Friday 20 December 2013

Printmaking

This is another screen print on canvas that I worked back into with ink.
This time I cut up some wooden planks and then painted them in a washed down black to give the appearance of driftwood   As if they came from the ship depicted in the image. I then used nails to attach the canvas to the wood. I think rusted nails would have been better to use instead of shiny new ones, I may go back and use some rusted ones or 'age' them my self.

Print making

This is a screen print made on canvas, I worked back into it with ink and was pleased with how it turned out. Using ink I was able to reclaim some of the detail that didn't show up when printed on the canvas.

Monday 16 December 2013

influences

 My practice is influenced from a variety of things not exclusively linked to just other artists.
I try to make my art work aesthetically pleasing but I also like to have some sort of story behind it,
just like how a work of art can be of a greater value (and not just in monetary value) if it comes with a good providence.

I'm interested in history; be it fact or fiction, folklore or an old wives tale, I like narrative and asserting a visual piece from that


For my print project I was inspired by the 1851 epic novel " Moby dick or; the White Whale" by Herman Melville. The novel was a good source of inspiration for its block buster worthy scenes that Melville paints in the viewer's mind with his words. Also the novel deals with different things in allegorical ways such as, mans obsession, Captain Ahab relentlessly pursues the white whale because it severed his leg below the knee and sank his ship in a previous voyage, projecting human characteristics on an animal incapable of having said characteristics.
The book also contains exploration of class and social status, good and evil, and the existence of God,
things of which are just as relevant in our age. 



 


Wednesday 11 December 2013

Print making




These are printed onto canvas stained with coffee, using the Lino cut method.
Again, using canvas does not capture the image in the highest quality but it does give the pieces more character and atmospheric qualities. I used text from an old moby dick novel but opted to use part of a song verse titled "This Side Of The Blue" by Joanna Newsom 
I used the following;
Print 1: "And I do not know"
Print 2: "My own way"
Print 3: "To the sea"
Print 4: "But the saltiest sea"
Print 5: "knows its own way" 
Print 6 " To me" 

I chose to work in this manner as the novel of Moby Dick uses allegory with its use of religion and spirituality and even the white whale with its human personification and obsession thrust upon it by the character Captain Ahab.

The lyrics I chose have always stayed in my mind since hearing them, I don't know if I interpret it as it was meant to be, but to me it symbolises;

Spirituality, the sea being this deep and vast journey that we all take that is 'life'. 
The great unknown that is time and the future with our hopes and dreams and doubts, that consistent and unchangeable lack of knowledge of the future and how to proceed. 

Who ever reads this I do recommend having a listen to the song, see past the quirky vocals and try and interpret how it makes you feel. You may remember it from the Orange phone advert a few years back about the power cut in New York and everyone came together in the advert from different cultural backgrounds etc.  




Print making

These are silk screen prints that I also made but using plain newspaper rather than on canvas, I had two images made to print as one was darker and would show different qualities that the lighter one wouldn't. Using newspaper did bring out a much more detailed image of the print, with the wood that I did the original image transfer on even capturing the grain. I plan to develop these further

Printmaking

I made silk screen prints onto untreated canvas stained with coffee. Unfortunately as the canvas isn't completely flat/smooth not all of the image printed onto it. Next time I would perhaps sand down the canvas to make the surface more even. I did like however the texture that the canvas added to the print and I believe this gives it more character and depth then just printing onto plain white paper. I've not given up on them yet I plan to bring out more detail by working back into them with other media such as ink for example. 

Friday 29 November 2013

Printmaking

I was really please how this image transfer came out,

seminar presentation

Seminar presentation
I've chosen to talk about a light hearted subject... Death.

"Mama always said dying was a part of life, I sure wish it wasn't"
- Forrest Gump

As a society we seem to be captivated by death, but very ignorant to it aswell.

Take the soap operas for example. Almost every Christmas there is a death in East Enders or Coronation Street etc. and just Soap Operas in general, It's a guaranteed way to boost the ratings.

 
More than 10 million people tuned in to itv on (21/01/14) as Hayley Cropper, sick with incurable pancreatic cancer, took an overdose with drugs and died in the arms of her loving husband Roy. Some praised the storyline for its sensitive handling of illness and death but others said it risked  encouraging suicides. 

Everyone dies, it's one of the indisputable   facts in this world,

"In this world nothing can be said to be certain, except death and taxes."
- Benjamin Franklin  

It's a subject we see everywhere, on tv and in films, in popular culture and in the newspapers. It's a thing that happens every day but it's also a topic we rarely discuss with one another.
It was Oscar Wilde who once said: 

'Life is far too important a thing ever to talk seriously about.'

And maybe that goes for death as well... 
I'm not saying that it's something we should discuss every morning over our bowls of corn flakes, but it is something we should discuss with one another more openly. Although, as death is a very subjective thing it can vary from person to person I.e in their beliefs, personal experiences: such as losing a loved one.

I'm researching this topic in my self directed work and I've come across quite a bit of misunderstanding and readily dismissal from some without listening to why I've done the practises I've done and the things I've researched. 

Take the charnel houses situated throughout Europe and the "catacomb saints" 

I've been looking at two books by critically acclaimed author and photographer Paul Koudanaris:

The Empire Of Death ( A Cultural History Of Ossuaries And Charnel Houses) 


Heavenly Bodies
(Cult Treasures & Spectacular Saints From The Catacombs) 


Here are some photographs from the books; I won't list all the details but the so called " catacomb saints" are mostly situated in German speaking regions of Europe and came about from Rome after the Protestant reformation in which saw a vast array of catholic relics destroyed. Known as "catacomb saints" because under a vineyard (Bartolomeo Sanchez, Italy) in 1578  a vast labyrinth of underground cemeteries were rediscovered and believed by the church to contain early Christian martyrs. 


    Most were decorated by nuns in Rome 



 Here is an extract from the Empire of death;
"To understand the great charnel houses we must first acknowledge that death itself is not a fixed concept. The French sociologist Jean Baudrillard, one of the greatest cultural theorists of the modern era, defined death as being simply the line of demarcation that separates the dead from the living. Within that axiomatic statement is an important implication: the line can be fluid. The process of living inevitably brings the cessation of life, but death as a concept is an intellectual construction that can vary from society to society and era to era." 

                                                       
                                                                   EVALUATION

I think I touched on some interesting topics such as death in pop culture and the media, it was a bit hard to seamlessly go from that transition to the charnel houses etc. and this showed in the presentation, it didn't go as well as it could've for these reasons. next time I will make a presentation that's more inter connected and flows easily.

Monday 25 November 2013

Sculpture piece

This is a sculpture piece I made for the sculpture project. After looking at Joseph Cornell's work it inspired me to make this. After viewing some of his art, it made me feel more comfortable to embrace surrealism and being looser with my ideas, I felt this was of benefit to me.

Friday 15 November 2013

After my tutorial with Leila, she looked at the piece I had made for sculpture and suggested that I look at work by the American artist and sculptor; Joseph Cornell.

I found his work to be really interesting. The way he assembles his collages and the choice of his images infusing beautiful imagery with the mundane and creates a juxtaposition between them . A lot of Cornell's shadow boxes have a distressed and weather worn quality to it and this appeals to me as i have applied this type of technique to my sculpture work and to work in other projects as well.



  Andromeda: Grand Hôtel de l'Observatoire, 1954. Box construction, 18 5/16 × 12 15/16 × 3 7/8 inches (46.5 × 33 × 9.8 cm)


Untitled (The Hotel Eden) 
c. 1945 (140 Kb); Construction, 15 1/8 x 15 3/4 x 4 3/4

Monday 11 November 2013

Frieze/London Trip


This is some of the work I saw during the Frieze trip. I found the exhibition to be hugely inspiring, it  was a really valuable experience in seeing so much work showcased by galleries around the world.
Below are some of the photographs that I took during Frieze that I was drawn to; some for the aesthetics, some for the materials used and others for the process.  







 Bruce High Quality Foundation
Various Self Portraits 2001-2013
Shadow Box, Mixed Media
Dimensions Variable.

Susan Hiller
'The Dirty Paintings No.8' 1990
Dispersion ink and dirt on canvas mounted wallpaper
20 X 20 in. / 50 X 50 cm
Gedi Sibony
'Cyclops' 2013
Trailer
101 1/2 X 126 X 1 13/4 in.
(257.8 X 320 X 4.4 cm) 
 Manfred Pernice
'Adam - August' 2013
Various woods, paper, enamel paint, varnish
159 X 63 X 62 cm.
 Gabriel Kuri


 Vik Muniz
 Willem Boshoff
'Flag l' 2003
Smashed up plastic toys on a wooden base
114 X 190 cm.


 Vik Muniz
 Seth Price
Untitled, 2013
Gesso, moulding paste and ink on plywood
85,1 X 180,5 cm.
 Fredrik Vaersley
 'Telegram from the future, Postcard from Karakorum' 2013
Postcard ( back + front)
32.70 X 39.53 X 3.9 cm (framed)
8.89 X 12.7 cm (postcards)






 Artists Unknown

 Antonis Donef
Untitled, 2013
Vintage printed matter
collage on canvas
260 X 260 cm
 Neha Choksi
'Houseplant and sun quotations 8' 2012
Sunlight exposed hand-made palladium
prints paired with digital prints
16.5 X 24 in. (framed)
 Dash Snow
'The sins of New York...' 2006
Collage
29.4 X 19.4 cm (11.57 X 7.64 in.)
 Francis Picabia
'Transparence - Potrait de Rene Char'
ca 1930-1932
Charcoal, pencil on paper
12 3/4 X 9 in.
32.5 X 23 cm


Richard Hughes
'Cosmic Background Radiation' 2013
polyester resin, fibreglass, enamel and acrylic paint
82 6/8 X 41 3/4 X in.
210.2 X 106 X 10.2 cm