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I planned to carry on the worm like patterns in the prints but use paint to create them on a piece of wood instead. I learned from the weeks prior that my most effective ay of working was to not have a plan and just let it happen, i picked oil colours for this one as i could work into them for longer. i let this piece be influenced by all of the development, using parts of my favourite outcomes. Overall i like this piece however it lacks depth and feels quite design like and obvious instead of hold that mystery that im searching for.

The next piece i decided to plan out a bit more.

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Inspired by Mathais Weischer i wanted to involve the illusion of turning a corner, i didnt want it to distract or be the main focus, however. the best way to do this was simplify it using a blocked out section, i did this with oil bar because i like the slightly rougher texture and that you can see the dark colour form underneath pulling through. i feel this section strengthens the composition. the next step was adding the squirming eels, i felt like if i just painted on top it would look flat so i scratched into and dragged out the oil bar. the next step was to incorporate the patterns ive used throughout because i feel they tie to a variety of imagery that fits my theme. i started painting in yellow acrylic but its didn’t stand out enough and looked to still and print like.

Ive chosen this Piece as my resolved work , i feel it is compositionally the strongest, it has depth and draws the eyes easily. i also feel it still displays the ideas and atmosphere i was trying to achieve. the dark background creates a space of nothingness, an eerie feeling, like something could be hidden by the blanked out corner. The flesh tones with yellow peeking through suggest something gory or gross, like veins, intestines or parasites. The eel like shapes tangled in, posses a confusion, your eyes try to follow the lines of each around getting tangled whilst trying to make sense of it. I am pleased that this work achieves the goal of not attaching itself like anything to specific whilst still sparking familiarity, you can recognise the shapes but they are placed in an unfamiliar setting. It is unsettling and requires you to take a few looks before deciding what it could be.

Print week began with screen printing, using the photo emulsion technique. My work lends itself well to printing as the imagery is quite blocky so easy to recreate onto the screen. I decided to use my initial drawings to transfer as the were delicate so I thought it would look good combining it with other mediums. It took quite a few attempts to print the drawings the right way so I have lots of excess starting points to work with.

I decide to thicken the lines a little with pen as I was worries it would pick up well enough. 

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The first attempt didn’t work out how I expected, the lines aren’t strong enough and I didn’t mask off the edges, hence the mark on the right. After discussing with the lecturer I started to see how actually the disappearing lines could be a positive thing when combining it with other mediums or strengthened in other ways. We also talked about how the accidental mark could add to the piece compositionally. lots to think about and developments to be made.

Feelings disheartened by my failed? Attempts I used the time to prepare surfaces instead.

The first one accidentally produced some parasite like shapes which I intend to work into later. In all of these prints there are slight imperfections which I think are quite strong and with support other mediums well.

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I moved onto Lino printing, I picked the eels coming out of water as the first one to cut into Lino.

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I felt the first print was to illustrative and lacked depth or even any resemblance to eels in water. I decided to break them up by folding and scrunching the paper I printed them on to. I feel this look fits the theme well as the broken pieces reminds me of piecing together bits of information like a jigsaw. i moved on to the imagery from my original drawings.

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Again i wasn’t fond of the blockiness of the print and wanted to break it up so decided to paint on the ink. This outcome had no mystery to it so i moved on to mono-printing.

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i much preferred the look of monoprint, its a lot more subtle and leaves more to be discovered. the red ink looked creepy and speckled which holds connotations of fear and the unknown. i also noticed in the picture above that there was a slight print of what i had previously scratched into the ink plate, this gave me the idea to use the lino cut to pick up another layer.

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This produced the feeling i was going for, the monoprint breaks up the lino print, forcing your mind to piece the rest together. i could perhaps create a series of these slightly changing to create a squirming, pulsating movement.