Kuvataiteen maisterin opinnäyte
Tuovinen, Tiina (2024-09-04)
Tuovinen, Tiina
Taideyliopiston Kuvataideakatemia
04.09.2024
Maisterin opinnäytetyö
maalaustaide
Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi-fe2024102286509
https://urn.fi/URN:NBN:fi-fe2024102286509
Kuvaus
Maisteri opinnäyte Kuvataideakatemia. Naistaiteilijuudesta ja figuratiivisestä öljyvärimaalauksesta.
Tiivistelmä
My thesis consists of this written dissertation and three oil paintings Yellow Flowers, Red Flowers and The Car that were at Kuvan Kevät degree show at Kuva/Tila from the 7.5-5.6.2022. The text has images alongside of the process, the final paintings, and some of the art works that I am referring to. My degree show paintings are all painted on the linen, the chosen media is oil painting, although as preparatory work I sketch and photograph. I have six chapters on my thesis. I talk about the importance of painting to me, about the theories and artists that have influenced my thinking and painting, I also talk about the process in the studio.
In the first three chapters, I talk about what compilation of various sources impacts my thought process and the art making, how sometimes I do not even recollect myself where something came from. I tell about how my own life experiences have impacted the perspective that I look at things from and about the contrasts of two cultures that I have lived half and half of my life and how that have shaped how I see things. I focus on the theories about female artists, how women artists have been hidden in the history of art. I try to show that the history of art is unilateral, women have been undervalued makers of art and often more on the role of the model or muse, the object of male gaze and how I try to shift that gaze in my paintings and how I as a female painter paint women from different perspective. I open about why women’s emancipation is important to me and how I became to be interested on the subject.
In my discussions about studio, I reveal about the process in the studio, its frustrations and trance like states. In my text I emphasise how feelings and intuition play a key role in the making of art. I explain how important part of the process simply is just looking at the work, either when drinking tea in the studio while staring and analysing at the freshly added brush works on the unfinished paintings or looking at the surrounding world when out and about, because anything seen, felt, heard can be a spark to a painting.
In the last three chapters, I delve more into the power struggles of gender in both the past and today’s art world. I touch on the financial side of today’s art market and what impact that has. Finally, I talk about my Kuvan Kevät paintings in the light of above-mentioned heavy subjects with a tone of excitement to painting and I summarise my time and experience in Kuvataideakatemia.
In the first three chapters, I talk about what compilation of various sources impacts my thought process and the art making, how sometimes I do not even recollect myself where something came from. I tell about how my own life experiences have impacted the perspective that I look at things from and about the contrasts of two cultures that I have lived half and half of my life and how that have shaped how I see things. I focus on the theories about female artists, how women artists have been hidden in the history of art. I try to show that the history of art is unilateral, women have been undervalued makers of art and often more on the role of the model or muse, the object of male gaze and how I try to shift that gaze in my paintings and how I as a female painter paint women from different perspective. I open about why women’s emancipation is important to me and how I became to be interested on the subject.
In my discussions about studio, I reveal about the process in the studio, its frustrations and trance like states. In my text I emphasise how feelings and intuition play a key role in the making of art. I explain how important part of the process simply is just looking at the work, either when drinking tea in the studio while staring and analysing at the freshly added brush works on the unfinished paintings or looking at the surrounding world when out and about, because anything seen, felt, heard can be a spark to a painting.
In the last three chapters, I delve more into the power struggles of gender in both the past and today’s art world. I touch on the financial side of today’s art market and what impact that has. Finally, I talk about my Kuvan Kevät paintings in the light of above-mentioned heavy subjects with a tone of excitement to painting and I summarise my time and experience in Kuvataideakatemia.
Kokoelmat
- Kirjalliset opinnäytteet [1497]