A prominent theme that has occurred throughout my work is the idea of collections. Although I didn’t initially mean for this to happen in my final pieces, the use of collections is a concept that I really like to use. I like having several pieces of work that fit together to form a stronger meaning, and in the case of my ‘Life on Roaccutane’ subject piece and ‘Alzheimer’s Disease Series 2’ field piece, tell a continuous story.
In the Yesterday, Today, Tomorrow, September material project I created a large span of screen printing and cyanotypes that I divided down into categories and sorted into different arrangements. I displayed each collection in different ways. Some were put up on the wall, others sat in handmade envelopes and some were hand-bound into books. However all linked together to create one large collection of prints.
It is clear that my heavy use of collections in Yesterday, Today, Tomorrow, September that I found successful and was really pleased with, had a significant impact on my final pieces as each consist of 2 or more pieces of work.
I think it is fair to say my lino prints took inspiration slightly of Picasso’s portraits in the way that he simplifies the form and puts a distortion on reality.
‘Femme au Cheveux Flous’
After completing my lithography workshop I noticed some similarities between my portrait and the portraits of Picasso, with the use of simple lines and inaccuracy. I wanted to take this on further so for my final Field piece I decided to use a similar technique and produced simplified versions of reality. I didn’t want my prints to be Cubist by nature but I love the way in which Picasso enlarges certain areas so inaccurately, which leads to them being highlighted. Picasso’s technique translated into my own work, I believe, is beneficial for my Outside/Inside work in highlighting my Nan’s deterioration in mental health.
For my final piece I decided to do a progression of prints that went from bright to dark colours, where the image that can be clearly seen to begin with, slowly fades into the background. I wanted my final Field piece to link to my Outside/Inside work so I decided to do lino prints of my Nan. I took inspiration off of the Colour and Light project, where the bright colours fading away represent the mental deterioration in my Nan’s brain. The colour represents the light going out.
I created the fade by slowly adding the complementary colour to my original colour, this slowly turned each original colour into a variation of black.
I chose to carve 2 portraits of my Nan into the lino and 2 pictures of her hands, all my chosen prints were previous paintings I had done of my Nan. I chose to use lino as I wanted to move away from photo accuracy in my work. I came up with this idea after completing the lithography workshop and producing a portrait that was distorted and misshapen. I think it manages to give off the idea that the identity of my Nan has distorted.
If I was to further this piece I think I would pair the series of prints with audio recordings of my Nan talking to translate the idea further of her Alzheimer’s disease.
After completing the lithography workshop I started playing around with the idea of distortion due to the misshaped lithography portrait of my Nan.
I used this portrait as well as 3 other paintings I did of another portrait and 2 hands studies, to create lino blocks of these images simplified and distorted.
I then printed them on white card using black ink to see how they worked individually and together as a set.
I really like how they turned out and think they would work well together as a series of prints. I like them in white, but for my final Field piece I think I will print them onto coloured backgrounds in a progression of colours from dark to light.
I really like the morbid and creepy undertones of Quinnell’s mouth camera work.
In particular I like Quinnell’s solar grams, especially the picture he took in a graveyard. This ended up having a really close link to my groups’ work as we chose to focus our pinhole work around the graveyard and the idea of loss.
In this project we made a pinhole camera out of any object we liked, and by mixing together old and new image-making technologies, we were able to explore and understand light in a multitude of ways.
My group wanted to make the project link to the work we were personally looking at in our subject briefs. We decided to make our camera out of one of the ceramic students pots and took photos of the university buildings and Llandaff cathedral’s graveyard.
We had mixed results with our pinhole camera, some photographs such as the gravestone worked out really well whereas others were completely blurred and we were unable to make out what they were depicting. However, overall we were happy with the results of our photographs as they had a general eery quality that we were aiming for.
We chose the gravestone photograph to be the focal piece of our pinhole work as we thought we could develop off of it the most. We took photographs on our phones of words written on different gravestones and arranged them into a short film, pairing them with the sound of a church bell.
Using the Aurasma app to finish off our project, we connected our video with our ceramic pot camera to make a final piece. When you scanned the pot, the video of the gravestone words played, tying together the idea of loss.
Overall I really like the effect of pinhole camera photographs and it is something I want to carry on. I really like how the curved surface of the pot made the photographs have a fish eye effect. Our choice of subject had a significant link to my Outside/Inside work with the idea of loss; therefore I plan on taking a few pinhole photographs of people’s faces to link further to my Outside/Inside work.