What's The Link Here Then?

Photographing precious paper pieces; carefully collected, clipped and collated - on top of my table, in the studio-shed. 
Circles and letterforms, black printing ink, mono-printed polka dots.
Re-arranging the random off-cuts.
Reflected light and diffused light with triangles.
Scaffolding at work - serendipitous addition of red door.
Then - finally - two long mixed media collages I made last week and a messy one.
That's what I have been recording with the camera on my phone - it's a rubbish camera. 
I need a new phone, so that I can get a new camera...bonkers isn't it - but that's how it seems to work...















Studio Photos For The Website..

I am putting together a website (phew, what a time it takes...) at the moment - to be a showcase for my artwork
It is out there on the world wide web right now good people and you can visit www.anniebrundrit.co.uk 
There are still some things that I need to add - namely details for each individual piece in the slideshows - you know, title, dimensions, media used.
As part of the website, I thought it would be good to have some photographs of the studio, so I cleverly made a page called 'studio'.
Here are a few that we took - there are some recent images of my good self on the website - I spared you those here! Also, it means you may go and have a look at the website, if you want to see me with me specs on..
Anyway, enough of that. Here - for your delectation - is my beloved compact creative space:




If In Doubt, Get The Black Out...

One of my recent collages was a bit light; too 'pretty' - too representational and the colours weren't right.
I happened to be using black paint to produce some simple textured prints to collage with - and decided to slap on the leftover black with a roller - see how it goes - can't be worse...can it?:
   Now:


   Originally:

I tried a few extra touches of found paper collage; a photo of a blue leather handbag (similar texture to the rollered ink on the watercolour paper). This resurrected colour just a little, allowing it to stand up to the black.
Looking at them now - reduced by photography to thumbnails - it appears to me that the top left is the more successful section..?:


It's the abstraction, I reckon. 
Figurative elements are simply too attention-seeking - shouting "Hey, look at me, I'm a flower!" Whereas, take those shapes away (ignore the noisy ones) and it allows the process, techniques, shapes and colour to be equals. Funny, eh?
Interesting
Anyway - off to sleepy-byes for me...

My Turn To Learn..

This evening I am feeling fulfilled; reflecting on a happy self-indulgent day spent in the company of fellow creatives - under the gentle encouraging thoughtful tuition of the very most lovely Michael Brennand-Wood; (bit cheesy to ask for one of him - so) here's a photo I found online:


When I was an art student, he was already established as a textile artist and I remember seeing his wooden 'grids' that emulated the warp and weft of fabric which he then embroidered string, wire, paper and other media into.
Smiths Row gallery in Bury St Edmunds has a comprehensive retrospective of Brennand-Wood's work, curated chronologically, showing until September.


Today - Michael introduced the 'Overlays' workshop with a tour of his show - especially pertinent as the workshop was held IN the gallery, surrounded by his work:


I love the way that - on the face of it - a good deal of his art textiles appears fragile and delicate - but - be warned dear blog reader - reproductions are deceptive... The pieces have an edgy robustness - either in physicality (the use of metal) or in the subjects that Brennand-Wood contends with (war, slavery..)


Go to the website to read more about the exhibition here

Soon we got started - with an A3 wooden frame and a series of translucent materials - plastics, paper and fabrics. 
We had all received an email with a breakdown of what the workshop would involve a couple of weeks beforehand, which was really useful, enabling us to plan to incorporate elements that we use in our work already, should we desire.


Initially I was going to bring MASSES of stuff - 'just in case' - but last night I decided that I'd take my usual 'too much choice is stressful' view. So armed with only a limited supply of materials and bits and bobs to use, the restriction was refreshing actually.
I had intended to take more photos as the piece developed, but forgot:




It was a real pleasure to meet Juliet - who mapped out and encased beautiful shells and bone into her framework, before continuing to envelop and enclose them between layers of fabric:



Here are several photographs of the other attendees' pieces - which Michael left plenty of time for each of us to talk about and reflect upon:











Fascinating to see - and hear about - everyone's very diverse approaches to the workshop. 
The artwork made its own individual 'compact' impact - as Michael held each one up - but then, when passed around - and in your hands, on closer inspection, you saw intricate details and how the complex layering gave rigour and depth.
And - here's how mine finished up...


I am content with the way that layering the thin plastic sheet has built up a slightly 'milky' semi-transparency - which throws back some elements. I stuffed the back with more of the plastic and some crumpled brown paper before closing it in with white muslin.

Smiths Row Gallery and Michael Brennand-Wood are running a second 'Overlays' workshop on Sunday 17 August - so if you know anyone who'd be interested, I can highly recommend it
The new date is not on the website yet but email for details: enquiries@smithsrow.org

Pleasure To Work With....

This morning I ran a half day Collage Workshop over in Bungay - with the Black Dog Art Group.
The eight lovely attendees were positive, creative and open-minded - which made for a constructive and productive morning.
After an initial look through some of my sketchbooks, I started by showing everyone a few examples of five artists' work that is inspiring me at present:

  • Robert Rauschenberg 
  • Melinda Tidwell 
  • Ben Nicholson 
  • Julius Bissier 
  • Hannelore Baron 
This became a spring-board to exploring one's motivation for producing art as well as looking at the formal elements of composition and abstraction
I then chatted a little about my way of working now which led to how and why my work has changed since leaving art school -
Then it was time to get hands-on...



I brought a big box full of a variety of papers with me - and set the task for everyone to work on two collages simultaneously.




I was quite insistent on this, which I stand by - as I think it was a new way of working for them all.






Such a pleasing variety of dynamic, calm, vibrant and delicate collages - some filling the paper - some embracing the white space.
Great to see individuals' characters coming through in their choice of colour and composition.




Finally, after the tables were cleared, the collages were laid out and we all had a good look at the satisfying results of a full morning's contemplative work



I think I managed to introduce a little bit of a fresh perspective on collage - hope soas this is a group of people with a great deal of art experience between them, which I fully respect - the evidence is in their approach.
Hopefully all went away feeling they learned something today - I certainly learned lots - but I always do when teaching!