Degree show prototype print

The ironing lady

Construction (1)

  

My first construction from the series Constructions; both social and other, has been compared to a segment of a painting by French artist Pierre Bonnard 'The Mediterranean' (Triptych), 1911 - as shown above. 

Karla Black Love

Ever since I began incorporating mixed media into my practice, I have been very much influenced by the work of Karla Black, and the way in which she encompasses something in between painting and sculpture. I think part of the appeal of her works lies in the contrast between their fragility and the monumentality they often possess. Her raw materials function so beautifully without much interference; insisting she chooses them purely on an aesthetic basis, experimenting and playing with in the way children handle their material world. I wish i could have made it to see her solo exhibition at the Venice Biennale. 

Someone elses

Since my tutorial with Jessica, I have been in a bit of a quandary with regards to image selection for the final show. If i categorise the specific image types I have used throughout the course so far, it would be like so 

- Figurative & objects (personal of family)

- Landscapes/places

-Sites/buildings/objects 

I recently came back into contact with an old friend after looking through her photographs documenting a trip she had been on recently. I was intrigued by her images because she had presented two separate snapshots together to make up a whole. I was curious to know why she had done this, whether it was deliberate or just the camera being used. However, i didn't ask her because i felt i could adopt these images and present them to portray my own personal interpretation. Using the foam structures to explore a narrative physically. 

'Constructions; both social and other' - in the making

Material & object intersection

Jessica Voorsanger Tutorial

We began the tutorial by discussing a couple of recent pieces of work I had made, including the two exhibited at Beaconsfield. Questioning the specific choices of imagery, Jessica asked me how i select each image before printing them, whether or not they were random. I explained that I had moved away from using figurative images of my family in an attempt to de personalise the work, and instead select photographs I have taken from various places and locations, usually of objects which spark a memory or emotion i had felt in this space. However, communicating this effectively to my audience has proven to be difficult as the material itself carries its own identity. 

Jessica felt as though my images had a 'snapshot' aesthetic, and understood that I am trying to make a moment physical using the materials for their specific qualitites. 

Continuing with how the imagery is chosen; we discussed how much i want my viewer to know as well as see. Whether the work is fully accessible. 

We then went on to look at the piece of work I made for the Hannah Barry exhibition - the framed image of the chairs. Agreeing that the use of the frame clarified it as an 'art piece' as opposed to the unframed works which are recognised more so as objects on their own. Jessica felt the viewer would question these more so. 

J and I also reviewed the projection piece exhibited for the Beaconsfield project. This presented a few issues because it was the first time I had used an image which wasn't mine aswell as it being of a painting and not a photograph. Both, in effect, changing the context of the work entirely, which was something i didn't want to do. However, perhaps i found them so intriguing and felt the need to exhibit them because these found slides were not mine and therefore i had no personal attachment to them.

Lastly, I spoke about my idea to make objects purposefully designed to support the material & image. J said this is something i should definitely try out. 

Issues I will be thinking further on as a result of this conversation - 

• With regards to the presentational aspect for the show, I need to think about the amount of works shown as this crucially influences their importance. For an example, if i was to exhibit the two large sheets - because of both their scale and the fact there are only two, there would be a large focus on why these in particular. 
• The choice of imagery needs to be further defined. How personal I want my images to be which in affect, alters their accessibility to the viewer.
• When referencing specific objects within a photograph, remember that they already have their own identity. E.g. The ballon - celebration of an occasion
• Identify exactly what it is I am wanting my audience 'to get' out of the work at the degree show, and how the visuals translate when put together. 

Meltdown: The failed experiment

These images demonstrate the failed attempt of mine to print onto two polystyrene test pieces. Even though i knew that the heat transfer paper would most probably melt the material to some degree, i assumed that if i put the ironing dial on a lower temperature, it would still heat the paper enough to transfer a complete image. I was wrong. Instead, the image came out in 'dot form' and even though this new texture was quite interesting, it wasn't exactly what i wanted the outcome to be like on two 8ftx4ft sheets! I am now in the process of deciding what to use instead of the polystyrene, as i am still set on producing a large scale image to act as a background in my space. After a quick chat with Rebecca in my studio space, she suggested perhaps just sticking to the the material which i am already so familiar with and trying something new with it. Manipulating it in some way. Now it is my mission to track down a foam supplier so that i can try and order the two large pieces of it, preferably the same size as the polystyrene boards. 

Dividing & reforming

Bend Over Shirley

I found the exhibition Bend over Shirley to be a great success. Everyone has worked very hard to curate not only their own work for the show but also their classmates which has been good experience for us all. I also felt that my artwork They do things differently there was really well suited to the upstairs gallery space. The dark wooden flooring complimented the colours of the projection & material. Another plus point was that the lightness of the room didn't seem to affect the visibility of this piece, as usually projections require a darkened room. However, I wasn't quite so keen on the second piece of work i had exhibited Dog tile (Froe). Although it's structural qualities appeared to fit in well in the underground gallery space, I wasn't happy with the imagery. Predominantly floral covered, I had intended the work to be more focused on the section of the dog tile (as stated in the title), as this is what I had initially been intrigued by. I wanted the styrofoam structure to almost echo this and attempt to resemble an oversized tile which was ripped and falling apart demonstrated by the tearing away of the aluminium foil. Unfortunately, I didn't quite plan it out accurately enough hence the dominance of the flowers in the image.

Projections series (2)

Projection series

I have started a series of projections using 35mm slides found in the street. There were only two - one of a painting by an artist I'm still unsure of, possibly Camille Pissaro? And the other, taken of a religious scene, again not sure the origin of this image. I decided to use a couple of blocks of a beautiful pink/orange coloured styrofoam which i found in a skip outside the Hannah Barry gallery. Combining the two found sources to produce my own interpretation of these scenes. Deliberately making a parting inbetween the two blocks where the vanishing point on the image was situated to imply a sense of never ending and unknowing. Exploring this image further through the inherent qualities of the material. Discovering how the material changes our perception of the image and the image then changes our perception of the material.

Perhaps the reason as to why i felt this piece was so successful was because the slides were not my own  and therefore it made the utilising process so much more exciting. Having no personal connection or relation to them. This is an aspect i need to really try and uncover when selecting imagery for the degree show works.