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Kirsten Jolley ART PORTFOLIO

I am currently a student at the Warrington and Royal Vale College on the Art Foundation course hoping to develop myself individually as an artist and explore new abilities in preparation for an Interior Architecture degree where I hope to continue my creative expression. This is a selection of work I have completed during my A-levels and Art Foundation as well as in my own time.

NATURE AND NURTURE
Outcome 1
Outcome 2
Outcome 3
LIFE DRAWING
PREVIOUS WORK
An artist called Zhi Jiang dipped beautiful ornamental flowers into liquid ethanol and set them on fire, this is my own photography attempting this same technique in Jiangs work. I experimented with different flowers and different backgrounds so there was a contrast between the flames and the backing, this created these successful photographs as they really stood out the most. Flowers can symbolise many things such as new life, beauty and youth, or perhaps a gift to represent the love someone might feel for another. Therefore setting them on fire creates a violent juxtaposition which to me is a stark reminder of the fragility of life and shows the decay of beauty.
These photoshops are inspired by some unsettling portraits taken by the photographer Carsten Witte. The main idea behind this series was the way photography can preserve something that is constantly changing and if beauty wasn't temporary it wouldn't be so appreciated. I took some portraits where the light was to one side creating shadows and highlights, I then photoshopped these images to be monochrome and edited an image of a skull so it was blended into the face similarly to wittes' work. I was looking at underlying beauty and similar artists like Gunter Von Hagen and Jenny Saville.
Materials: Acrylic, ink, quink ink, bleach, charcoal, and chalk.
In my project of memories I then wanted to focus more on the way they can distort or fracture over time or even alter the original memory. To get these images I loosened the aerial to the television so that signal interfered with the image which then created broken up and pixilated scene which represented the idea of memories fracturing visually. Once I had taken these images I increased the saturation of the colours so they were more vibrant and then I inverted the image. By altering the final image more and more this further distanced the likeness from the original image which links back to the idea of memories evolving and changing over time until they don't represent the original memory. Later on to further distort these pictures I printed them onto acetate, collaged and painted into them.
My project evolved from looking at distorted memories to researching the surrealist period which had similar qualities of distancing from reality, and how it was inspired by dreams and the psychologist Sigmund Freud. I wanted to show this idea of latent and symbolic imagery in my work based off of Freuds theory of psychoanalysis which was so influential to surrealism and artists such as Salvador Dali.

In some previous experiments I photographed an iPhone charger plugged into an apple, taking 'Apple' iPhone literally which links dream symbols and literal meaning to waking life in Freuds theory. I recreated the photograph by literally drying out and dyeing slices of apple then collaging it creating surreal imagery which might be accepted and not deemed unnatural in a dream state. My close up portrait represents a common nightmare of a strangers face or someone you can't recognise which is why I have only shown part of the face as well as it being pixelated. A collage would make the face more unrecognisable so returned to this medium of using dried apple pieces to create this surreal affect. It was also the right material for my concept as its so uncommon however there are no limits in dreams.

OBSERVATIONAL DRAWINGS
I visited many galleries such as The Royal Accademy and Victoria and Albert gallery in London as well as seeing works in the Van Gogh and Stedelijk Museums in Amsterdam. I recorded some pieces and architecture through observational drawing. I particularly love the challenge of drawing in this style and medium where each mark you make can't be undone and having to convey form and texture through minimal lines.
Head of Boy by L.S Lowrly and the chandelier in the V&A.

This painting style was inspired by the abstract expressionist Frank Bowling known for tipping and pouring paint onto a canvas. I used techniques such as smudging and sgraffito to gain a textured background similarly to Bowling. To link this to my concept I took an image from my lockdown photography and loosely sketched this over my painting so that colours and shapes could still be seen through the hatched marks of my drawing.