REVISIT / REMAKE Yr 2 BA Illustration
Module Rationale The Professional Practice module is presented as a thematic brief that addresses UWE’s entrepreneurial pathway. The module situates the Illustrator as freelance artist and exhibitor - as a means to engage with external venues, opportunities and professional practices. The illustrative approach to the module is primarily located within authorial practice (content makers) and offers students the opportunity to test established industry formats and challenge disciplinary conventions. The module engages with cross-disciplinary practice to reflect upon illustrative strategies, encourage innovative methods and to foster entrepreneurial thinking - toward possible future markets. The module introduces the emergence of the Collective as a collaborative strategy within the field of Illustration, though rooted in contemporary creative practice and professional endeavours. The collaborative model promotes community, collegiality, risk taking and economic benefits for graduating students - whilst cultivating transferable skills across a wide range of creative industries and practices. Expanded Practice ‘…Commercially successful Illustrators challenge the idea of relevance…we know existing ideas of business are changing so fast it would be foolish to base Illustration education solely around the perceived current industry needs’. (Roberts, 2016) Founder of Graphik Magazine, Caroline Roberts’ insight would appear to suggest that today’s education model would be better suited to developing a curricula option where the student is encouraged to become a subject innovator. Robert’s describes a number of individuals who, ‘have not followed the conventional route for an Illustration career and perhaps are a good example of the fact that there is no prescribed route any more… they have to some degree invented their audience, there platform…’ This level of ambition is reiterated in the fostering of such individuals by Alan Male (Professor Emeritus of Falmouth University) in his aptly titled Eye Magazine article ‘Ambition in Illustration’. Male suggests that today’s graduating Illustration student should adopt an authorial position and be mindful of transferable skills that promote cognitive ability alongside the predominate craft-based association with the discipline. Graduates would have the ability to multitask with a view to becoming ‘professionally independent and intellectually ambitious’ (Male, 2016), qualities that Male relates to the polymath principle. These emergent propositions also suggest that the multifaceted nature of the creative industries have direct implications for the requirements of students and the relevance of their skill learning. The acquisition of established practical skills associated with image making (and assumed industry needs) would also accommodate more entrepreneurial thinking and industry innovation. Conversely it is important to remember that not all students engender entrepreneurial flare and that innovative practice may take many years to acquire or be recognized after graduating. However, within an evolving industry that precipitates divergent career paths for graduates from specialist disciplines the revival of the polymath principle would appear to be an
appropriate framework to engage with - in today’s design schools. Revisit / Remake Convention’s ‘… thinking about the future of Illustration means thinking about illustrators who are utilising strategies from outside of the industry to inform their practice as illustrators’. (Morgan, 2016) The Level two Professional Practice module in Illustration has been designed to question both disciplinary precedents and established industry conventions. To begin this inquiry students are asked to respond to the project theme Revisit / Remake – with the intention to extend the reading of an existing artwork, artefact or film. The project brief stipulates 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). Once the selection is made students are set the task of re-contextualising the pre-existing work so that the remake can now be considered as belonging to the discipline of Illustration. Similarly, the re-visitation process must also include a contemporary context and comment for the remake - enabling the work to resonate with the cultural landscape of today. To aid the reappraisal of content the ‘new work’ needs to consider whether the comment is either a homage or parody of the original work. Lastly students are asked to extend the possibilities for storytelling (that is embedded within Illustration) beyond the conventional industry formats for print or screen. Questions pertaining to what illustration is, or what it could be are brought to the fore? Subsequently, the module considers the mutability of illustrative strategies whilst speculating on new modes of practice. Collaboration The Professional Practice module includes a collaborative element by formulating and mobilising a series of student collectives. Groups of between four and seven members are formed after deliberating what unites them as a team and what type of collaborative model could be adopted. By working together groups are expected to share ideas, skills and resources that would aid the making, organisation, presentation and publicity for a public exhibition. The emergence of the collective in the Illustration industry affords practitioners a level of independence and the option to forgo potential creative restrictions associated with the intervention of agents and art directors. The model offers practical, economic and social benefits for graduating students exiting the bubble of University life.
Blue Sky, Walter Kandinsky, 1940
REVISIT / REMAKE Yr 2 BA Illustration
Jazz Circus @thejazzcicuss
Mariela Rios Manriquez Lucy Hancocks Milly Parkin Jennifer Dingwall Isobel Beer Mary Trehearne
The Jazz Circus is a collective with a shared passion for transforming illustration and transporting it into our own physical world with whimsical performances and creatures. Our work is influenced by the Russian artist Kandinsky, famous for his abstract work, a result from his synesthetic condition. The inspiration for our work is his painting ‘Blue sky’, placing particular focus on how his work will have been influenced by his synaesthesia. We transported our work by presenting a live performance showcasing characters that represent the different kinds of synaesthesia. The collaborative endeavour also extends to UWE Drama students as part of a choreographed performance. The collective has also recently been awarded the UWE Entrepreneurship Pop-Up Unit competition, where we will be running workshops in puppet making for children.
The Garden Court, Edward Burne-Jones,
REVISIT / REMAKE Yr 2 BA Illustration
THE DREAM TEAM COLLECTIVE @dream_collective
Lucy Price Laure Haverkort Laura Stoppkotte Megan Jones Celyn Hunt
Our remake is based on a painting in the Bristol City Museum entitled ‘The Garden Court’ from a series of paintings by Edward BurneJones collectively called ‘The Briar Rose’. The series illustrates different scenes from the story of Sleeping Beauty. Burne-Jones portrayed the women in the photo, probably all modelled by one person, to be very beautiful and peacefully sleeping. As a group, we wanted to focus on making the women into individuals and giving them some personality and power back. The aim of our remake is to alter the idea of the male gaze and to portray the women from a female perspective. We wanted to parody the painting and take away from the idea that they are waiting to be woken up by a male figure and allow them to wake themselves up, giving them strength and individuality instead of weakness in their sleeping.
Rene Magritte, Golconde, 1953
REVISIT / REMAKE Yr 2 BA Illustration
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.
Neu Neu Collective
Otto Dix Portrait of the Journalist Sylvia von Harden (1926)
REVISIT / REMAKE Yr 2 BA Illustration
Eleanor Wilkinson Grace Spalding Laura Knox Francesca Ridsdale Erin Wildy Zuzanna Drozynska Che Dedames
@neuneu_
As a collective we are interested in illustrating the new woman based on Otto Dix’s original muse, Sylvia von Harden, in the Portrait of the Journalist Sylvia von Harden (1926). We were particularly interested in the fact that the painting was purely based on aesthetics and how Otto Dix perceived von Harden to be the New Woman of Germany at the time, as she is considered to be androgynous and spends her time drinking and smoking alone. We wanted to capture this element of the painting; the fact that Dix assumed her personality from her outward appearance. We created a character profile, called Vera lon Hans, based on the real von Harden’s life, but her contemporary and relatable to today’s society as the New New Woman. We created a bedroom – a very personal space – for our viewers to interact with and discover more about her. Everything in the installation is created using cardboard and paper in order to illustrate the fragility of the 21st century woman, as we want to comment on how the idea of the New New Woman of today is heading towards a slump.
The Garden of Earthly Delights Hieronymus Bosch, 1503-1515
REVISIT / REMAKE Yr 2 BA Illustration
THE KOALA RANGER @Koala.ranger.collective COLLECTIVE Marle Rodenburg Kiu Sum Chan (Skylar) Jia Chun Hu (Lucy) Mei Kei Lok Sheng Chen Even Lim Wai Yin Khong
As a group we got together because we all liked the similar idea about the Australian bushfire and team up group. Displaying the hardship of all the animals, in our case koala, because of the climate change. The Bosch painting has a lot of elements that you can extract and re-use. In our case, we developed the main story of the Bible; paradise, us humans living a good/bad life and then hell. In our remake, you can see how the koala’s change and their life worsen mostly due to the bad influence of humans. In our eyes, we made homage. We made the story of his painting into a story of now, where human are slowly destroying the world. The koalas are one of the many that are experiencing it now. If people are not religious and don’t know the original paradise-hell story, they can still know what we are trying to say. And the original message is still important, because what is happening in the painting of Bosch is now happening in real life. In our case, illustration is about telling a story visually and hope to gain some social awareness about what is happening around the world and how could it destroy us if we continue to ignore it. We made a story of the koala and translated into something visual. We painted on recycled cardboard, which is more environmentally friendly than buying new one. We made it cut out and created a 3d landscape. We wanted to urge people to be more aware about the pollution and climate changes and take action to protect our very own earth before its too late.
Vincent Van Gogh - Bedroom in Arles, 1888
REVISIT / REMAKE Yr 2 BA Illustration
Mo Morris Cameron Peet Ivar Hennep Melcher Oosterman Damian van Soest Lot van Teylingen
To Be Announced Collective @ TBA_collective
To Be Announced Collective is a diverse group of illustrators from both the UK and The Netherlands. Van Gogh’s bedroom in Arles spoke to us because we as illustrators can really relate to the feeling of spending hours on end alone in our rooms, working and sketching and forgetting about the outside world. Van Gogh painted the room while he was struggling with severe mental health issues, which reflect on the colours and perspective used in the room. We felt that this was also something we could translate to contemporary life. We talked about our own experiences regarding this matter, and found that time plays a big role in these issues as well. Not only the feeling of being stressed out and anxious before a finishing deadline, but also the feeling of having to become as successful and famous as possible in the shortest amount of time, the fear that if we don’t succeed NOW, we never will because trends and norms keep changing so much and so fast. In order to keep up with society we have to keep running or else we feel like we’re missing out. The only way to escape is to turn off your phone, stop replying to your e-mails and lock yourself in a room, closed off from the outside world. Thus we created the Bedroom in Isolation, to convey the feeling of an art student locked in their own bedroom, bordering on the edge of imagination and reality, unable to deal with the increasing pressure of everyday society. As a nod to Van Gogh’s distinctive style we kept true to the illustrative aesthetic and made the room feel as if you’re stepping into an illustration. It is a comment on how we let deadlines control us and that if we are not careful, we might find ourselves in isolation someday, overwhelmed with everyday life.
The Deposition� by Raphael (1507)
REVISIT / REMAKE Yr 2 BA Illustration
Aitana Raguan Albert Scholey Brittany Rayner Jacob Mackie Loo Kok Hang Robert Dutton Thomas Klappert
THE PLASTERED COLLECTIVE @plasteredcollective
Initially ours was a group of misfits brought together by two basic ideas, parodying biblical paintings and a desire to model figures in clay. We soon found a source image that fitted our needs, ‘The Deposition’ by Raphael instantly illustrated a contemporary scene in our heads of a group of students on a drunken night out. The meeting of the religious themes of the source material and the contemporary context of the ‘sin’ that is binge drinking among today’s student population makes for a compelling narrative. Our parody set mocks the visual similarities between the crucifixion of Christ and the unfortunate yet familiar image of one
student who has had one too many and is (unsuccessfully?) being cared for by the rest of the group. With it being a parodied scene, we intentionally made the backdrop set of the Commercial Rooms (often frequented by Bristol’s students) not to scale and the figures themselves are very stylised and cartoonish.
Paul Thumann , The Three Fates (date unknown, circa 1880)
Julija Jukonyte Ieva Bagvilaite Monica Neagu Anastasia Sawyer Joo Ann Loong Wensheng Ewe
THE WHO THOUGHT COLLECTIVE @whothoughtcollective
REVISIT / REMAKE Yr 2 BA Illustration
The Blame Game Our group is united by our shared vision of the Three Fates; this Greek myth about three god-like sisters that was once potent and relevant is now incompatible with our contemporary reality. One sister spun the thread of life, one measured its length, and the last would eventually cut it short. Your life was thought to be beyond your control, completely in the hands of unseen celestial beings. Parodying this idea, we’ve written off the Fates as scapegoats rather than gods, to illustrate how, in crisis, society will assign blame to any entity outside of themselves. However, the deities have been replaced by three manmade forces – science, religion,
and consumerism – all of whom waste time bickering, instead of working towards a solution for the catastrophes at hand. Religion blames science for radically going against faith and traditionalist values, science blames rampant consumerism for polluting the Earth, while consumerism claims religion is to blame for prioritising bygone customs and bogging society down in irrelevant discussion. The image we’ve produced tells a story of a world that is struggling to work as a whole while governed by conflicting forces. A society that refuses to take responsibility for its own future, and unknowingly creates its own doom.
The Garden of Earthly Delights, 1503–1515
REVISIT / REMAKE Yr 2 BA Illustration
Meg Wileman Holly Heaton Elizabeth Dymock Hannah Knowles Emily Lord Hannah Seal Bence Mészáros
Bisch Basch Bosch Collective @bischbaschboschcollective
¬As a collective, we were excited by Bosch’s ‘The Garden of Earthly Delights’. By focusing on the theme of indulgences and temptation, we began to consider social responsibility, specifically within industrial production processes, therefore thinking about the human impact of such practices. From this, we decided to create an interactive installation based in a modern shop setting, using Bosch’s triptych style to create an immersive 3-room space showing a narrative, mirroring the painting’s, that the audience can travel through. By re-contextualising this painting, we have created a sensory, tactile and performance based 3D homage to Bosch that aims to tempt and disgust.
FEMMES ORANGE COLLECTIVE @femmesorange
Édouard Manet, A Bar at the Folies-Bergère, 1882
REVISIT / REMAKE Yr 2 BA Illustration
Georgia Wildgoose Alice Constance Regan Curry Rosie Hunter Finley Taylor-Biddle Chloe Wood
We are an all female collective with a shared interest in what contributes to a women’s place in society. In this context we are focusing on the themes of sex workers, the ambiguity with which Manet painted sex workers of the time and the narratives created by the use of symbols within the painting (such as the bowl of oranges representing prostitution.) We wanted to bring this painting into the 21st Century by using modern technology such as film and cinematic narrative techniques to showcase how sex work has changed with the march of technology. Our extensive research lead us to understand the painting and its contextual setting in a way that made us want to revisit the art work in a sensitive and respectful way, without losing our 21st Century female
perspective. Therefore our exhibition is a homage with a modern twist. We have used illustrative tools in a variety of ways throughout our project such as illustrative techniques in film such as animation and an inferred narrative. We also brought the painting into a 3D theatrical setting where we employed the techniques of visual story telling in the form of set design and props. We wanted to emulate the feeling of being the anonymous man at the bar as well as engaging our viewer with our thought provoking film inspired by and discussing the painting’s themes.
Playboy Magazine, Founded by Hugh Hefner, 1953 - Present
Lauryn Odell Josiah Finegan Sam Constaninou Kim Turton Ned Kimber Bilbo Scioscia
THE PLAYBODY OFFICIAL COLLECTIVE @playbody.official
REVISIT / REMAKE Yr 2 BA Illustration
Playbody official is a homage and parody of Hugh Hefner’s famous brand and magazine ‘Playboy’. We wanted to review this piece of iconic culture in a modern and more open light. Our main focus was to point out the short falls that the original magazine lacked and elevate it to a higher standard of sexual exploration and acceptance. We each took different views of sexuality and relationships and created individual illustrations for relevant articles that we sourced online. These articles parodied the original magazine by showcasing many a plethora of genders, practises and progressive sexual ideas. Afterwards, we all worked synonymously
on a photoshoot exploring our range of ideas with outsourced models. All of this was brought together in our final magazine. Our exhibit is meant to be a metaphor for our magazine showing homage to the original affluence of the Playboy Mansion, whilst having undertones of modern sexual ideas.
IT’S A RELIEF @itsarelief
The Harlequins Carnival, Joan Miro, 1925
REVISIT / REMAKE Yr 2 BA Illustration
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 andwhat 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
REVISIT / REMAKE Yr 2 BA Illustration
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.
Francis Bacon, Study after Velázquez’s Portrait of Pope Innocent X. 1953
REVISIT / REMAKE Yr 2 BA Illustration
The Bacon Collective @popeconfessional
Joe Davis Bea Grey Evie Jacobs Xim Martinez Jake Palmer-Simmons
The artwork we have decided to remake is Francis Bacon’s 1953 painting, Study after Velázquez’s Portrait of Pope Innocent X. Using influences from both Bacon himself, and Spanish Painter Miquel Barcelo. Study after Velázquez’s Portrait of Pope Innocent X presents a distorted version of Diego Velázquez’ 1650 painting Portrait of Innocent X. Bacon’s piece was produced at a time when his style changed, moving from lighter blues to a more nocturnal colour pallet of rich purples and darker browns and blacks. It has been suggested that Bacon’s pallet changed due to his real-life love affairs with violent and turbulent men, which Bacon almost sought after. His reckless behaviour in life manifested itself in his imagery through the portrayal of tortured looking figures, such as Pope innocent X. Bacon was renowned for living a life of sin, coming from an Irish Catholic family, Bacon’s homosexuality was something he masked with alcohol and hedonism. We have produced a zine to reflect Bacons tortured soul due to exile from religion. We have also produced an altar where you may confess your sin, and in return receive penance, inspired by German philosopher, Friedrich Neitzche. Neitzche famously stated ‘God is Dead’. Within Catholicism, God is supposed to guide you in life, therefore if God is dead then you are responsible for your own actions, therefore able to live as hedonistic of a life as you please, provided you are able to confess what you deem as sins.
Persistence of Memory, Salvador Dali, 1931
REVISIT / REMAKE Yr 2 BA Illustration
Megan Pilcher-King Karrie Mannan Adela Martin Lauren Mulhearn Holly Belle Joanna Payton Namhara Byron Low
The Floppy Clock Collective @floppyclockcollective
Initially we came together as a group with a shared desire to create an exhibition which contained an element of humor, something that united all of us. However, as a group we are enhanced by our differences. Our variety of skills such as drawing, film making, prop design and costume has been pulled together to create and immersive and interactive exhibition. We are making a parody of ‘The Persistence of Memory’. We have chosen to use humor coupled with a sense of unease to convey a more serious message. We have used our source image as the basis design of our ‘toy store’ yet taken inspiration from other works of Dali. We felt this range of material gave our project depth but by keeping ‘The Persistence of Memory’ as the main visual element it remains explicit as a parody. We have turned ‘The Persistence of Memory’ into a toyshop, focusing on the issue of consumerism and advertisement, namely those directed at children. We have extracted themes of childhood and the unconscious. Some readings of ‘The Persistence of Memory’ talk about it representing Dali reflecting his own childhood and we drew parallels with this. Dali was a big fan
of Sigmund Freud and often explored the unconscious and subconscious within his paintings. Freuds own nephew, Edward Bernays, began to adopt his psychoanalytical principles into advertising methods in America in the late 1920s. Bernays set the precedent for how we advertise today. These manipulations have been used to create the consumerist culture we all live in. As a group we aim to challenge these ideas and principles as many of the advertising methods are ethically questionable, especially when targeting children. Our work belongs in the field of illustration as its idea is about subconscious advertising and consumerism in relation to surrealism. We have tackled this through drawing, film, sequential design and 3D design. We’ve created a brand through illustrative methods which demonstrates the negative ways in which advertising is used towards children.
The Garden of Earthly Delights Hieronymus Bosch, 1503-1515
REVISIT / REMAKE Yr 2 BA Illustration
THE LUXURIOUS, ABSURD, POMP COLLECTIVE @luxurious_absurd_pomp_
Erika Lewis Colette Connell Demi Obee Hope Hanni Eva Warner-Willich Jack Dolman Krista Kurcina
As a collective, we’re looking to explore the detriment of diet culture in our contemporary society, drawing from our own personal experience and pressure we felt growing up to be a certain size. We’ve borrowed Bosch’s concept of indulgence to illustrate the two sides to a ‘cheat day’ banquet for one - one side eating whatever you want until you reach the other side, feeling sick and guilty for ever breaking your healthy diet in the first place. Our style draws inspiration from the original painting’s colour palette and its abundance of fruit imagery, paying homage to Bosch’s aesthetic. Why do we want our cake and all the cherries on top? Join us for dinner and experience our narrative that illustrates the familiar story of toxic diet culture.
Rene Magritte, Golconde, 1953
REVISIT / REMAKE Yr 2 BA Illustration
Rosanne Lo Lin Vun Reyn Reynolds Fiona Yap Chuei Yin Bryony Nelson Emily Sawyer Yi Pei Sia.
THE STRANGE-SOURCE COLLECTIVE @Strange_Source
We have been united as a group through our interest in getting to know each other’s art styles and the want to create a work that incorporates whimsy. Within Golconda, we found a theme of identity and wanted to translate this through the lens of absurdity, as the piece itself is surreal. The image of identical people suspended in mid air evokes the image of invasion. We decided to portray this notion of identity through the idea of aliens assimilating their identities into what they believe a human to be (an Instagram influencer) in order to invade Earth. The contemporary context for our remake is the commentary on modern human behaviour and self-image through social media. Our work is a parody of the original image, as it takes the original concept and makes it more comedic. The work being made has been expand-
ed into the field of illustration through the extensive narrative we have created from a single image. In this way we have addressed this theme of identity in a modern setting and made it have more of a relevant purpose today- the extent of which is illustrative in nature. It also uses whimsical themes that are more commonly linked with illustration.
THE RETROSPECT COLLECTIVE @retrospectgods
Greek Gods
REVISIT / REMAKE Yr 2 BA Illustration
Bethany Dawson Juliette Turpin Ellis Brown Sarah Brennan James Arthur
Our group is very much formed on friendship and shared interests both in and outside of the illustration field including lgbt issues and the feminist agenda. Our source is more of a range of influence than one singular image, we looked at the historic imagery behind each of our influences which were a selection of ancient Greek goddesses. We wanted to empower and spotlight the women who were overshadowed and mistreated within the original stories. We have selected individual goddesses and applied specific traits from a goddess onto ourselves using make up and costume to portray an identity rather than a more literal scene. This would fall under homage to our goddesses but not necessarily a homage to ancient Greek mythology itself. Our work is primarily photography with prop design and costume. We also have tiles and our visions of the goddesses takes a character design approach since we are envisioning them through our own characteristics forming a hybrid design between our own image and theirs, which were vague with most emphasis being on their values rather than appearance
The SOCIAL MOTHS COLLECTIVE @socialmothscollective
Gustav Klimt Portrait of a Young Woman - 1910 – Painted over original: Portrait of a Lady - 1916/1917
REVISIT / REMAKE Yr 2 BA Illustration
Louise Minton Abi Ratoff Nicky Ruffell Chloe-Mae Williamson Benji Jackson
At our exhibition the audience will find Gustav Klimt’s modern-day art studio – covered in paintings, drawings, letters and other belongings. At first glance, the studio space will seem normal – but we will invite the audience to interact and search through the space to uncover clues and indicators of Klimt’s heartbreak and obsession over a mysterious woman. The audience will be able to use UV torches to discover invisible ink, go through his sketchbook, look at letters from his friend, search through his phone and anything else in the studio in order for them to unravel Klimt as a heartbroken artist at work. Over the course of this project we have continuously collaborated and worked well as a team – whether it be baking sponge cakes or talking through each of our ideas to create our final exhibition concept. We have also worked in smaller groups to achieve tasks by pairing up to buy materials, paint walls, screen print or do work in google sketchup and photoshop. Moreover, we have also made sure that each person has had a series of tasks to complete individually, such as each of us completing a self-portrait for our Instagram page. As a team, our shared love of Klimt’s artwork, as well as our day doing our group painting, has united us the most. Our passion to create a more accessible and interactive exhibition for the wider public has also been a uniting force for our group. We have bought Klimt’s work into the field of illustration by creating a new narrative around his work – while also creating an interactive exhibition space. Furthermore, all the artwork we have created for the exhibition has been created in a modern, illustrative style as if his work had been made today.
Grimaces et Misères, Fernand Pelez, 1888
REVISIT / REMAKE Yr 2 BA Illustration
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.
CHINOGRAPHERS UNION @chinographers
The Nightmare, Henry Fuseli, 1781
REVISIT / REMAKE Yr 2 BA Illustration
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 BRACONNIERS COLLECTIVE @braconniers
Peter Paul Rubens, The Lion Hunt, 1621
REVISIT / REMAKE Yr 2 BA Illustration
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.
Casper David Friedrich, Wanderer above the Sea of Fog, 1818
REVISIT / REMAKE Yr 2 BA Illustration
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