It Is Coming
In a similar fashion to printing, be it screen printing or let terpress; photographs are another medium that can be utilised in the form of multiples. In the aim of addressing repetition, the image ‘It Is Coming’ has become six images, creating one larger tiled image. Acting as clones of the original, the multiple skulls address how there can be both similar and dif ferent mind sets between human beings. Especially amongst creatives.
T he T ime You...
A photographic series produced at the centre of a questioning point, asking m y s e l f : W h a t e v e r y t h i n g i s? W h y a m I making work? Who for? And so on. Tw o o f t h e f o u r p a r t s e r i e s a r e e n t i t l e d : ‘ T h e P e r s o n Yo u L o v e’ a n d ‘ T h e T i m e Yo u D i e’. S o t h e f e e l i n g a n d t h o u g h t b e h i n d this imager y is one of deep questioning, d e a l i n g w i t h l i f e a n d m i s s i n g f a m i l y. The black markings or smears represent those dif ferent thoughts, feelings, guilt and loneliness. The dazed haziness of the images embody day dreaming and being l o s t i n t h o u g h t . Yo u c a n’ t q u i t e p u t y o u r finger on it but whatever it is tends to l i n g e r.
B a by C r o c , A b a by c r o c o d i l e s h e a d g i v e n t o m e by my s i s t e r w h e n we lived in Atlanta, GA af te r a visit to Florida.
J e n n i f e r L o u i s e B l a c k I L o v e Yo u
S pit o r Swa llow Stre et
I n a s i m i l a r f a s h i o n t o ‘ I t I s C o m i n g ’, t h i s i s one image that has been tiled to break the image down in to smaller sections. The main dif ference between the two as comparisons, is this is a single image, it has not been repeated in the separate tiles. The main reason for this being, this image addresses exploration in regards to layout. Having never done this before, it feels about time. In an indirect way this approach to playing with layout links to the Golden Section and image composition. Although, there is nothing par ticularly mathematical here.
Ble ach Wo o d s Untitle d
Another single photograph, although this one is taken from a series entitled ‘Bleach Wo o d s’. A photographic series that addresses a personal fascination with the woods as a place or space, and the variet y of feelings one can experience in such a place.
Sk y Ba r s
This photograph addresses line and composition and how there are objects that exist in a par ticular landscape that either add to or disrupt said landscape. Ta ke n i n t h e t o w n o f B a s i n g s t o ke i n J a n u a r y 2 011, ‘ S k y B a r s’ r e p r e s e n t s t h e blend of man made objects and natural landscapes. With a similar mind set to the B l e a c h Wo o d s s e r i e s t h e i m a g e l o o k s a t one place and ef fect that it can have on a person and their thoughts. The manipulation and tiling of the photo again allows for exploration of cropping and layout which has a completely dif ferent ef fect in terms of how the photograph is viewed by an audience.
The Men and Women of the Government
St a r face
The first of a two par t series, Star face looks at how by combining photography and illustration an image can be manipulated and the content controled. With the ultimate goal of communicating an i d e a o r m e s s a g e e f f e c t i v e l y. Whether to stay ambiguous or not is proving dif ficult. In shor t, Star face addresses hierarchies, power and corruption, not only within Governments.
B r a inthou ght
Knowing roughly what Star face speaks of allows the viewer of Brainthought to r e a l i s e c o n n e c t i o n s b e t w e e n t o p i c s . We a l l have deep and occasionally dark thoughts t h a t a r e e i t h e r p u b l i c l y e x p r e s s e d o r ke p t h i d d e n . We a l l f e e l a n d h a v e u n c e r t a i n t i e s at various points throughout life.
A b o v e: A n o u t o f f o c u s p h o to g r a p h o f a z i n e m a d e f o r h a n d m a d e a n d b o u n d , a n d my frustration illustrated.
R i g h t: A c o m b i n a t i o n o f a h u m a n f l y a n d a p l a c e I v i s i t r e g u l a r l y.
A b o v e: A n o t h e r p h o to / i l l u s t r a t i o n c o m b i n a t i o n o f h o w s o m e p e o p l e m ay i n t e r p r e t my f r i e n d .
L e f t: S e l f e x p l a n a to r y p h o to o f t r a v e l l i n g f r o m o n e d e s t i n a t i o n to a n o t h e r. I t i s q u i t e interesting how human beings move around.
Isot yp e re sp o n se s
This double page spread showcases a few of the responses af ter viewing the Isot ype e x h i b i t i o n a t t h e V& A i n J a n u a r y 2 011. Choosing to look at figures and ways in which they can be represented by using images of so called celebrities. This allowed the room to relate back to the topic of celebrit y and celeb culture. Also using simplistic shapes such as illustrated skulls in relation to the m i n i m a l i s t g r a p h i c n a t u r e o f G e r d A r n t z ’s figures. Photography has again been utilised as a medium in which to represent imager y viewed at the exhibition. For example, i m a g e o p p o s i t e o f Tu b e r c u l o s i s g e r m s being spread.
Aphorism “ You neve r achieve re a l su c ce s s unle s s you like what you a re doing.” D a le Ca r ne gie Af ter struggling to commit to or be happy with the ideas that were discussed within the group I was with, I chose to work on my own. The 30 second clip produced for the brief consists of still images of photographs t a ke n i n D e c e m b e r 2 010 . H a v i n g w a n t e d to use the images for something, I chose an Aphorism the embodied the concept of the feelings and thoughts I had at the time. The chosen aphorism was directly related to this brief but also describes how I feel about my own work and life in general. Having not produced my own musical arrangement the song chosen for the piece by the band Clockcleaner compliments the chopped, fidgety and uneasy nature of the film. Overall, having experienced dif ficulties w o r k i n g w i t h i n a n o n ‘ s e l f f o r m e d ’ g r o u p, the brief turned out to be great. A really good learning experience about working, or not working with other s. Also, how you can come up against challenges and work out a way to overcome them. h t t p: // v i m e o . c o m / 2 0 4 3 3 2 2 3
Manifesto Ma nife sto Pa r t I
A completely dif ferent outcome to a group brief in comparison to Aphorism, Manifesto allowed individuals to form their own groups. Which produced a dif ferent experience in terms of communicating w i t h o n e a n o t h e r, a l l o w i n g m o r e r o o m f o r dialogue in terms of generating ideas and then being able to reach an agreement on a concept and produce a viable outcome. Par t I of Manifesto gave the group time to discuss our core values and ideas around design. At which point our group agreed process was impor tant and essential, although the thing all work needs is a strong idea and concept to give it legs; with this the most appropriate process/ medium can be identified for the project / b r i e f. A manifesto was writ ten by the group with ke y w o r d s l e f t o u t o f t h e p r o j e c t e d t e x t , w e all essentially signed the manifesto with handwriting from each member filling in the m i s s i n g ke y w o r d s .
Ma nife sto Pa r t II
With the aim of creating a piece of work to be exhibited in the studio space for the duration of a day our group began brainstorming ideas through initial discussions. Once realising discussion a n d d i a l o g u e a c t s a s a ke y p a r t o f a l l o u r practice, we decided to record a for t y minute discussion about how we could use the studio space ef fectively and what we w o u l d w a n t t o s h o w. P a r t o f t h e f i n a l e d i t e d ver sion of said recording mentions how we c o u l d m a ke a s t o p a n i m a t i o n b a s e d o n o u r discussion. Each colour represents one member of the g r o u p, a n d g r o w s a s t h a t m e m b e r ’s v o i c e t a ke s o v e r t h e c o n v e r s a t i o n o r a s m u l t i p l e m e m b e r s a g r e e w i t h o n e a n o t h e r. On the day we chose to use the cupboard space in the studio to again project our a n i m a t i o n , w i t h s p e a ke r s s e t u p o u t s i d e o f t h e c l o s e d d o o r. T h e f i n a l v i d e o a n d a u d i o piece has a duration of six minutes and was played on a loop. T h e m e m b e r s o f o u r g r o u p w e r e: T i m H a r r i s , To m H a g a r t y, U r j u a n To o s y, J a m e s D e v e r e a u x- Wa r d , J u s t i n D e v o n M o o r e , L a u r a H e c k f o r d , M i k a Va a j o k i a n d m y s e l f. V i e w h e r e: h t t p: // v i m e o . c o m / 24 272 3 3 5
T h e to p i m a g e i s a d i s p l ay o f t h e w h o l e g r o u p to g e t h e r, a l l o f o u r f a c e s c o m b i n e d .
R i g h t: A c l o s e u p o f M i k a a n d my s e l f.
Group Portrait T he G ir l s G roup Po r tr a it
A one day workshop with photographers and all round creatives The Girls. A few dif ferent members took par t in this g r o u p p r o j e c t h o w e v e r, i t s t i l l b e g a n w i t h debate and discussion as to how best create a por traiture of the group. The day was a huge amount of fun with a l o t o f l a u g h t e r, a n d t h e g i r l s w e r e v e r y interesting practitioners. Somehow as a group we landed on using a photocopier rather than a camera at the initial staging of the por trait, which then led to acetate a n d a l i g h t b ox . F i n a l l y u s i n g a c a m e r a to document the process and bring it all t o g e t h e r. T h e r e a l l y i n t e r e s t i n g a s p e c t w a s having individual faces on separate sheets of acetate which could then be altered and moved to create dif ferent compositions a n d c o m b i n a t i o n s o f i m a g e r y. T h e g r o u p w a s : T i m H a r r i s , J a ke G r e a r, U r j u a n To o s y, J a m e s D e v e r e a u x- Wa r d , J u s t i n D e v o n M o o r e , Ly a l l D a v i e s , M i k a Va a j o k i a n d m y s e l f.
Tr a n s l a t i o n Tr a n s latio n of ‘Mak ing D o’ publi c atio n with Ma r y Ikoniadou fro m Futu re A ne c dote s
Able to self form a group again, the group I was apar t of chose quite a simple and direct route in which to translate the Tr a n s l a t i o n I s s u e o f ‘ M a k i n g D o’. Ta k i n g o n t h e n o t i o n o f m a k i n g d o w i t h what you have, a pass the parcel approach was employed by the group. Cut ting up the publication and allowing our selves fif teen minute time slots, each individual used materials and facilities available to work with their section of the magazine. At the end of each stage your section was passed o n t o t h e n e x t m e m b e r. With limited time before a 3pm deadline, it was a brilliant day which proved fun, i n v i g o r a t i n g , e xc i t i n g a n d s t r e s s f u l . A l o t of discussion amongst the group spawned from this one day workshop led on to a fur ther project of a similar nature. M e m b e r s o f t h e g r o u p w e r e: T i m H a r r i s , To m H a g a r t y, U r j u a n To o s y, J a m e s D e v e r e a u x- Wa r d , J u s t i n D e v o n M o o r e , L a u r a H e c k f o r d , M i k a Va a j o k i a n d m y s e l f.
A l l i m a g e s s h o wc a s e t h e g r o u p s f i n a l o u tc o m e o f a v e r y c o n d e n s e d p u b l i c a t i o n , p r i n t e d o n to v a r i o u s p a p e r s to c k i n c l u d i n g acetate. Large image above shows the final double page spread.
Letterpress We e k ly Let te r p re s s S e r ie s
Having not produced or experimented w i t h l e t t e r p r e s s , J a m e s D e v e r e a u x- Wa r d and myself began a weekly experimental project. Each week multiple t ypefaces were chosen at random, each word or set of words was chosen together and either relate to feelings and thoughts or directly to each individuals independent practice. T h e m a j o r i t y o f b a c kg r o u n d i m a g e r y i s o u r own, bar gramophone screen prints from Justin Devon Moore. Using the let terpress on such a regular basis allowed each of us to become more comfor table with the whole process. Whilst really being able to enjoy manipulating and playing with dif ferent layouts.
T h i s p a g e: E x a m p l e s o f t h e b a c kg r o u n d i m a g e r y p r o v i d e d by J u s t i n D e vo n M o o r e a n d c l o s e u p p h o to s o f t h e t y p e a n d i n k .
O p p o s i t e p a g e: We e n j oy p l ay i n g , w e q u o t e f r o m t e l e v i s i o n s e r i e s T h e W i r e a n d w e t r y to a vo i d b e i n g l a z y.
Design Investigation
Patrick Baglee from Nav yblue gave a ver y interesting talk at the Univer sit y and through Sallyanne Theodosiou I was able t o s p e a k t o h i m d i r e c t l y. N a v y b l u e a r e A p re se nt atio n a renowned agency who have dealt with The piece showcases people I have been large clients for a number of years. Patrick luck y enough to work with and had the pleasure of meeting. As well as collectives of fered me his direct email and I have been and individuals who are a huge influence to in contact with him since our first meeting. my practice. P e e p s h o w, E r i c Ya h n ke r a n d N e a s d e n Control Centre are all inspiring in more Wo r k i n g w i t h d e s i g n a n d a r t c o l l e c t i v e ways than one. Le Gun was an ama zing experience as I was able to gain insight in to how a practicing studio puts on an exhibition. ‘Close Eyes to E xit’ pulled a huge crowd on its opening night and also had write ups f e a t u r e d i n m a g a z i n e s s u c h a s i . D. T h e y are an ama zing group of people and having established that contact I hope to be able to work with them again in the future.
E n t i t l e d: A n g l e s , p h o t o g r a p h t a k e n i n t h e C i t y o f L o n d o n , L a n c e d e Vr i e s
M y H e a d I s B r e a k i n g: I m a g e t a k e n by J a k e G r e a r. H a n d r e n d e r e d t y p e a n d e d i t i n g by L a n c e d e Vr i e s
E VA L U AT I O N W h e r e t o b e g i n? T h e p a s t s e m e s t e r h a s c o n s i s t e d o f s o m e exploration, quite a bit of collaboration but mostly a lot of deep thought as to what I am doing. I have spent months asking myself q u e s t i o n s s u c h a s : W h y a m I d o i n g t h i s? W h a t i s t h e p o i n t o f w h a t I a m d o i n g a n d w h o i s i t f o r ? W h a t d o e s t h i s w o r k m e a n? W h a t a m I t r y i n g t o s a y ? Wa s i t w o r t h c o m i n g t o U n i v e r s i t y ? W h a t k i n d of job or career do I want? And so on. I suspected it might be the case but when I began to compile this por t folio, I realised I have actually spent the majorit y of my time thinking and questioning things. A lesser amount of time has been producing and making physical work. E x ternalising has been something I have always struggled with and feel as though I still do. Although some light has been shed af ter having the experience of working with Le Gun for their s h o w ‘ C l o s e E y e s t o E x i t ’ i n A p r i l 2 011. T h e e x p e r i e n c e w a s v e r y positive overall and I learnt that there is something really special a b o u t p u t t i n g a s h o w t o g e t h e r. Tr y i n g t o f i g u r e o u t w h e r e m o r e ar tistic work fits in within a design communit y has been a ver y i n t e r e s t i n g p r o c e s s . H o w e v e r, L e G u n a r e a p r i m e e x a m p l e t h a t you can get somewhere and sur vive regardless of the nature of t h e w o r k , t h e r e i s a m a r ke t , i t j u s t h a s t o b e f o u n d . Another experience of a similar nature was the show Ruth Page a n d J a d e S i b l e y p u t t o g e t h e r t o r u n a l o n g s i d e t h e L A B: M a ke M e T h i n k p r o j e c t . H a v i n g s u b m i t t e d w o r k ( m o s t l y p h o t o g r a p h i c) it was interesting that their editing and curation of the show r e s u l t e d i n s u r p r i s e f o r m y s e l f, a s t o h o w m y w o r k w a s d i s p l a y e d . Overall, it was a great event and I am ver y grateful to have been involved. What I have learnt is that not being able to edit how your work is displayed can play with preconceived expectations, and of course, ultimately ef fects how the work is viewed. In terms of ex ternalising, these events have been learning cur ves but beneficial learning cur ves at that. Overall, Studio practice and Independent practice have merged in my mind, no longer are they t wo separate entities. Even though I am not completely comfor table with a par ticular plat form for ‘g e t t i n g m y w o r k o u t t h e r e’. I n t e r n a l l y, t h e s e p a r a t i o n o f t h e t w o practices has melted. This semester and the t wo units have consisted of a decent balance bet ween collaborative and individually led work. As par t of a small group of my peers who work well together it has been great and I have gained such insight in to new ways of working a n d c o m m u n i c a t i n g . I n d i v i d u a l l y, I h a v e b e e n p u s h i n g m y w o r k in dif ferent directions, mainly based around photography and illustration. Although, I still feel up against a brick wall in regards t o w h a t I w a n t t o s a y a n d w h o I a m m a k i n g w o r k f o r. A n d a t t h i s stage I am quite worried to be in that position. I still have a lot of thinking and exploring to do over the summer in preparation for t h i r d y e a r ; a s I w o u l d l i ke t o h a v e a b e t t e r u n d e r s t a n d i n g o f m y p r a c t i c e a s a w h o l e b e f o r e r e t u r n i n g i n S e p t e m b e r.
Bibliography We bsite s:
D e a d F i x . ( 2 011) . h t t p: //d e a d f i x . c o m / ( A c c e s s e d J a n u a r y - M a y 2 011) E r i c Ya h n ke r. ( 2 011) . h t t p: //e r i c y a h n ke r. c o m / ( A c c e s s e d J a n u a r y - M a y 2 011) F F F F o u n d . ( 2 011) . h t t p: // f f f f o u n d . c o m / ( A c c e s s e d J a n u a r y - M a y 2 011) H o r r o r S l e a z e Tr a s h . ( 2 011) . h t t p: // h o r r o r s l e a z e t r a s h . b l o g s p o t . c o m / ( A c c e s s e d J a n u a r y - M a y 2 011) H o u s e h o l d . ( 2 011) . h t t p: // w w w. h o u s e - h o l d . o r g / ( A c c e s s e d J a n u a r y - M a y 2 011) I t s N i c e T h a t . ( 2 011) . h t t p: // i t s n i c e t h a t . c o m / ( A c c e s s e d J a n u a r y - M a y 2 011) L e G u n . ( 2 011) . h t t p: // w w w. l e g u n . c o . u k / ( A c c e s s e d J a n u a r y - M a y 2 011) M a n y s t u f f. ( 2 011) . h t t p: //m a n y s t u f f. o r g / ( A c c e s s e d J a n u a r y - M a y 2 011)
Books:
A r m s t r o n g , H . ( 2 0 0 9 ) . G r a p h i c D e s i g n T h e o r y. N e w Yo r k : Princeton Architectural Press B u ko w s k i , C . ( 2 0 0 9 ) . Ta l e s o f O r d i n a r y M a d n e s s . L o n d o n: V i r g i n Books D r o s t e , M . ( 2 010 ) . B a u h a u s A r c h i v 1919 -19 3 3 . B e r l i n: Ta s c h e n GmbH F l e t c h e r, A . ( 2 0 01) . T h e A r t o f L o o k i n g S i d e w a y s . L o n d o n: Phaidon Press Ltd K l e i n , N . ( 2 010 ) . N o L o g o . 2n d e d . L o n d o n: F o u r t h E s t a t e N e a s d e n C o n t r o l C e n t r e . ( 2 0 07 ) . L o s t C o n t r o l . B e r l i n: D i e G e s t a l t e n Ve r l a g
Maga zine s:
C r e a t i v e R e v i e w. ( 2 011). I s s u e: T h e Ty p e A n n u a l 2 011. F e b r u a r y 2 011. C e n t a u r C o m m u n i c a t i o n s L t d C r e a t i v e R e v i e w. ( 2 011). I s s u e: M a r c h 2 011. C e n t a u r Communications Ltd G r a f i k . ( 2 011) . I s s u e: 18 8 . D e s i g n f l u x L t d J u x t a p o z . ( 2 011) . I s s u e: 124 . M a y 2 011. H i g h S p e e d P r o d u c t i o n s , Inc
E xhibitions:
G a b r i a l O r o z c o . ( 2 011) . G a b r i a l O r o z c o . Ta t e M o d e r n . V i s i t e d F e b r u a r y 2 011 I n A l m o s t E v e r y P i c t u r e N u m b e r 9 . ( 2 011) . I n A l m o s t E v e r y P i c t u r e N u m b e r 9 . K K O u t l e t . V i s i t e d F e b r u a r y 2 011 P i c k M e U p . ( 2 011) . P i c k M e U p C o n t e m p o r a r y G r a p h i c A r t Fa i r. S o m e r s e t H o u s e . V i s i t e d M a r c h 2 011 Ta y l o r We s s i n g . ( 2 011) . Ta y l o r We s s i n g P h o t o g r a p h i c P o r t r a i t P r i z e . N a t i o n a l P o r t r a i t G a l l e r y. V i s i t e d F e b r u a r y 2 011
L a n c e d e Vr i e s l d v j n r @ h o t m a i l .c o .u k h t t p: // b l a c k o n b l a c k v i o l e n c e .t u m b l r.c o m / h t t p: //c a r g o c o l l e c t i v e .c o m / l a n c e d e v r i e s