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Models exploring intersecting colour, volume shadow and light, inspired by Jude Rae. -
Inspired by Jude Raes work, these material model tests aim to explore the capacity of fabric. The gestures of twisting, ringing, draping of folding fabric are highlighted. Depths within the folds are revealed. Through using paper as the medium here, this reflects the St James Theater use of materials pretending to be something they are not. For example, the bronze statues painted white to appear marble. I find this very theatrical. The idea that in theatre things don’t need to be truthful, as they are only seen at a distance is an interesting and humorous concept. -
JUDE RAE Born 1956
Artist Questions:
Find out when and where they produced their work.
Jude Rae produced her series of work depicting drapery in the late 1990s in New Zealand.
Identify the key conceptual ideas that underpin their work.
When the viewer confronts Raes work, they are forced to question whether they become lost, and even if that artist herself has become lost within the fold. Dr Amanda Robbins writes “The folds seem to be never-ending, infinite and yet shallow, the space sculptural and constructed” perfectly illustrating the capacity for complexity within the folds. This seemingly simple subject matter communicates worlds within it. The works are only bound by the edge of the canvas, the subject could in theory extend, well beyond this.
Identify their critical position on colour in relation to their work (i.e. how is colour applied, in what proportions, what particular theories about colour inform the making of the work, how does colour change dependent upon the environment in which the work is viewed.
The monotone colour palette Rae imploys communicates a distinct stillness ‘They function as monastic, theatrical props to sustain the artist’s ideas about what painting might be” Robbins states, capturing Raes intent to communicate a meditative process. The off white tones are empty, pure. The viewer can fully immerse within the landscape of folds. The colour choice communicates the typically domestic object in an easily readable manner. The white used though is not stark, there is depth to it. Combined with bluer, colder tones or more sepia neutrals, the white is offset. Rae communicates, a soft lighting that washes over the subject, inviting us within the frame.
What type of surface treatments are used in the work? Do they use matte, satin, or gloss paints or material finishes or all of them together? Why might they do this and what is the effect of doing this?
Raes’ use of oil on canvas allows a certain fluidity to emerge amongst her works. This fluidness allows the drapery to fold in onto itself continuously, infinitely. This extends upon the meditative process Rae has established. “Cloth falls in an infinity of folds, temporary, insubstantial forms, which suggest indefinite extension and variation” Robbins states “It can be open or closed, bunched or spread, draped, thrown, pinned or stretched” : The medium used in turn reflects the fluidity of the subject matter itself. An object in its own right. There is not a visible sheen to the paintings. Instead, there dullness reflects a poignant stillness. We truly are looking through a window. -
as a group, we looked at the colour green and its properties. In week two, we where asked to translate these properties into mini models to express form, light and shadow. A photography exercise showed us how looking through the lens a certain way can increase mood and atmosphere. -
From our colour maps, we where asked to translate these into three dimensional models. Mine focused on the organic colours featured on the theatre, translating the curves of the exposed power lines, detailing and brick work. This is contrasted with the edges and corners in the models.
I have decided on the themes that will inform the design language that will feature throughout this semester. Behind a smashed window, I saw a curtain draped over a ladder. Perhaps just a moment of construction, the drama associated with the curtain is what sprung to mind. The curtain conceals and reveals. This simple screen is loaded with meaning. I want to look at the pockets within the curtains fold. Moments in between, drama revealed through time. To me the theatrical notes conjure the symbolism of the eye, and elliptical arch like shape. narrative and story telling. the arc of a story. I have tried to conjure this in my models and will use this to propel the project forward. -
a set of final colour way art pieces.
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taking inspiration from the organic lettering of the theatre, these colour ways are a playful exploration of the warm hues that constitute the space. -
On our walk to the Saint James Theatre, we where asked to document the surrounding environment, through colour, light, materials and the intangible aspects. What struck me was the noticeably neutral and earthly tones of the theatre in contrast to the rest of the city. Its sandy hue almost romantic and definitely a colour of the earth. These collages offer a fragmented view of the theatre, in a pictorial style: surrounding brickwork, the tangle of power lines, a decaying facade.
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Daniel Eaton 