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Otto Wieliczko

Foundation Diploma in Art and Design 2019 / 20

'Fishermen Hauling in the Net' Charcoal, pencil

'Fisherman’s Inside Control Room' Charcoal, oil pastel, watercolour, pencil

I looked at the potential threat posed by the sea. In one unique viewpoint, between wave forms looking towards the land, it is impossible to truly gauge the scale of the seemingly towering wave and its destructive potential. I continued this theme of waves in several variations. In another example, I pitted balletic beauty against possible peril, and found that the atmosphere of mysticism and unreality could undermine the effects of danger. I found an exciting tension between the beauty of the art, and the menace of the subject depicted.

In the underground many moods can be felt. Usually space is almost impossible to come by in a constant jostle of impatient characters. Fellow passengers rarely leave our intimate space, yet emotionally they are entirely self-absorbed and coldly indifferent to one another. An empty carriage too evokes strange feelings- the abundance of space is filled by imagined scenarios, increased introspection and anxieties. Today more than ever, with social distancing, this natural form of low-level paranoia would resonate with the daily tube traveller. In one print I have returned personal space to two travellers. I solidified this barrier which is ever present in normal circumstances without being explicit. Now it seems so defensive that it brings ill ease to the confined space. The two figures may be close by but they seem very alone in a warped carriage. 

'Searchlights of a Pistebasher' charcoal, pencil

'Conspiratorial Train Station' Charcoal, pencil

Large parts of my project deal with fairly dramatic examples of threat, in both style and subject. For one of my most effective pieces, however, I opted for a more understated response. Two figures standing together at the corner of a train platform seem to conspire in something. As a witness to this presumably illicit conversation the viewer feels their own complicity. The prevailing silence of the empty scene makes this interaction all the more curious.

'Train Carriage Chess Piece' Etching

'Train Carriage Chess piece II' Etching

'Tube Crucifixion' Etching

'Tube Saviour' Monoprint

'Portland’s Wave' Etching

'Death Dance over the Styx' Charcoal, pencil

'Fishermen Hauling in the Net' Charcoal, pencil

'Fisherman’s Inside Control Room' Charcoal, oil pastel, watercolour, pencil

I looked at the potential threat posed by the sea. In one unique viewpoint, between wave forms looking towards the land, it is impossible to truly gauge the scale of the seemingly towering wave and its destructive potential. I continued this theme of waves in several variations. In another example, I pitted balletic beauty against possible peril, and found that the atmosphere of mysticism and unreality could undermine the effects of danger. I found an exciting tension between the beauty of the art, and the menace of the subject depicted.

In the underground many moods can be felt. Usually space is almost impossible to come by in a constant jostle of impatient characters. Fellow passengers rarely leave our intimate space, yet emotionally they are entirely self-absorbed and coldly indifferent to one another. An empty carriage too evokes strange feelings- the abundance of space is filled by imagined scenarios, increased introspection and anxieties. Today more than ever, with social distancing, this natural form of low-level paranoia would resonate with the daily tube traveller. In one print I have returned personal space to two travellers. I solidified this barrier which is ever present in normal circumstances without being explicit. Now it seems so defensive that it brings ill ease to the confined space. The two figures may be close by but they seem very alone in a warped carriage. 

'Searchlights of a Pistebasher' charcoal, pencil

'Conspiratorial Train Station' Charcoal, pencil

Large parts of my project deal with fairly dramatic examples of threat, in both style and subject. For one of my most effective pieces, however, I opted for a more understated response. Two figures standing together at the corner of a train platform seem to conspire in something. As a witness to this presumably illicit conversation the viewer feels their own complicity. The prevailing silence of the empty scene makes this interaction all the more curious.

'Train Carriage Chess Piece' Etching

'Train Carriage Chess piece II' Etching

'Tube Crucifixion' Etching

'Tube Saviour' Monoprint

'Portland’s Wave' Etching

'Death Dance over the Styx' Charcoal, pencil