Reflective Journal Week 33, 10 May – 16 May 2020

Experiments with materiality went on this week. Technical problems still are a major concern. My accommodation cannot provide a sufficient space where I can increase the size of the practice. I can now make the sea salt crystallise on the specific surface, but still failing to control its shape and size. 

I did successfully made a container of large crackers of salt. They are thin and sharp, which made the perfect implication of Cornwall’s harsh environment in its historical context. Imagine a stiff mooring placing in a pile of salt shards, with a much much bigger foundation. 

I am particularly interested in the change of tone when the sun shines through the salt, like in the Pure Cornish Ingredients, where I used natural sunlight to simulate how sunrise light up Cornwall. The reflective surface has the potential to form some interesting effects on those salt shards. 

I have a pile of watercolour paper being dried as saltwater crystallises on them. It would take up to two weeks because constantly dripping the liquor onto it can significantly enlarge crystallised salt. Perhaps a college can be made afterwards.

Milton Avery was one of the most reputable American abstract expressionists in art history. He has a unique and wide-recognised manner of using colour. During his artistic career, his picture became simpler in composition and clouting as he expanded his interest to printmaking. 

Max Nonnenbruch was a German painter trained in Munich school. His painting often reveals symbolic preciseness in both composition and gradient. His marine landscape figure paintings demonstrate a neoclassic fashion and a vintage attractiveness. 

Saito Kazu is a Japanese artist who focuses on countryside landscape and nocturnal sceneries. He uses vimineous lines to construct spaciousness in a concise apply of colour. He holds a potent Japanese painting style which earned him many appreciations among western audiences. 

Vilhelm Hammershøi was a famous Danish painter. His paintings about the interior left a vacant, unfinished space filled with lights. His figures are often placed in such space, form a sense of nordic alienation between people. The composition of his mother’s portrait is highly similar to Whistler’s Mother, which is quite interesting. His absolute master in spacial perception was also demonstrated in his rarely-seen landscape paintings.


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