicted a conscious mind that yearned for either control or possession.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
While reading the research I came upon the conclusion that the consequence of war isn't necessarily only physical. It can last inside solders and corrupt the way they interact with society. Others can feel remorseful for the loss they had and the envy for those who lived or gained a high reputation.
Rubens depicts his themes through expressive body language, from facial expressions to the contour of a body. This followed through my art work as I illustrated the emotions through the form and movement of the hand. When it was longing, the hand begun to decay and the positioning of the fingers is seen as a fragile. However, when it was strong it was clenched into control.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
The artist is supportive of the inspiration as he is known for implementing the same topics throughout his works. This theme is expressionism and attention to detail. Specifically, feelings and how they are the effect from a despairing cause.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I have come upon the conclusion that people are more opening to artworks that they're familiar with. Countless people commissioned Rubens for artworks, even ones who are of royalty. They liked the intricate designs and the attention to detail for the realistic aspect of his works.
4. What was the central idea or theme around your inspirational research?
The central idea around my work was emotions being portrayed through intricate concepts. The rose represented beauty as the hands depicted a conscious mind that yearned for either control or possession.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
While reading the research I came upon the conclusion that the consequence of war isn't necessarily only physical. It can last inside solders and corrupt the way they interact with society. Others can feel remorseful for the loss they had and the envy for those who lived or gained a high reputation.
Bibliography
The National Gallery, L. (n.d.). Peter Paul Rubens. The National Gallery. Retrieved August 14, 2021, from https://www.nationalgallery.org.uk/artists/peter-paul-rubens
Peter Paul Rubens and his paintings. Peter Paul Rubens: Biography and 100 Paintings. (n.d.). Retrieved August 14, 2021, from https://www.peterpaulrubens.net/
Peter Paul Rubens and his paintings. Peter Paul Rubens: Biography and 100 Paintings. (n.d.). Retrieved August 14, 2021, from https://www.peterpaulrubens.net/