Barrymore A. Moton Art 281 Jason Judd instructor. "We thought they thought what we thought, but they didn't." (2016) by Rob Swainston woodblock print on fabric and paper.  Viewed at University Galleries Illinois State University Normal, Illinois 6 September 2016.  

Fig.  1.1   But they don't

Rob Swainston's print titled But they didn't represents the mood of isolation and seclusion by using secondary and tertiary earth tone colors in a strange, overall domination of positive space. This print is currently on view at University Galleries in Uptown Normal, Illinois. It a woodblock on paper and hangs with other pieces by the artist with the same theme and style. This print has a colorful representation of architecture located in the background. The shape of the structure is in distinct contrast with organic, contoured shapes of the same hue.  These shapes are rendered in an overlapping, distorted fashion to give the effect of swamp foliage.  The darker hues at the right, top and bottom seemingly create depth.  An old, 17th century building appears to be recessed in the backdrop; However, it is visually released in the left portion of the print.  Swainston uses darker hues to create symmetrical lines to aid the viewer in deciphering what the image or images may represent.   These implied lines and shapes guide the viewer’s eyes in a "horseshoe" like motion around the main architectural shape in the center of the print.  Spacially, the viewer can perceive this as a structure peeking out from the roadside looking outside in.

Swainston applies color, shape and line in the print "But they didn't" to reinforce the feeling of seclusion.  The symmetrical, bold, black shapes in the structure are a clear indication that he wanted the viewer to perceive this piece as a form of architecture in a landscape setting.  The green colors throughout the piece seem to dominate our psyche by making it seem we are in the print, possibly walking in a swamp area in Louisiana or Florida.  Through his use of contrasting color at the base of the print, he renders the illusion of water reflecting off of the landscape.  Whether intentional or unintentional, Swainston is able to convey the emotion of a serene place in this print.

Black Mary

Barrymore A. Moton Art 281 Jason Judd,  International Show viewed at University Galleries Illinois State University Normal, Illinois 22 Sept. '16 Black Mary, or "Molly Princess of Wales." 2016 by Director/Writer/ Producer - Joscelyn Gardner,  Black Mary Lead Actress/Vocalist:  Melanie Jean-Baptiste  Animated video. 33:41 mins. 

Joscelyn Gardner's piece entitled Black Mary is a animate video approx. 33 mins long. It's set in the period of (colonial slavery in the Caribbean) circa 1700's.  This film is  very intriguing for several reasons.  One of which is the cinematography used. The cinematography takes you to the age of the minstrel shows without the Black face or some Vaudevillian skit. Fig. 1.1  It used  the co-actors as mannequin-like stage-props effectively to the extent that it  gave them a voice without any dialogue.  Throughout the film you found yourself waiting for them to have some form of speaking lines.   The fact that it was done in a narrative format added to the aura of this piece. 

Fig. 1.1 Black Mary or "Molly Princess of  Wales" 2016

Gardner has actress/singer Melanie Jean-Baptiste play the lead actor as she performed vocals and narrated on stage shedding light on issues of colonialism, sexism, color-ism, and racism during slavery in the Caribbean.  The story was intelligently presented in narrative form reminiscent to  Fig. 1.2 HBO documentary "Unchained Memories.

Fig. 1.2 "Unchained Memories"

It has been stated in historical archives that the worse slaves were sent to the Caribbean.  However, the main character Black Mary,  was not an incorrigible slave by any means for she was well liked by her master and traveled him to every destination.   It was the fellow fair skinned slaves that gave her problems.  Gardner was able to get the viewer into the mind of Mary by allowing them  to ascertain the toxic relationships between fellow slaves of a lighter hue through the narrative voice of Ms Jean-Baptise. The piece is gritty and pulls no punches when speaking of the atrocities during slavery in the Caribbean. As we went from scene to scene  the stage backdrop would change.   Some of the characters, including the family dog would either be added or subtracted like interchangeable parts to keep the viewers attention off the lead actor and tuned in to the grander scope of the piece.    In Fig. 1.1 she implement text  on the slave shack in the backgroundFor those of you who have the patience or the interest in colonial slave history this piece is right up your alley.  I happen to like artist who choose to embark on different projects in a historical context. In my opinion it’s the duty of every artist to reflect the times in their work.  
as a visual aide to give the visual imagery of some form of slave memoirs as you attempted to follow the rhythm of her voice in unison with the architectural contours of the slave shack in the backdrop. 

Fig. 1.3 Joscelyn Gardner

 Joscelyn Grarderner Fig. 1.3 is a multi-media artist. Feel free to google the introduction to her 2004 exhibition from her show entitled White Skin, Black Kin "Speaking the Unspeakable." Though born in Canada to Canadian and Barbadian parent her roots still lay in her Caribbean ancestry.  A great deal of her work deals with the very issues with which she addressed in her film Black Mary.

"We thought they thought what we thought, but they didn't." (2016) by Rob Swainston
woodblock print on fabric and paper.Viewed at University Galleries Illinois State University Normal, Illinois 6 September 2016.  Rob Swainston's print titled But they didn't represents the mood of isolation and seclusion. by using secondary and tertiary earth tone colors is a strange overall domination of positive space.This print is currently located at the University Galleries in Uptown Normal, Illinois. The print is woodblock on paper and can only be viewed from one side displayed on a wall. This print has a colorful representation of architecture located in the background. The shape of the structure is in distinct contrast of the organic contoured shapes of the same hue that is rendered in a overlapping, distorting fashion to give the affect of swamp foliage.  The darker hues at the right, top and bottom seemingly creates depth in this print as if it were recessed in the back drop;  However it is released in the left portion of the print.  Swainston uses the darker hue to create symmetrical lines to aid the viewer in deciphering what the image or images may represent.   These implied lines and shapes guides the viewers eyes in a "horseshoe" like motion around the main architectural shape in the center of the print.  Spacially the viewer can perceive this as a structure peeking out from the roadside looking outside in. Swainston implemented color, shape and line in the print "But they didn't" to reinforce the feeling of seclusion.  The symmetrical bold black shapes in the structure is a clear indication that he wanted the viewer to perceive this piece as a form of architecture in a landscape setting.  The green colors throughout the piece seem to dominate the viewers psyche' in convincing them into believing that they are actually in the print possibly walking in a swamp area in Louisiana or Florida.  Through his use of contrasting color at the base of the print he was able to give the illusion of water reflecting off of the landscape.  Whether intentional or unintentional Swainston is able to convey the emotion of a serenity in this print.

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Barry Moton
Formal Analysis
6 Sept. 2016
Art 281 Jason Judd


"We thought they thought what we thought, but they didn't." (2016) by Rob Swainston
woodblock print on fabric and paper

Viewed at University Galleries Illinois State University Normal, Illinois 6 September 2016
                                                                  
                                                                  But they didn't

     Rob Swainston's print titled But they didn't represents the mood of isolation and seclusion. by using secondary and tertiary earth tone colors in it's strange overall domination of positive space.This print is currently located at the University Galleries in Uptown Normal, Illinois.

• The print is woodblock on paper and can only be viewed from one side displayed on a wall.
• The print is a colorful representation of architecture located in the background.
• The shape of the structure is in distinct contrast of the organic contoured shapes of the same hue that is rendered in a overlapping, distorting fashion to give the affect of swamp foliage.
• The darker hues at the right, top and bottom seemingly creates depth in this print as if it were recessed in the back drop;  However it is released in the left portion of the print.
• Swainston uses the darker hue to create symmetrical lines to aid the viewer in deciphering what the image or images may represent.   
• These implied lines and shapes guides the viewers eyes in a "horseshoe" like motion around the main architectural shape in the center of the print.
• Spacially the viewer can perceive this as a structure peeking out from the roadside looking outside in.

 Swainston implemented color, shape and line in the print "But they didn't" to reinforce the feeling of seclusion.  The symmetrical bold black shapes in the structure is a clear indication that he wanted the viewer to perceive this piece as a form of architecture in a landscape setting.  The green colors throughout the piece seem to dominate the viewers psyche' in convincing them into believing that they are actually in the print possibly walking in a swamp area in Louisiana or Florida.  Through his use of contrasting color at the base of the print he was able to give the illusion of water reflecting off of the landscape.  Whether intentional or unintentional Swainston is able to convey the emotion of a serenity in this print.