Sonia Naqvi 12D Man

Artist Research

Artist 1: Rachel Whiteread

Untitled (Rooms) - 2001

Mixed mediaSculpture

Untitled (Stairs) - 2001

Mixed mediaSculpture

From Demolished A: Clapton Park Estate, Mandeville Street, London E5; Ambergate Court; Norbury Court, October 1993 – 1996Screenprint on paper, printDemolished captures the destruction of tower blocks in three different housing estates in Hackney, east London, between 1993 and 1995. According to Whiteread, this work is ‘something that is going to be completely forgotten... the detritus of our culture’. During the Thatcher era, Whiteread was particularly concerned by the social and economic changes introduced by the Conservative party, and their impact on homeless people in London. This work operates as a metaphor for neglect and disappearance, commemorating what no longer exists.

How this artist's work relates to my work is that her focus/aspect was buildings and architecture. By focusing on that she made sculptures of things which has been designed by designers/architects e.g. rooms, stairs (as shown above). These are the aspects I have chosen to focus on as well so her technique of showing her views might be of use to me.

Artist 2: Mark Rothko

How I relate to this artist is that he focuses on lines and separates them with contrasting colours. This is the same aspect as what I'm doing and he uses his own technique to display it.

Untitled circa 1950-2

Oil on canvas

In his mature work, Rothko abandoned specific reference to nature in order to paint images with universal associations. By the late 1940s, he had developed a style in which hazy, pulsating rectangles float within a vertical format. Rothko wrote that the great artistic achievements of the past were pictures of the human figure alone in a moment of utter immobility. He sought to create his own version of this solitary meditative experience, scaling his pictures so that the viewer is enveloped in their luminous, atmospheric surface.

Black on Maroon 1958

Mixed media on canvas

Light Red Over Black 1957

Oil on canvas

In his mature work, Rothko abandoned specific reference to nature in order to paint images with universal associations. By the late 1940s, he had developed a style in which hazy, pulsating rectangles float within a vertical format. He explained that these shapes 'have no direct association with any particular visible experience, but in them one recognises the principle and passion of organisms'.

Artist 3: M.C. Escher

Tower of Babel – 1928woodcut

Print Gallery – 1956Lithograph

How this artist's work relate to my work is that in these three artworks, Escher focuses on buildings and architecture from a certain perspective and displays them as abstracts (as shown in the third piece). This relates to mine as one of my aspects is buildings/architecture. From this I can see what types of compositions I can display the artwork; from one perspective to another.

Street in Scanno, Abruzzi - 1930woodcut

Artist 4: Franz Ackermann

The Secret Tunnel1999, Oil on Canvas260 x 200cmAckermann’s cityscape is information overload: a seething metropolis striated in Technicolor glory. Grey modernist architecture looms at an unnatural angle, engulfed in retro-style smog, while an inverted stairway to heaven descends into the open earth below.Ackermann paints his underworld as a spacey utopia: fiery blobs of magma swell with hypnotic seduction, revealing a virgin landscape at their core. The Secret Tunnel is not a paradise, but an upper and middle earth equally and oppositely attractive.

Evasion XVI (the disaster) - 1998 Acrylic on cotton

red, full on – 2005.Oil on canvas125 x 155 cm.

How this artist's work relates to mine is that he did abstracts of buildings using bold colours and other images, making a collage. I also would like to do something like this.

Artist 5: Cy Twombly

The Song of the Border-Guard 1952

Woodcut on paper

Since 1977, Twombly has made several chariot-like sculptures. The theme reflects his fascination with the ancient world, particularly Homer's account of the Trojan War in The Iliad. This work is especially minimal, combining a simple disc and triangle to suggest the wheel and body of the chariot.

from Quattro Stagioni (A Painting in Four Parts)Quattro Stagioni: Primavera 1993-5

Acrylic, oil, crayon, and pencil on canvas

In each of the four paintings shown here, a different range of colours registers the changing light and temperature of the seasons. In this work, representing spring, a resurgence of energy after winter is depicted in a vertical arrangement of red curves and splashes of yellow. The curves relate to traditional Egyptian boats, which appear in a number of Twombly’s works, including a sculpture in this display. Primavera, the Italian word for spring, appears alongside passages of text that evoke happiness and hope.

from Natural History, Part I, MushroomsNo. II 1974

Lithograph and mixed media on paper

How Twombly's work relates to my work is that he made abstracts using lines as shown above. This is most likely what I would like to do-make an abstract piece.