Personalised Art

Free Lance Art 2011

 

CHAIN REACTION

 

  

This collgae piece clearly reflects movement and the process in which man kind creates. The use of printed images, masking tape and inks enhanced to the balanced circular and on-going cycle. It depicts an architect in process of brain storming, planning and reflecting.  

 

 

 

 

PLAYGROUND

 

 

  

Working with perspective and aerial point of view Photoshop created a playground space in which tha subject moves within it. The tiled surface appearing as a puzzle exposes the hidden flooral image in its negative spaces, black and red objects are randomly placed in the landscape assisting in the 3-dimensional perspective and lastly the realistic human form moves naturally and almost invisibly within this make-believe playground.  This composition is an attempt in showing how an interior architect should aim at creating a space in which the visitor can move freely and comfortably within the given area. 


 

 

 

TRAPPED IN MIND

 

  

  

As a printed media advert its purpose is to define, express and identify and art fanatic. Through Photoshop, both text and image, assisted in making a statement about the life of one whose world revolves around art. Obsession, Prison, Art and Life highlight the importance of this entrapment while the bold images of : fabric covering the entire head yet expossing the wild loose ginger hair against an exhibition space wall strongly suggests one caught up in this art scene.

 

 

 

 

TRAPPED IN MIND 2

 

 

  

As a continuation to the message of art obsession this composition put together through Photoshop is more literal image of art on the mind. Basic symbolism of the zipper and the facial expression depict the man in artistic thought. The viewer is expected to find the colourful and fragmented pieces exiting the man's mind as an opportunity to see his creative thoughts. Although this piece clearly states an idea, it is the natural tones of the face and the neutral background with the colourful images that excites the viewer. As a poster it would work succesfully. 

 

Free Lance Art 2009

 

FOLDS

 

 

 

Basic research in ancient Greek folds in clothing led to observational studies of sculpured forms at the National Musuem in Athens. The workbook-page includes pencil sketches and photographs. These studies were later encorporated in fashion designs, construction of a dress and a final piece that showed movement and depth. 

 

 

 

  

MOVING FOLDS

 

 

 

 

 

Experimental samples of fashion design ideas based on folds, movement and tone.  The use of colour pencil assisted in creating the tones and creating mood for these dress pieces. As a workbook-page each dress is not isolated byt it woks as an entire piece. With the use of draping lines the designs are entertwined. There is also the perception of fabric being draped. 

 

 

 

 

METAMORPHOSIS

 

 

 

  

Watercolours were the choose of media to this final composition since this materal allows for fluidity and subtle colour tonality. Metamorphosis  (size A2) is based on earlier research on folds, formal gowns and movement. During the creative process peacock eyes appeared through the moving tail folds, which make the piece eerie. Along with this, the colder pastel colours add to the mood with its black background. The challenge for the viewer is to identify the 3 gowns.  


 

  

 

PYRAMIDS

 

 

 

 

 

 Moving beyond the 2-dimensional piece I constructed a space in which the viewer can see the step-like forms carried through a dividing surface. Geometric shapes cut from sandwich card project height and the movement through a solid space. It appears jagged, sharp, intrusive and static. Black & white card add the duality of colour, contrast and opposites. (Size: 50 x 70 x 20)

 

 

 

 

SPACE

 

 

 

  

Leaving the organic flow Space (Size 50 x 70) depicts a modern cold and mechanical world. Pencil on paper created cold an metallic surfaces. This piece successfully shows my skill and technique in dealing with tones. Kandinsky's forms where an inspiration to this imaginative composition. 


 

 

 

 

 ABORIGINAL

 

 

 

  

 Combining the natural form and spheres I researched seahorses and Aboriginal culture. Workbook studies led through varies paths of looking into Biology, cell-division, DNA strands and repetition of circles. The seahorse was an ideal subject for its interesting abilities in fertilization and its segmented body form. This page shows a bit of research and a variety of media for experimentation. 

 

 

 

 

 

 ABORIGINAL 2

 

 

 

  

 Aboriginal 2 (size A4was an initial idea following in-depth research and experimentation. A greater focus was given to the Aboriginal painting techinque. Colour pencils and the recycle image allowed for colour and space variations. Using an original Aborigine design I encorporated the colour tones, the main circular sphere (although not centralised) and the flowing forms that extend from it. The strongest aspect which is later used in my final are the two uniting seahorses in the birth sphere.


 

 

 

 

FERTILIZATION

 

 

 

  

I consider this to be my most successful painting with acrylics on canvas. The title Fertilization  (Size 50 x 70) is not a requirement in order to understand the intention of the piece. The union of the seahorses within the cell are transparent and embryonic. The cell structure and its sex-cells (eggs and sperm) radiate from the center, while the solid DNA strands give it stability. Colour plays a vital role in identifying life-energies. 

 

 

 

 

 

SEGMENTATION

 

 

 

  

 In dealing with spaces and reflection as well as duality I choose to photograph two glass buildings on Kifissias Avenue (Athens, Greece). A photomontage of these images strenghthend the concept of vertical and horizontal line movement. However my true intention was to capture the on building within the other building's surface.  


 

 

  

  

SEGMENTATION 2

 

 

 

 

 

  As a photographic composition it was most successful in capturing movement and reflection. I found the glass surface was not completely flat thus creating a distortion of the building across from the existing structure.  What works in this piece is that the predictable movement of the linear facade is disrupted by the organic line movement of the oppossing building.