Phyllida Barlow art work have a lot influences of the informalism, some of the principals of informalis as well of Phyllida are non geometric abstraction, but keeping the materiallity of painting away from the non figurative and figurative form, emphasizing the color as its subject and subject in the works, Phyllida subject are materials and color.abstract materials is its fundamental principle. Informalism in art is regarded as complex becouse that integrates other trends such as the gestural material, thus the infromalism differs from other pictorial streams by the strong presence of the personality of the artist through the techniques an materials used, highlighting the chance and improvisation, without a deliberate construction, the process of the artist i have chosen has the same process of working thats why there is a lot of similituds .atraction to different types of material, is also reflected as it can be seen in the works of Dubuffet. what most determines this art, so it is the sign, the matter, being an art that emerges from the darkness of the post-war period. so the expression which is evident in the paintings is at the basis of dripped oil, large fillings and breaks as well as the use of other materials like wire ,burlap and sand. I could speak a bit about arte povera and how phyllida use materials which could be related with arte povera.RESEARCH OF ARTE POVERA.
On the other hand, in Spain, this art of informalism takes much boom in the 1950s with a generation of artists that in their forms of expression are discussed between European informalism and American abstract expressionism. Among them are painters such as: Tàpies, Guinovart, Puig, Saura, thousands and Canogar, among others. In this sense, the informalism in Spain, has two aspects of Barcelona and Madrid, with the raised bottom of the existential crisis of the post-war period. In Barcelona, is the Group of Dau al Set in 1948, very strongly rooted to surrealism, which then influence in the 1950s to the informalist, such is the case of Lourdes Cirlot, establishing four trends of the catalan informalism, applied to the mater, painting signo-gesto, the tachista and the specialist. We must remember that after the war the cities and population was devastated and aimlessly, this is strongly reflected in the art especially in painting, and it is a kind of healing for the mind and soul of the artists , by what are summarized a number of features as they were:THE work spontaneous and random, not premeditated, making the paintings without a pre-established composition.They give great importance to forms, textures, stains, trying this way to express inner world.Are not guided by traditional means of art, therefore, the oil painting is little expressive for needs and make a combination with accumulation of materials, including waste materials, running spills, drips, cuts or damage on the canvas.They disclaim conventional artistic patterns, both in regards to the plastic treatment and in the composition of the work.
Informalism is based on the Existentialism of postwar Europe, artists on multiple occasions not even use the brush but what they do is to scratch the thick surface, material, previously created with the new materials. Also, use the spatula to make spontaneous and disorderly lines denoting chaos, also making scratches, burns and grattage on canvases. Therefore, what most characterizes this art is the large number of different materials and techniques that might be that they were taken on an occasion of Surrealism (operator), in others of Dadaism (detrital materials, collage), but which in others could be product of the investigation (dripping, grattage). Thus, also within the informalism was used the tachisme, gestural painting, informalism materialistic, in short, a positioning so heterogeneous that it has come to qualify, just as other art. Is therefore required before moving forward with approaches clarify some concepts such as:The striking Art: named to the technique of the studs that account for amorphous surfaces without structure. Scratch that also come to form part and which are given as response to a spontaneous, intuitive action, informal product of vital or creative impulse of the artist, such is the case of the works of Hartung which has a lyrical approach, achieved with the application on the grattage, but always in an intuitive manner, so that, with these tools the artist achieves a very dynamic pace in the compositions.
Taking own matter, manipulated, transformed, are added to the pigments as an expressive medium, emphasizing how alien to these pigments materials. Thus, it is in the works of Alberto Burri where this technique is evident because it performs compositions by way of collage, where combines painting with metal sheets, Burlap, fabrics burned, plywood, plastic, some of them with a dramatic value going to extremes. it is in the works of Alberto Burri where this technique is evident because it performs compositions by way of collage, where combines painting with metal sheets, Burlap, burned fabrics, plywood, plastic, some of them with a dramatic value going to extremes.Phyllida Barlow is using a lot of this materials………………………. research of the materials and maybe here write also THE ARTE POVERA. IT WAS subjective, irrational, and immediate position in a truth that is not negotiable and as a form of relationship with himself and with the environment of postwar, in which are interested in everything from the most humble and so far negligible, making is to emerge from the depths. Therefore, if there is a legacy that can highlight informalism apart from the diversity of techniques and materials used in eclectic way are the currents that are subsequently consolidated from the way how it was built. They are: the gestural informalism, which derives more than everything in the way of painting. Informalism material, due to the textures, holes and other details. However all these currents are unified in common characteristics, they are: the removal of abstraction in painting, as is rather an amorphous abstraction, since it uses less geometric shapes such as squares triangles in these informal works, nor shown a willingness to structure elements. So, while a few small sketches were made, thought not previously which would make to balance the composition, while everything was improvised, randomly.
I am an interdisciplinary practitioner, a printmaker and painter whose work also extends into ceramics and sculpture. I experiment with different techniques and express myself using a wide range of materials. I am challenging myself by exploring the materiality in printmaking and painting, the core of my practice.
Through the intuitive nature of my work the element of discover is of most significance, allowing accident and mistake occur, sometimes I deliberately provoke them, my interest is to develop flexible thinking and to improve my visual language.
Sometimes my interest is simplifying abstract forms that arise from the interpretation of the figurative image, which allows the viewer to make their own reading of the piece of art. I hope to create a space where the public can interact with their imagination and to realise the fiction of the perception created by our unconscious.
My work emerges as a developing process, it can start with collage made up of discarded defective prints, or it could emerge from Exhibition ephemera. I manipulate them by adding more cut out etchings. I choose one print and work in various ways, I destroy, push, pull, deconstruct, construct and collapse the image resolving in a process of constant abstraction and figuration, this is the thing which appears, not the thing in itself. I don’t have a preconceived idea it’s a call and response.
The 2D collages reach out in relief, they feel sculptural in themselves, I take the opportunity from this 2D collages to go into 3D sculpture and them back to the 2D painting, is a back and forward process mirroring the work of Michael Lady With his 3D collages .
My practice drawn from a range of sometimes contradictory sources, on one hand, I am attracted to the simple and minimalistic of the pieces Miles Davis music "Siesta" and "Human nature" the empty spaces in between the solos attracts me. The same occurs with the painters Agnes Martin and Elsworth Kelly, parts of the painting are resting from shapes and colours, it is an empty breathing space next to the simplicity of the form.
On the other hand I am drawn to the materiality of Amy Sillmans and Gillian Ayres. Their work infuses the complexity of the layers of paint and paper showing the history of the process and the interaction between the shapes, colours and mark making.
I perceive that my work is spontaneous and playful, intuitively mixing elements from observation and imagination. I am planning in the future to start to work with the prints on a much larger scale. I would like to incorporate stronger paper and wood as a support, to extend and make combinations of the etchings into 3D installations with them adding sound.
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