The Villa Rouge (book cover), Nick Morley
Morley works using predominantly lino, which is a printing process I really enjoy, to create cartoon-style work. His pieces always convey a huge amount of movement, and are detailed in very simple ways to transport them from the world of 2D to that of 3D.
Eagle, Nick Morley
His work almost always includes black lines as well as the printed colours, the intensity and width of these lines translating to movement and tone.
Deep Sea Diver, Nick Morley
Of all of his works, this is by far my favourite - there is something so simple about this piece, and yet the detailing is quite intricate and the composition is fairly simple. I like that it is quite clearly a deep sea diver, but that it has a somewhat sci-fi twist on it somehow, perhaps because it isn't a modern diver with equipment we'd use now.
Fine Art 2
(From left to right) Myth and Moor, Migrant Mother, and The Henn Quadruplets by Dorothea Lange
Given my decision to look at icky things on the floor and shoot them in black and white, I think it only fitting to look at the work of Dorothea Lange, whose black and white photography often depicts white moving, sad scenes. Her work carries a certain weight to it that really speaks to you as you look at it, drawing you in closer despite you not really wanting to look to hard at the scenes in front of you. This is exactly the effect I hope to create with my own work.
Alfie, Kirsten, Miles and Elly, by Gregg Segal
Segal photographed people lying in a week's worth of their rubbish to draw attention to just how much waste they were producing, and so his work fits well with the piece I have planned - both are looking at waste, and both address rubbish people brush aside and ignore or avoid.
Segal's work is colourful, which mine won't be, but I think the same effect will be created in that both mine and Segal's work will force people to address subjects they aren't comfortable with.
The fact that my work will be black and white sort of reminds me of war/ conflict photography, even though mine will not have that as the subject. I think there is something about black and white the makes the mood created far more sombre than if colour were used, and so in the context of my work I think it will serve to pay a strange tribute to the rubbish and ick left around Archway.
(Clockwise) Gas Tanks, Winding Towers, and Framework Houses, by Bernd and Hilla Becher
I really like the work of the Bechers; the uniformity and standardisation of each of their photographic collections makes them extremely aesthetically pleasing, but they also have an eerie quality that I think is invoked by the monochrome colours.
The grid in which the Bechers placed their photographs is reminiscent of the way artefacts would be laid out in a museum - easy to look at and pleasingly ordered, making them quite stark and unavoidable. I like this layout as it makes everything much easier to take in, but also makes it easier to see the similarities and differences between each of the photographs.
Self Portrait as a Pie Chart (on the verge of collapse), Scott King
Reading over the brief for tomorrow, this piece immediately jumped out at me; there is something childlike in its appearance - it looks like one of those huge multicoloured parachutes you'd play with in PE in Year 3 - but the title suggests something more adult, a deeper look at King that takes away from the initial innocence of the piece.
In Silence, Chiharu Shiota
Completely contrastingly, Shiota's work has absolutely no hint of childlike innocence at all - it looks like everything has been covered by black cobwebs, like the contents of the piece has been left alone, untouched and abandoned, for far too long. Shiota's work is unnerving, but in a more obvious way than King's.
Cave Paintings from Chauvet Caves, France
These are perhaps the most personal and unnerving of all; they are so old and raw, so full of history and stories we'll never know of. The age of these cave paintings makes them by far my favourite of all the pieces I've looked at.
I like that they aren't obviously about anything except identity, but not in way that shouts an explanation; these handprints could belong to absolutely anyone, which makes them amazingly beautiful.
From looking at these three artists, I think I'll bring in 5 objects tomorrow that all carry weight to me but won't be obviously important to other people. I like the idea that they could look absolutely unimportant to someone else, but to my they will carry a world of meaning.
The objects I think I'll bring in are my model llama (that my friend brought back from Peru), a hoop earring (because of the memory of buying them with Annie), some Indian ink (in reference to my stick and poke tattoos), some caffeine pills (because realistically how else am I supposed to survive on this little sleep), and a lighter (because some of my favourite memories start with making flame throwers during A-Levels last year).
Jaimee Mckenna's work
Mckenna's work uses abstract shapes to create really interesting garments that aren't the sort of thing you'd pass in everyday shops, the second of the two photos in particular showing Mckenna's work to look quite a bit like folded paper, making it somehow more down-to-earth than the garments in the first photo. I like how colour is used, especially as it is used so simply and boldly; the design is somewhat simplified by the use of single, blocky colours, and would be ruined if more were applied.
Do Hit by Droog Van de Poll
My Own Super Studio
I really like the two works shown above - each has a unique take on chairs, which I initially thought would be quite a boring thing to look at; multipurpose chairs that are practical and can be used as storage would be so useful, and I love the idea of taking a hammer to a metal block and shaping your chair yourself, with your own strength and mental design - it must also be quite cathartic.
I think I will look at mental state and practicality when designing my own chair tomorrow.
12/ 09/ 17
Today's library visit yielded some pretty interesting results; the idea of cannibalism, anthropologically speaking, has been around for a while, but there is not enough documentation to definitely prove its existence as a custom in any society.
W. Arens, The Man-Eating Myth, Anthropology & Anthropophagy, 1979
This then begs the question of where cannibalism came from in the first place, if it has not been recorded properly through the years. In his book The Man-Eating Myth, Arens does mention that cannibalism and human sacrifice are all dated, when they are dated, to prehistoric times. He does say that this 'merely matches a fictionalised past with a dubious present'.
W. Arens, The Man-Eating Myth, Anthropology and Anthropophagy, 1979
It's strange that cannibalism plays such a large role in today's pop culture, given its rather nasty details and hazy past, but the fact remains that society today is somewhat desensitised to cannibalism, thanks to the existence of TV shows like Hannibal and films such as The Silence of the Lambs. Even when I was presented with it as a theme my mind immediately jumped to Hannibal Lecter, not to the gory reality of people eating people.
Moving on from cannibalism, we then looked at the process of distortion. I found it particularly interesting to look at distortion in the context of a distorted perception, especially as this linked so well with the idea of cannibals having very different perspectives on life to most other people, which allows them to be cannibals.
Distortion through perception is easy to see through history; take, for example, Hitler's wildly distorted view of the genetic hierarchy between people and their races, genders, sexual orientation etc. There is no doubt that his views were wrong, yet he believed them to be quite the opposite, which allowed him to do what he did with no remorse or guilt.
Distorted perspective through art is different though, because it usually has a much more accessibly visual outcome; take, for example, Hans Holbein's The Ambassadors.
Hans Holbein the Younger, The Ambassadors, 1533, oil on oak panel, 207x209.5cm
This is a piece known particularly for its strange skull, depicted at the feet of the Ambassadors but at a very strange angle. It forces you to change how you look at the painting, to move and squint to actually see it for what it is. I've always liked this piece, I think because I saw it first when I was very little and it just confused me. Really, it still does - there's no proper reason for the skull to be so heavily distorted, and yet it is.
Another example of distortion is through optical illusions; some may see one thing while others see another, it all depends on perspective.
Old Woman or Young Lady?
Glass as our process was less interesting to research; a lot has been done with glass and it surrounds us every day, but it can be changed depending on temperature and lighting, used to encase something to keep it from harm or to trap something within. I think this is the idea I will follow with my piece.