Self in Landscape Julia Penney D BAVA YR.2 Visual Arts A brief insight into how I see myself with interrelated influences by other artists

Self in Landscape Self in Landscape Tearing around a newspaper article about emigration, I ‘aged’ it using a dilution of coffee. I adhered both the newspaper article and the ‘cut out’ copy of myself, onto a sheet of brown paper, then drew the landscape, as seen from my window, over the image, using pastel. I photocopied an old photograph of myself as a young child.

Hughie O’Donahue Hughie O’Donahue ARISE AND GO Medium: oil and gampi tissue on panel with photographic component Creation Date: 2004 “O'Donoghue uses specific narratives as motivations to make his work” “O'Donoghue will also incorporate photographs into the paint, often painting over these again, so the paintings appear as a series of layered images.”

Self in Landscape A pastel drawing created from a photo-shopped photograph of myself and my maternal Grandmother. Incorporated within the drawing is a photocopy of an old identity card from the second world war.

Eduardo Naranjo “His work is disturbing, complex. The drawing is perfect, transcendent and illusory to contribute a special light and a colorful austere. It is a metaphorical realism, fantasy and imaginative.’’ ‘Eduardo Naranjo is a celebrated Spanish painter, born in 1944 in Monesterio, in the province of Badajoz, Extremadura, Spain. His work is considered part of the 'Neo -Realism' trend of Spanish art’

Self in Landscape Music is a big part of my life. My husband and son are both musicians. Old music manuscripts were pasted onto the cardboard backing of an old sketchpad. These were ‘aged’ using solutions of tea and coffee. Using guidance from a photograph and using charcoal, I drew the face of my husband.

Mark Powell ‘Powell draws portraits of old people on the back of aged envelopes and other ephemera such as old maps and music score, using nothing but an ordinary Biro pen to do so. Each wrinkled face looks different, yet they all appear to look back at you from their time- worn canvas with an expression as if they wanted to tell you something. But their countenances are forever frozen in time so whatever message they hold remains a secret, just like the letter that the envelope once carried.’ “I do try and match the image of the person to the envelope. I always take the date and the position of the portrait into account when I’m drawing, trying to find the best balance”. M. Powell