My name is Rachel Rebecca Glover, and I am studying Art and Psychology at the University of Reading. This blog will act as my written portfolio for my Art Studio module, containing information on my work process, thought process, the lectures, workshops and talks I attend, and artists that have influenced my work. Perhaps a sort of formal, arty diary. I aim to use this blog to develop my art writing skills and vocabulary, and hope that development will show in this blog throughout the year.
Alarm clock app chiming, petulant and smug. Yawn.
My own breathing, wooly and deep; the first ragged inhalation lingering in my chest cavity.
Joints cracking and popping as I stretch them.
Bedsheets rustling and scrunching.
Squishy slippers padding along the floor; creaking door.
Yanking hairbrush, zipping up jeans, swishing of jumper tugged over torso.
Wet scrape of a toothbrush, gargling water.
Weird suction-noise as the air-lock of the freezer door opens. Clanging of plates and tap of cupboard door.
Click of the toaster switching on. Repeated click of toaster switching off.
Scrape of knife against toast. Crunch and chew of the toast hastily devoured.
Glug of water rushing down throat.
Trickle of tap, blub of washing up liquid bottle.
Whatever music I choose to listen to.
Mechanical slot of key sliding into lock.
Caroline Achaintre is French-German artist, whose practice has been based in London for the past 19 years. She was also my artist of choice to research for my summer project about artist influence.
Her work began with small abstract drawings, channeling what she describes and ‘teenage angst’, with surrounding themes of primitivism, postmodernism, and german expressionism. These works also explored themes of masquerade, clowns, multiple personalities, and tense energy.
Then, whilst at Goldsmiths college, she decided to try and translate this aesthetic into textiles; specifically tufted wool; in order to try and “minimise the work from being opulent to being expressive”. She drew the inspiration for this from masks and anthology collections.
Moderately sized as birds go – the size you think of when you think ‘bird’.
A good size.
Not quite rotund, but one feels the urge to grab it when spotted all the same.
A golf-ball of sinew entangled with a perfect thread of arteries surrounding a spitfire heart.
Enough blood to fill a thimble or two.
Strong appendages either side of the keel, with soft knives protruding from the end of each.
Tough and gristly, robust and hardy; slightly fragile.
Intelligent, blue eyes indicate an expression of hyper-awareness.
Soft exterior; pleasant combination of mute, frosty fawn sleek over slate grey, with splashes of charcoal and cream.
A spiky little goatee protrudes from under a sturdy, wedge-shaped beak.
A lightning flash of blue on the sails; not enough to earn it its’ name, but noticeable all the same. Spindly, angular legs ending in grip-hooks bob and bounce in a wary dance, despite all the nerves they seem at home in their surroundings.
The living embodiment of autumn, they carry acorns in their beaks to their caches on crisp October mornings, they make the landscape their own.
Rounded wing tips give the advantage of short bursts of agile flight through oak branches, leading to a curvy and meandering flight pattern; unusual in most corvids.
Straight-line flight seems uncomfortable and forced; too many wingbeats are required. Unfortunately necessary when what was once woodland territory is now field and concrete.