WHITNEY-JADE HALSTED
Some of the key themes I am developing in my work is a combination of the de-hierarchy of social status, animism and ideas of non-linear narrative and “otherness”.
In relation to context, Marc Dion is one of the artists whose conceptual framework and methods of understanding rather than his medium have informed the development of my practise.
I am interested in how Dion questions the relation of man and nature since the industrial revolution and in a contemporary sense, begins to emphasise and rediscover methods of understanding and classifying our relationship with nature.
Marc attempts to explore how one can represent an idea in constant progress in relation to an ever changing ecology and evolutionary context.
Similarly, my paintings begin to investigate a continuity and non- linear dialect using the notion of animal symbolism in relation to a social understanding of hierarchy.
Working in oil colour is a recent development in my practice which I intend to further pursue. As it is a recent medium for me, I understand at this stage I may lack experience with the medium itself in understanding certain techniques and methods of use.
In relation to style I am currently researching works by artist Cecily Brown whose use of composition and especially texture is something that influences my recent work.
'Cave Scene 1'
Oils on board
60cmx42cm
2018
'Cave Scene 2'
Oils on board
60cmx42cm
2018
'Cave Scene 3'
Oils on board
60cmx42cm
2018
The non-linear narrative I am exploring in my works can also relate to author Jaques Ranciere theory in what he calls as the “creative destruction” of the representational regime.
I am interested in the way Ranciere uses paradoxical or speculative ways of describing a fictional text that takes into consideration the context of the author who writes, the context of the reader, where both may come from and from what framework they learn and obtain ways of knowing and gaining an individual perspective and outlook.
My paintings attempt to explore this correlation as I, in the process experiment to disconnect and reconnect the panels seen in my most recent oil painting ‘Cave Scene 1,2 and 3’, the presence of a time and specific place/space being absent.
close up documentation experimenting with texture
From a contemporary non western context I am influenced by revisiting studies of bushmen cave paintings found in the Matopo hills of Zimbabwe.
Here painted on the surfaces of large granite rocks are depictions of human and non human interactions that suggest more than a superiority over species and every day life, but rather emphasise an interconnectedness and “spirit” that binds environment with all that is living.
The composition of my paintings suggest the idea of a time and space being absent and is an important element of my work in developing a continuity in the sphere of human vs human and human vs nature. This absence of time and space is also seen in some of these Bushmen paintings.
An Example of Bushman Rock Art - Paleolithic & Neolithic History Paleolithic & Neolithic History
Mutoko, Zimbabwe (280 x 670 cm)
Following that of colonisation and specifically attached to a western relationship with nature -(being a rational and scientific collection of understanding and superiority over environment and species), my paintings aim to interrogate this way of understanding and attempt to explore in a disconnected manner, an interconnected relation between this western way of knowing and “other” way of understanding.
For example, in the exhibition SCHILDBACH XYLOTHEQUE AT DOCUMENTA (13) IN KASSEL , Marc Dion reconstructs the museum using a rational framework borrowed from Enlightenment studies of art and science. Dion introduces the ‘corps tree’ to symbolise our human unease with death and at the same time attempts to promote death as essential part of nature, as well as an interconnected process rather than a scientific thing to be disected and observed.
This interconnected process to all human and non human beings is one of the aspects I intend to further explore in my paintings both from a contemporary western framework and non western.
'Inside the inglorious house of the fabulous Lord M'
Work in progress
56cmx76cm
watercolour
2018
I aim to continue developing my watercolours applying loose translucent brush marks along side intense and controlled colour. I also want to further develop the idea of having intense and detailed imagery in juxtaposition with watery and translucent image.
I hope to use these combinations working together in composition to emphasise a more non-linear narrative in context to that of the different view points and perspectives of our self-awareness with the environment and other species.
Close up of watercolour detail
Quite a bit of the imagery used in my paintings relates to that of a hunt- predator and prey and the hunted. This imagery attempts to communicate meanings of human and animal superiority, dominance, hierarchy and fragility (survival of the fittest), as well as the natural cycle of dying, living and an interconnected relationship between species.
untitled
60cmx42cm
Watercolour
2018
The use of colour is in my work is chosen intuitively as I find myself working with bright intensity and vibrance.
It is also a binding factor that I use to connect the spaces in between the imagery that suggest a continuous web of continuity and connectives.
Author Donna Harraway explains this connectivity as mortal critters entwined in myriad unfinished configurations of places, times, matters and meanings- the essence that binds all that lives.
Most of the imagery that I work with is depictions of animals which I use symbolically and with reference to Harraway’s text, some of which explores the consequences of human behaviour in relation to profit and power and the unequal consequences for the poor and the rich and even worse consequences for non humans everywhere.
The left and right are close up images
In relation to contextual style I am interested with artist Jules De Balincourt’s paintings and the way he engages with colour. At certain parts I am interested in the way Balincourt creates dual intimations of creation and destruction such as 'Tree Portal', 2016. In this painting he uses an 'explosion' of radiating colour where the cause and effect seem to remain mysterious.
An example of Jules De Balincourt's
'Tree Portal'
oils
2016
Collaborating with fellow artist Magda experimenting using different mediums
In response to the brief for crypt show at St Pancreas Church in Euston London, I thought it was a great opportunity to explore methods of collaboration with fellow artist Magda Gluszak-Holeksa. In relation to the space we both decided to explore another medium
Together in preparation and with in a contemporary framework we contextualised the idea of faith itself, the church/building and what it represents in todays society
We came up with the idea of an altar, much like a pyramid and began using this context and some sketches to begin our development.
Collaborating and still including themes from each of our own practise we included the idea of hierarchy and uncertainty.
We used antique wooden stools which we sanded down to its raw form as a building block to construct an irregular shape of a pyramid. We balanced one stool on top the other that which was very fragile and could easily we knocked over.
We cast translucent resin bricks as well as had acrylic bricks fabricated to use as the actual bricks in the pyramid.
We also cast a resin top for the first stool as we intended to put a light under the sculpture that would permeate though the entire sculpture and reflect off the other resin bricks that symbolised an inner light.
While we were documenting our process and reflecting back on the videos we made, we then at last minute decided that the videos included with the piece gave it more depth and brought the piece from still to in motion, giving it life and a moving perspective.
We decided to project the moving video onto the sculpture in juxtaposition to the piece and ran it off a continuous loop for the duration of the show.
Reflecting back on the the process, although we faced challenges working in a new medium through much trial and error as well as it being a collaboration where each of us had different ideas and perspectives, it was however, accepting these differences and different work methods that unified our concept.
'Are we the heavy mountain that we have to carry?"
110cmx90cm
mixed media
2018
Video
'Are we the heavy mountain that we have to carry'
mixed media'
The above images document some of the process and the look of joy when we managed to successfully and carefully cast ta top base for the bottom stool .
In my earlier works I used watercolour in a far more controlled way but still maintained a strong intensity of colour built up in layer after layer.
Painting, 'The curious case of Michael Heppinworth' now does relate entirely to the concept of my more recent paintings, as the style was more illustrated and focused in a centred position as a mixed medium using ink.
However, this was the starting point leading me to my later works in relation to social awareness and our environment and species.
For example in the painting ‘The curious case of Michael Heppingworth’, I started to question the role of the individual in relation to nature and begun interrogating and breaking up the notion of the human figure with a strong link to animals, suggesting a connection with the essence of all living in spirit.
This is where I began exploring ideas of animal symbolism in relation to hierarchy and more importantly leading me to the de-hierarchy.
'The curious case of Michael Heppingworth'
30cmx42cm
Watercolour and ink
2018
Close up image of detail
