Norwich Castle – Visible Women

When I saw this exhibition in the castle I found it interesting the works that had been put together and how different each of them were but how they all fit together well. I found the painting by Aliza Nisenbaum the most interesting due to the way that colour has been used and that it does seem nostalgic in how people possibly spend their Sundays which is laying around. I found the photographs interesting as well as they both give off a slightly uncomfortable feeling as if this is something you should not be seeing.

George Shaw

Scenes from the Passion: Late     – Enamel paint on board – 2002

George Shaw’s paintings are a huge inspiration to me due to the nostalgia feeling to them as the one shown is of some garages near where he used to live as a child and the fact that he hasn’t tried to glamorize them up in any way they are showing true life and what they look like even though it is probably an ugly sight. A lot of Shaw’s paintings have the same loaded atmosphere to them and they feel quite nostalgic. Shaw’s use of the enamel paint is also quite interesting as this paint is normally used in painting models which is seen as possibly something he may have done as a child which adds to the childhood nostalgia and they are not cheap considering the amount that he uses in a single painting. The feeling of nostalgia that his paintings give are something that I would like to mimic in my own work and the way that he uses a material that you would possibly use in childhood is also something I would like to experiment with.

Charles Maussion

Back of Nude – 1985 – oil paint

I came across Charles Maussion’s work in the Maussion catalogue from the Sainsbury Centre for Visual Arts at University of East Anglia, I found even though the theme of the work definitely fits with my work it was more the way the paint has been used and how soft and delicate the painting looks. The way that you can see what it is but than it also can be difficult to see what it is, the name gives the piece away a lot.

The other work of his that interested me was Portrait – 1974 – acrylic (below) as they both have the same feel but they are completely different topic’s and also the use of tone and colour is quite significantly different but Portrait definitely fits more with my topic as it looks like a pair of people in some sort of embrace even though it is slightly blurry.

Maussion, Charles, b.1923; Portrait

Douglas Gordon

Blind James (white) – 2002

Douglas Gordon’s photographs stood out to me the way that the eyes have been removed which creates questions and makes you wonder why the artist has done this, it also makes it slightly uncomfortable to look at because normally with a photograph of a person my eyes will normally drift to the eyes but it feels wrong looking at they eyes as they are not there which is shocking and makes you feel slightly uneasy looking at it.

Anna Gaskell

Untitled #2 (wonder)

Anna Gaskell’s photography I found quite interesting because they have a slightly eerie feeling to me due to the nature of the photographs and the way they seem to have a filter over them which give them a muted tone to them. I found they informed my practice in the way that I look at photographs and how I use them in my work, it also made me think about colour pallets and how that effects the feeling of a photograph.

Merlin Carpenter

Merlin Carpenters paintings are what stood out to me the most in the way that they only use two colours to produce a painting that looks like the person they were recreating. The way the paint is used and it makes the lines not as harsh and so the have a soft kind of feeling to them has influenced me and how I think about using paint to create faces without it being realism and how little colour you need to get what you want across in your art.

Julian Opie

Damon, singer. 2000 ( Blur )

I was already quite familiar of Julian Opie’s work starting this project as it is incredibly famous and in a way I wasn’t taking inspiration from him but found that my work with the line art portraits had been heavily linked to Julian Opie from talking to people around me and so consciously have been taking influence from him. When I decided to look into Julian Opie’s work I did see the way that they have influenced me in the thick lines that have been used for the face and the way that they are simple but effective as they are not overdone or overworked, and the colours used are different as his colour pallet is quite different to my own. The way that he includes the face is interesting to me as he does seem to use a similar face in each of his painted portraits which is quite recognizable to be his style.

Ghada Amer

Les Poufs, 2002, polyurethane and acrylic

When I came across Ghada Amer it wasn’t the sculpture element that stuck out to me it was the images on the sculpture and how they were mainly consisted of line drawings on each side of the cube that they could be moved so that they showed a different line drawing or they were mixed up so you can see part of one line drawing. I love the fact that they are all in quite bright colours that contrast against the white background of the cube. I found that I quite like the playful element to the work and how because it is like a puzzle it seems interactive.

Eija-Liisa Ahtila

casting portraits

I came across stills of Eija-Liisa Ahtilas films in the Art now vol 2 book and I found the look of the stills to be quite interesting as they seem quite raw and they demand your attention which is something I haven’t really experienced with film work before myself. She discribes her films as ‘human dramas’ as they deal with borderline situations, and discribe phass in the transition and self-discovery of their protagonists.




-hard ground

-soft ground

-dry point etching (intaglio)


‘Etching, a method of making prints from a metal plate, usually copper, into which the design has been incised by acid. The copperplate is first coated with an acid-resistant substance, called the etching ground, through which the design is drawn with a sharp tool. The ground is usually a compound of beeswax, bitumen, and resin. The plate is then exposed to nitric acid or dutch mordant, which eats away those areas of the plate unprotected by the ground, forming a pattern of recessed lines. These lines hold the ink, and, when the plate is applied to moist paper, the design transfers to the paper, making a finished print.’ –

‘Etching is a printmaking technique that uses chemical action to produce incised lines in a metal printing plate which then hold the applied ink and form the image’ –