Calvin Downie Portfolio
'Clean me' Arcrylic Paint on metal
Located at Glasgows Clyde Side, this environmental piece is inspired by Damien Hirsts' 'For the Love of God', and the way he gives value to a dead object. This piece was a social statement about the neglected Clyde side of East Glasgow's Clyde side which is degenerating and covered in litter. Finding an accessible rusted car frame, I chose to bring the cryptic, dead canvas back to life, in an attempt to highlight the neglected Glasgow landscape. The conclusion was, that of the 3 rusted cars in the area, Glasgow City Council chose to remove this car from the area: My goal was achieved.
Located at Glasgows Clyde Side, this environmental piece is inspired by Damien Hirsts' 'For the Love of God', and the way he gives value to a dead object. This piece was a social statement about the neglected Clyde side of East Glasgow's Clyde side which is degenerating and covered in litter. Finding an accessible rusted car frame, I chose to bring the cryptic, dead canvas back to life, in an attempt to highlight the neglected Glasgow landscape. The conclusion was, that of the 3 rusted cars in the area, Glasgow City Council chose to remove this car from the area: My goal was achieved.
Visual Diary Water colour pain and fine line pen (A4)
Whilst living in China, I have been recording my time in my visual diary. Inspired by traditional Chinese art, I am motivated to develop my water colour painting skills (above), as I feel this is not one of my strongest media of choice. I have grown to appreciate water colour whilst in working in Asia; I enjoy recording scenes quickly with colour, building images with thin layers of watercolour, working into the image with coloured pencil, and adding detail with a final layer of fine liner pen. Whilst documenting my time in my visual diary I have noticed my style of drawing change as I experiment with various thicknesses of fine liner pen. Using thicker pen to represent objects closer in my perspective, and gradually working to a finer tip for those objects in the distance, and combining this with water colour gives this interesting graphic effect.
Whilst living in China, I have been recording my time in my visual diary. Inspired by traditional Chinese art, I am motivated to develop my water colour painting skills (above), as I feel this is not one of my strongest media of choice. I have grown to appreciate water colour whilst in working in Asia; I enjoy recording scenes quickly with colour, building images with thin layers of watercolour, working into the image with coloured pencil, and adding detail with a final layer of fine liner pen. Whilst documenting my time in my visual diary I have noticed my style of drawing change as I experiment with various thicknesses of fine liner pen. Using thicker pen to represent objects closer in my perspective, and gradually working to a finer tip for those objects in the distance, and combining this with water colour gives this interesting graphic effect.
Baby Charlotte' Spray paint and plaster cast (18x25")
On arrival of the new royal baby, Charlotte, I feel a sense of dis-justice at the thought of this "royal" baby, and the idea of a prestigious royal family, who are born into wealth and an easy life based purely on their bloodline. It seems to ridiculous to be reality in 2014, that because we as a nation are told this is a "royal baby" she is there for privileged upon the other children in the country. Here is my Royal Painting. It's not a painting. It's a Royal Painting.
On arrival of the new royal baby, Charlotte, I feel a sense of dis-justice at the thought of this "royal" baby, and the idea of a prestigious royal family, who are born into wealth and an easy life based purely on their bloodline. It seems to ridiculous to be reality in 2014, that because we as a nation are told this is a "royal baby" she is there for privileged upon the other children in the country. Here is my Royal Painting. It's not a painting. It's a Royal Painting.
'Evolution (II)' Sketchbook, Ink Studies and Lino Printing (A4)
'Purr' Oil wash on wood (40x26")
Amidst the 2014 Scottish Referendum, I hear on the radio that the queen is "purring" over the phone to the Prime Minister, David Cameron. Supporting the 'Yes' side of the political campaign, this statement in the news urks me, and adds to my disliking of the queen. Using a thin oil wash made of oil paint, linseed oil and white spirit, I painted a runny, unpleasant looking portrait of the queen in a distasteful green to allow others to view her as I do. Creating this large piece was extremely cathartic for me, as there was not too much attention to detail, and it acted as a release of my frustrating; objectifying my negative feelings and allowing me to move on.
Amidst the 2014 Scottish Referendum, I hear on the radio that the queen is "purring" over the phone to the Prime Minister, David Cameron. Supporting the 'Yes' side of the political campaign, this statement in the news urks me, and adds to my disliking of the queen. Using a thin oil wash made of oil paint, linseed oil and white spirit, I painted a runny, unpleasant looking portrait of the queen in a distasteful green to allow others to view her as I do. Creating this large piece was extremely cathartic for me, as there was not too much attention to detail, and it acted as a release of my frustrating; objectifying my negative feelings and allowing me to move on.
'Four Eyes' Charcoal and Chalk Pastel (A3)
Hot Air Balloon in the Sky Oil Paint and Spray Paint on Canvas (32x18")
This piece was painted as a peaceful barley field scene in thick oil paint, before a section of the sky was spray painted with
matt black to conceal a section of the image.
Ironically, "Air Balloon in the Sky" features no air balloon at all. The hidden section of the painting is a comment on what life could be like for those with Autism, who are without some vital skills in social communication (understanding tone, sarcasm for some). This piece throws a sense of frustration at the viewer, placing a flat black square on the peaceful scene, disrupting the image, and hiding part of the potential information being communication between the painting and viewer. The piece prompts the viewer to ask "Where is the Hot Air Balloon?/What would it look like?", "Why can't I see the full piece?", "Wouldn't the painting be prettier without the black interference?"
There's something missing... you can't quite put your finger on it... You have nothing to compare it because you've never known any different... this missing chunk leaves nothing but a void.
This piece was painted as a peaceful barley field scene in thick oil paint, before a section of the sky was spray painted with
matt black to conceal a section of the image.
Ironically, "Air Balloon in the Sky" features no air balloon at all. The hidden section of the painting is a comment on what life could be like for those with Autism, who are without some vital skills in social communication (understanding tone, sarcasm for some). This piece throws a sense of frustration at the viewer, placing a flat black square on the peaceful scene, disrupting the image, and hiding part of the potential information being communication between the painting and viewer. The piece prompts the viewer to ask "Where is the Hot Air Balloon?/What would it look like?", "Why can't I see the full piece?", "Wouldn't the painting be prettier without the black interference?"
There's something missing... you can't quite put your finger on it... You have nothing to compare it because you've never known any different... this missing chunk leaves nothing but a void.
'Please' (entry from visual diary) Acrylic paint on porcelain (5")
"My eldest sister has fallen and fractured her skull, resulting in a brain injury.I cannot stop crying, I’m worried and this is only increasing with the updates on her health as she lies in a hospital bed. I feel blue and fragile.
I cannot be at the hospital to watch over her, as I am in work (Costa Coffee). I keep crying in work and I am noticeably fragile to my work mates, resulting in my dropping a tray of plates and cups.
I decided to paint on this fractured plate to express how current my fears for my sisters fractured skull are, and the subject matter of a blue brain both communicate my fears for her bruised and bleeding brain, along with my sombre mood. I feel… blue… I feel… broken."
"My eldest sister has fallen and fractured her skull, resulting in a brain injury.I cannot stop crying, I’m worried and this is only increasing with the updates on her health as she lies in a hospital bed. I feel blue and fragile.
I cannot be at the hospital to watch over her, as I am in work (Costa Coffee). I keep crying in work and I am noticeably fragile to my work mates, resulting in my dropping a tray of plates and cups.
I decided to paint on this fractured plate to express how current my fears for my sisters fractured skull are, and the subject matter of a blue brain both communicate my fears for her bruised and bleeding brain, along with my sombre mood. I feel… blue… I feel… broken."
'Boys don't cry' lino print on newspaper, (A3)
Looking at societies expectations of the modern man, this lino print is one in a series of 10, where a sunflower with the word 'Fragile' is printed juxtaposing material (In this case, a news article on war). The process of making the lino print served as an extension my opinion that society expects modern men to be brute, and masculine, as (compared to screen printing or mono printing) lino printing asks physical strength to both cut the relief from the tile and to execute a clean press.
Looking at societies expectations of the modern man, this lino print is one in a series of 10, where a sunflower with the word 'Fragile' is printed juxtaposing material (In this case, a news article on war). The process of making the lino print served as an extension my opinion that society expects modern men to be brute, and masculine, as (compared to screen printing or mono printing) lino printing asks physical strength to both cut the relief from the tile and to execute a clean press.
'Hopeful' (entry from visual diary)Oil paint on paper (A4)
As my sister recovers from her brain injury, I began to see a light at the end of the tunnel.
My to-do-list becomes shorter and more bearable at the same time and life begins to look a bit brighter.
The sudden light and life is communicated via the glow in the middle of the page; this glow radiates slightly from towards the top left of the page as I envisioned myself in a deep, dark tunnel, symbolised by the dark blues and muddy greens. But life and light are vastly flooding my life as screams of yellow, white and vibrant pink oil paints begin to mix with the darker tones.
After this point, I decided to add more bright yellow tones to the centre of the glow, hoping it would better communicate an image of bright light; however, I actually prefer the piece before I added the extra colour. As I used oil paint with palette knives, there is a nice texture and expression before it was flattened with the yellow centre.
As my sister recovers from her brain injury, I began to see a light at the end of the tunnel.
My to-do-list becomes shorter and more bearable at the same time and life begins to look a bit brighter.
The sudden light and life is communicated via the glow in the middle of the page; this glow radiates slightly from towards the top left of the page as I envisioned myself in a deep, dark tunnel, symbolised by the dark blues and muddy greens. But life and light are vastly flooding my life as screams of yellow, white and vibrant pink oil paints begin to mix with the darker tones.
After this point, I decided to add more bright yellow tones to the centre of the glow, hoping it would better communicate an image of bright light; however, I actually prefer the piece before I added the extra colour. As I used oil paint with palette knives, there is a nice texture and expression before it was flattened with the yellow centre.
China Sketchbook Multimedia (A4)
Since teaching in China, I have noticed a massive social divide in classrooms, that is obvious, and even somewhat set out by the teachers. Placing the intelligent children, or children from wealthier families at the front of the large classes allows them to receive the most attention from teachers, whilst the less academic children are told to sit at the back of the classroom, where it's harder to hear, and easier to be forgotten. I have been told numerous times by teachers to ignore these children, they will amount to "nothing special".
(Above) This is a page from my sketchbook, planning a large painting with an isolated school child girl in the middle of the lonely canvas (top left). In the lonely painting, the young girl will be draped in an oversized green sequin dress, with her short hair styled, and lit with a red light symbolic of prostitution. This uncomfortable juxtaposition is a comment on how the children I teach in China are being forced to prematurely be adults, with pressure to be academic. If they are not in the top 100 in their year of +300 students they will fail to make it into the next grade, and ultimately be deprived of making a "successful" life for themselves if they are repeatedly held back.
The studies above look mainly at how to draw Chinese faces, which differ from portraits I am used to in terms of the upper face- And later look at how to paint a red lit figure
Since teaching in China, I have noticed a massive social divide in classrooms, that is obvious, and even somewhat set out by the teachers. Placing the intelligent children, or children from wealthier families at the front of the large classes allows them to receive the most attention from teachers, whilst the less academic children are told to sit at the back of the classroom, where it's harder to hear, and easier to be forgotten. I have been told numerous times by teachers to ignore these children, they will amount to "nothing special".
(Above) This is a page from my sketchbook, planning a large painting with an isolated school child girl in the middle of the lonely canvas (top left). In the lonely painting, the young girl will be draped in an oversized green sequin dress, with her short hair styled, and lit with a red light symbolic of prostitution. This uncomfortable juxtaposition is a comment on how the children I teach in China are being forced to prematurely be adults, with pressure to be academic. If they are not in the top 100 in their year of +300 students they will fail to make it into the next grade, and ultimately be deprived of making a "successful" life for themselves if they are repeatedly held back.
The studies above look mainly at how to draw Chinese faces, which differ from portraits I am used to in terms of the upper face- And later look at how to paint a red lit figure
'The 19th' Oil on wood (38x26")
Being a fond supporter for Scottish independence throughout the 2014 referendum, this piece was created on the 19th of September: the day Scotland found out we would not achieve independence. This piece was a crucial point in my creative development, and was the first time I truly personally experienced how painting acts as a form of therapy. Painting First Minister, Alex Salmon, in blues and purples to represent bruising, my pain, my feeling of injustice and defeat allowed my to objectify my internal feelings onto wood and allow my feelings to be seen, without having to speak about them.
Being a fond supporter for Scottish independence throughout the 2014 referendum, this piece was created on the 19th of September: the day Scotland found out we would not achieve independence. This piece was a crucial point in my creative development, and was the first time I truly personally experienced how painting acts as a form of therapy. Painting First Minister, Alex Salmon, in blues and purples to represent bruising, my pain, my feeling of injustice and defeat allowed my to objectify my internal feelings onto wood and allow my feelings to be seen, without having to speak about them.