FA Portfolio: Watercolor story panels

For my work this week, I decided that I wanted to control the narrative of the work more in contrast to my approach last week, with translating story through observation. I plan to work these out in watercolor, and I currently was only able to outline a couple of the panels, and am going to have some color in them for next week.

This story for me is based off of dreams, so for the viewer I want them to have some sense of confusion about what's going on and particularly about the timeline to echo a dreamlike set of guidelines to the situation. I want the viewers to go through the process of piecing the story together from what they see in front of them, so that is why I chose to start the panels from the end of the story rather than the beginning.

I am considering inlaying the papers onto wood panels, perhaps with metal hinges to create some sort of box structure (having 4 story panels), so that the viewer is placed at one angle of the story and sort of forced to go around until they have found out what is going on. I am also going to put banners with single phrases of text to add more context to each panel, but those can also be used to throw them off the trail at the same time.

The reading this week continued on the subject of fear in art this time focusing on the artist's fears about themselves. One of the sections that I found very interesting was that on "Magic". The speaker points out a fear that I never realized that I myself possessed; that great art has some sort of unidentifiable but irrefutably present element to it that allows it to be classified as true art.
They also mentioned the questioning of credibility an artist has in their work they perceive to have turned out well in comparison to the ones that did not turn out well. I find myself doing this often, seeing the outcome of my art among other occurrences, and automatically formulating the failures as "a sign", whereas the successes mean nothing. It is an interesting contradiction within my own superstition and many other artists that I have met as well.

This week I am inspired by drawing and printmaking artist Orit Hofshi. From viewing their work, get the sense that the separate panels are perhaps telling different parts of a story at different times and yet the same location. I find this interesting given my intention to manipulate timeline for my viewers with my upcoming work. She also had this to say of time in her work:

"the consistent preoccupation with the dimension of time. I am constantly searching for ways of making time palpable: personal time, the present time, historical time....examining these different temporal dimensions vis-à-vis the universal temporal dimension, a dimension that may exceed the limitation of human understanding."

Alternative, 2014, ink drawing and carving on pine wood panels, 78 x 78 in

 Emerge 2018, carved birch wood ink 80 x 97in

Chronicle 2016, ink drawing, woodcut on handmade paper, carved pine wood panels, 118 x 220in