Abstract Stencil with “BIDJARA” – Experimenting with layers to gain an understanding of the process. The white areas are the cut out sections of the stencils showing each layer. I used spray paint.
This image features the word “BIDJARA” created using spray paint of 3 cut out stencilled layers.
Purpose:
- Typography Exploration: The piece emphasizes the artistic potential of typography, transforming letters into visual forms that engage the viewer.
- Layering Techniques: The use of a stencil allows for a clean application of colour and shape, highlighting the contrast between the cut-out letters and the background. With practice I will be able to better align the shapes and have a clearer application of spray paint. As this was an experiment, I wasn’t too worried about the overspray and alignment.
- Illusion of Depth: The shadowing technique adds a three-dimensional quality, making the letters appear to pop off the page.
- Visual Contrast: The interplay of light and shadow creates a striking visual contrast that captures attention.
- Dynamic Composition: The angled shadows create movement within the piece, adding energy to the static letters.
- Colour Play: The use of gradient colours enhances the visual complexity, making the text more engaging.
- Bold Visual Impact: The strong colour contrasts and sharp edges create an eye-catching focal point.
- Graphic Quality: This piece leans into graphic design elements, merging art with typographic style.
Description of Process:
For these hand-cut stencils, I used Mylar and plastic sheets to create the geometric designs, and paper for the Bidjara stencil. Each design was carefully cut with a craft knife to achieve clean, precise edges. The Mylar worked particularly well because it was durable yet flexible, allowing for multiple uses without tearing. I found that the layering of colours, especially when using spray paint, produced interesting depth and dimensional effects. One of the main challenges was maintaining control over fine details while cutting and preventing the stencil edges from lifting during spraying, which sometimes caused smudging. I fixed this by taping down the stencil and using thin, even coats of paint. Overall, the process was effective in exploring texture, repetition, and pattern, and it helped refine my technique for achieving crisp, professional stencil prints.
Conceptual Reflection:
Through these stencil experiments, I aimed to explore the relationship between structure, repetition, and cultural identity—particularly through the use of the Bidjara text as both a linguistic and visual symbol. The geometric stencils reference patterns found in traditional design such as the V shape symbol and natural formations, while the layered spray paint and texture convey the blending of cultural heritage with modern visual language. This process has encouraged me to think more critically about layering as a conceptual device, using transparency and repetition to represent overlapping narratives of place and identity in my resolved work. Looking forward, I see potential to apply this technique in installations or large-scale mural projects, expanding the conversation between surface, pattern, and meaning. This process is similar to the work of Gordon Bennett and Reko Rennie, who use abstract designs and repeated patterns to explore cultural identity.
