Life-drawings: the female body



Line and gesture drawing







Measurement




Foreshortening





Detail




Structure





Tone





Surfaces





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Internal Exposure

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  Internal Exposure. mixed media: wall pieces and sculpture, 2020-2021 Process: working towards the final degree show Sketch for installation plan showing multiple dimensional aspects.  The inspiring ideas are the spilling out of the emotions and the deformation of the body In these sketches and trials I continued experimenting with collage and mostly drawing. I decided to create a collage of intertwined bodies in a way that resembles an intestine. This intends to show a relationship between the part and the whole and the intestine as representative of the residence of our feelings and of interior chaos. New collage piece   Alternative to the previous Intestines works: -The piece is  more sturdy  and  stable  as I glued the separate figures on one large piece of cardboard from which I then cut out the unnecessary spaces. -The piece also includes a  3d element : I paper-mached a hollow shape made with wire and glued it on top of the torso of one of the figures. I then also experimented
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Three-dimensional abstract painting

Immagine
The piece was created with this question in mind: ‘What if the subject/content of a painting was presented outside of the canvas?’ The shapes are in fact, outside what should be the ‘frame’ of the painting, making it "out of place". The three-dimensional abstract painting was made by using various materials, cut and arranged in different shapes, then assembled together. The colours are meant to highlight the different materials and at the same time blend them together as if they were part of the same piece. A 2D painting was also later created in response to the three dimensional collage, by taking some of its shapes and colours and transforming them into a two-dimensional original piece.
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Expanded Painting: Seriality

Immagine
  For the seriality painting task I worked on 10 different paintings at the same time which were all developed from the same photographic reference, a still image from the film “Dogtooth” (2009). During the process of making these paintings, I realised I preferred the images where the figures were more suggestive and less realistic so I repeated the defacement of the foreground figure in all the pieces, and relied on a more unfinished effect. I really liked playing with different colour tonalities and I prefer the pieces where the colours were paler and more subtle – this was achieved by using chromatic greys next to colours at full saturation. Working in seriality is useful to reflect on what one’s work lacks or what is successful by comparing it with different versions of the same, and to uncover the meaning of the painted subject through its repetition.  The source image: The film still image attracted me for the closeness of the faces and the transparency of the window through whic
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