Revisit / Remake A Working Proof Publication
Revisit / Remake: the project brief Year 2 UWE Illustration students were asked to respond to a project theme entitled Revisit / Remake with an intention to extend the reading of an existing artwork, artefact or film. The project brief stipulated that the selection of an existing work must be associated with practitioners or disciplines that do not consider their outcome(s) to be Illustration (when considering established / traditional definitions). Selected fields included, Fine Art, Graphic Design, Film and Architecture. Once the selection was made the students were set the task of recontextualising the pre-existing work to bring it into the field of Illustration. The transformation process had to demonstrate how the remake would be considered as different from the selected source and what ‘illustrative’ methods, languages, thinking and visual associations would be applied to effect the transition. Similar considerations were also encouraged when deciding on the type of remake that would be undertaken and the subsequent implied messages of any particular strand of remake. To assist in this decision three historical transformative approaches including homage, parody and pastiche were discussed to aid the reappraisal of content and its communicative outcome. The project also included a collaborative approach by formulating and mobilising a series of collectives. Groups of between three and seven members were formed after deliberating what united them as a team, what type of collaborative model would be adopted and how contributions would be identified. By working collaboratively, groups were expected to share ideas, skills and resources that would aid the making, organisation, presentation and publicity towards a public exhibition. The exhibition component sought to challenge preconceptions of student illustration exhibitions and the reception of Illustration through industry formats such as print and screen. Instead the aspiration was to develop a graphic language through spatial presentation and performative realisation. Paul Laidler Senior Lecturer in Illustration
Grimaces et Misères, Fernand Pelez, 1888
Phoebe Lenton Jessica Tucker Chloe Worth Hannah Wakeling Jon Rodriguez
GRIMACES ET MISÈRES @grimaces_et_miseres
As a group with many different skill sets, we all knew that we wanted to do an installation of some sort, incorporating everybodys individual work, but presented in unison. We chose to use Pelez’s 1888 painting depicting circus performers to create a homage with a modern twist. The painting itself highlights the performers’ underlying suffering in society as impoverished outcasts, unbeknown to their spectators.
We took this idea exploring a cheerful and thrilling event with dark, twisted, underlying problems; creating a fictitious circus themed music festival, and highlighting the issues that people are unwilling to talk about. While festivals are seen as exciting and lively events there is a problem that organisers aren’t willing to admit - sexual assault. By incorporating the message that sexual assault can, and does happen at festivals we have created an immersive and overwhelming experience for the viewer, luring them to our twisted festival, while also warning of the terrible things that could happen.
The Nightmare, Henry Fuseli, 1781
CHINOGRAPHERS UNION @chinographers
Joe Adams Will Evans Sam Bedworth Fin de Freitas Toby Williams Daisy Jordan
Have you ever experienced sleep paralysis? Heard the horrors of the Night Hag, or the incubus that sits on your chest whilst you lie there, utterly immobilised?
As a homage to Fuseli’s The Nightmare, Chinographers Union invites you into our bedroom/pop-up shop to see for yourself the terrors that await you whilst you dream. Using imagery from ancient folklore to first-hand accounts from interviewees across campus, we have sought to contemporise The Nightmare through making marketable goods including scree-printed t-shirts, prints and stickers; transferring Fuseli’s painitng from 1781 to 2017
The Harlequins Carnival, Joan Miro, 1925
IT’S A RELIEF @itsarelief
Meg Thimm Lucie Delafoulhouze Marta Brevi Tharim Cornelisse Meg Thimm Lucy Eades
Joan Miro’s “The Harlequins Carnival� was painted between 1924 and 1925. During these years Miro had very little money and therefore could not afford many art materials or even food for that matter. This led him to starvation, where he would get frequent hallucinations. He painted during these hallucinations and this is one of his most surreal outcomes. Miro found an escape route from his hunger and suffering through his painting.
In our homage to The Harlequins Carnival we refer to the escapism represented in Miro’s work. We want people to be able to escape the pressure of student life and the reality of being a poor artist by coming to join our party with all of Miro’s wonderful characters. See the stories behind the characters and what they were escaping from in our zine ‘Hungry Stories’ and become part of the carnival yourself while looking at the work.
Medea, Anthony Frederick Sandys, oil on board, 1868
Thom Goward Florence Holland Rebecca Pasieka Billie Prowse Chloe Sargent Heather Savage Jay Simpson
UNCONCIOUS UNCOUPLING COLLECTIVE @unconscious_uncoupling
We are a collective with a shared interest in storytelling and a fascination with all things dark and unsettling. For this, our first collaborative project, we chose to remake the preRaphaelite painting Medea, attempting to pay homage to the character of Medea (as the painter Sandys did) and parody the deep themes of the mythology the painting draws on.
We have produced a body of work which recontextualises the archetypes and specific story elements of the myth of Medea, and woven it together into an immersive, contemporary multimedia exhibition focusing on narrative through traditional 2D illustration, scene-setting, performance, and the creation of a luxuriant yet disturbing atmosphere.
Rene Magritte, Golconde, 1953
Claudia Collett Amber Starrs Seren Pritchard-Bland Larisa Wong Dide Tengiz Michaela Piper Tomekah George
THE TROUSER PRESS COLLECTIVE @thetrouserpress.bristol
With a shared interest in feminism, we decided to take inspiration from the recent Woman’s March on Washington, which globally saw 4.8 million women protest for their rights. In response to this; funding for DOJ’s Violence Against Women programs were cut and Russia decriminalized domestic violence (unless the spouse is hospitalized or dead); therefore encouraging devaluation towards women and ‘post-feminist’ beliefs. In our remake of Rene Magritte’s ‘Golconda’, we present a parody death of these 1950’s ideals of females, particularly criticizing Barbie and President Trump’s ploy of publicly objectifying women.
Peter Paul Rubens, The Lion Hunt, 1621
THE BRACONNIERS COLLECTIVE @braconniers
Ren Chang Lee Alex Jenkins Bernard Solomon Eoin O’Sullivan Christos Georgiou Adele Hurst Joe Slater
For this project we have decided on creating a homage to Peter Paul Rubens The Lion Hunt. We wanted to bring hunting into a contemporary context by exploring how and why hunting is practiced today, discovering that hunting is largely a means of gaining wealth which is bringing many animal species to the brink of extinction.
Our final exhibition will consist of a Le Gun influenced mural as well as a series of small clay models wherein attendees of the exhibition will have the chance to destroy.
Modern Times, Director Charlie Chaplin, 1926
Michele Poli Tzuhsien Chao Haizea Garcia Tobalina
THE GEARS COLLECTIVE @gearsillustration2017
This project is based on the movies Modern Times written and directed by the actor Charlie Chaplin. The image from the movie that we selected as a collective presents a goofy Chaplin joking around in potentially hazardous situations within a mechanical factory setting. We see this as our starting point to discuss mass production.
The approach for this project is satire (parody), we wanted to talk about the issues of mass production whilst embracing Chaplin’s comical outlook. The Illustration context has authorial qualities that a derived from our personal interpretation of the movies themes, these include mass production, social media and humans becoming machines. We also wanted to speak about the development of technological industry over the years and how the impact of technology is having a counter productive effect on humanity. One of our main objectives was to leave our comfort zone in drawing and do something physical 3D.
@the_uwe_futurists
New City, Antonio Sant’Elia, 1914
THE FUTURISTS
Andrew Smith Esther Philips Max Wilson
We occupy the world that the futurist’s envisioned 100 years ago, but how similar is it to Antonio Saint Ellia’s architectural drawings? Or artists like Filippo Tommaso Marinetti, Giacomo Balla and Umberto Boccioni, who’s work focused on speed, machinery, glorified war and modernity.
In this exhibition we make subtle nods to our source image by Antonio Sant’Elia, but more broadly we decided to focus on the Futurist’s movement as a whole by adopting their ideas and beliefs. We have revisited and remade an Airport Terminal from the future, through pastiching their ideology but also through parodying their idealistic, glorified visions of the future from a more cynical angle. Our work plays with downcast futuristic concepts of pollution, animal extinction, technological advances, addictions and colonising of other planets. As much as we are pastiching futurism in our way of thinking, we have also deliberately steered away from adhering their ideology. Through parodying their optimistic visions of the future, we have produced our own advertisements, artefacts and travel posters from the year 2071, displayed within an airport space. Airports were just as much a vague concept when the Futurists were producing their work as that of sports cars and mega cities and so it felt appropriate to contextualise our work within one. Our visual language takes influence from the architectural forms in our source image as well as homaging the highly important futurist typography that came out of the movement. We hope the viewer feels immersed in an overwhelming, cluttered and sickening presentation of the future.
Casper David Friedrich, Wanderer above the Sea of Fog, 1818
Charlie Fischer Alex Allcock Alex Baboulene Clara Lee Leo Vaughan Lok Lo George Harris
CANDY BUNCH COLLECTIVE @candy.bunch
Our Project idea was to create a parody of the painting, ‘Wanderer above the Sea of Fog’ by Caspar David Friedrich. As a group we deemed the painting as snobby and highbrow, so we aimed to recreate the image in a more fun and accessible way. We settled on the idea of a 3D installation whereby the landscape and ‘Wanderer above the Sea of Fog’ were made of cardboard.
In order to place our parody within the field of Illustration, we thought that the man should be naked from the front which enhances the idea of a parody through illustrating humour. Our intended outcome was for the landscape to be colourful, immersive and obvious in terms humour, which is the opposite of the intentions of Caspar David Friedrich.
Tipalet Cigarette Brand Ad, 1969
SIX SHADES OF BLUE COLLECTIVE @sixshadesofblue
Metropolis-Fritz Lang (1927), Heinz Shulz-Neudamm
THE DEADLY 7 COLLECTIVE @the_deadly_7
Six Shades of Blue are challenging the misogyny present in this original advert from the 70s, and aim to remake it with the lens of a critical parody. This particular challenge is based on the stigma around periods, society’s view of them and how these misogynistic views perpetuate many forms of injustice. We are addressing issues such as the tampon tax, which treats a necessary item as that of luxury, and general derogatory attitude towards periods. Our illustrative aspect comes from the narrative nature of the zines we have created, and the more intricate style of the artwork that also in part is inspired by the aesthetic of modern tampon adverts.
Anne-Louise Highley - Hollie-Ann Hart - Anna Wiessner - Rachel Walsh Jamie May - Liana Brockmann We are an illustration collective known as ‘The Deadly 7’ and our starting point was the film ‘Metropolis’ (1927). We were inspired by the dark, architectural visuals in the film and by how the messages portrayed are still relevant 100 years on. Our approach was a parody style map of a theme park based on Metropolis focusing on the seven deadly sins and how they are portrayed in the film. The theme park idea gave us a more contemporary context to work with and each of our seven members worked on one ride each with the theme of one specific sin.
Edie Woolf - Thijmen Brinkman - Hélène Lechermeier - Lewis Ostacchini - Nadia McDermott - Tamasin Williams - Tom Simpson
To be continued...
Design by Finoa Ribes, assisted by Paul Laidler