Commission Research

I loked at many artists for this project but a only a few of them were helpful.

The first were Tim Noble and Sue Webster. They used rubbish and cast a shadow over it that was in the shape of humans. This rather unsettling work is an example of a reminder of human nature. the rubbish represents our personalities and our ways of living. We litter, it over runs us and becomes part of us. There work is focused on the transformation of the rubbish into the shadow of portrait and sometimes self portraits It was my initial research as this is where we started when I did this project las year in my foundation year. This is where my idea of casting a shadow over rubbish came from. But quickly moved on from that after the tutorial.

I looked at the Shadow catchers, camera less photographers that worked with shadows directly onto the paper. Their work was more about what defines the line between art and reportage, or the possibility of both at once. There are 5 artist in total, including: Adam Fuss, Pierre Cordier and Floris Neussuss. They all had very different concepts and ideas, but I had a look at them for their technniques. I thought about using camera less photography for my project, but after studying them and their techniques I realised that they used very complicated ways of doing their work and that I did not have the knowledge to do what they did. For example, submerging the paper in water, using a flashlight to expose it and than working with the chemicals to adjust it.

Finally I looked at Rashad Alakbarov, a photographer that uses rubbish and other material to cast a shadow that spells out words or create landscapes that a few students recommended. He uses this technique to create shadow paintings, a strange way to combine photography, shadows, and the traditional art of painting. Even though they are not actual paintings they are referred to as paintings. He uses material he finds lying around and recycles it in his works of art. His work with words became my main inspiration for my concept and idea.

Self Evaluation: Commission

Tim Noble and Sue Webster

Tim Noble and Sue Webster

When we were told our project theme was waste I went back to a previous project I did in my foundation year inspired by Tim Noble and Sue Webster where we created shapes and forms through the means of shadows of rubbish. But during the tutorial Steffi pointed out that the outcome may be aesthetically pleasing but the concept wasn't there. So after some re-evaluation and more research I came up with my new concept. It started with halls being over run by trash, and than moved on to the trashy impression and first glance appearance left by a large amount of students in halls. This than extended to Chatham and Medway itself. My concept is to show the trash through the impression of the shadows on the background, just like the impression of Medway was left on me.

I looked at the work of Noble and Webster first again, my understanding of their work was to find beauty in the shadows of repulsive object and remind us how big rubbish is. I also looked at Vic Muniz, his wasteland series, and the idea of the transformation of the object itself. As well I looked at the camera less photographers The Shadow Catchers, the group of artists manipulating paper, light and shadows directly on the paper. Their work was a good starting point, it helped me understand the line between art and nice looking pictures. Finally I was recommended Rashad Alakbarov, used shadows to form words with rubbish and other materials, this was my main inspiration for this project, it stayed close to my original idea but the concept became clearer.

I struggled with this project especially with the printing, and the outcome isn't what I expected. I focused to much on the fashion set build as it is a group project and pushed the commission behind it. But in the end I enjoyed it, it pushed me out of my comfort zone and even thought the outcome isn't as good as I could have made it I am still happy with my work.

Shadow Catchers

Shadow Catchers

Vic Muniz

Vic Muniz

Rashad Alakbarov

Rashad Alakbarov 

Rashad Alakbarov

Another artist i looked at but didn't really inspire me: James Welling and his abstract photography

Contact Sheet

Test Strip

Test Strip

Final Print 1

Final Print 2

Final Print 3

Fashion Research

Here is some initial research for the fashion aspect of the picture. The pictures come from various shops suggested by our fashion experts. It is a mix of clothes an jewellery.

Dress From the sop Sparklemoore

Suit from the same shop

Back of a jack from Tweedmans Vintage

Pattern Detail

A 3 piece suit from Tweedmans Vintage

Back of the jacket

Waist coat

1960s Harris Tweed Jacket

I really like the 3 piece suit, the other ones look a bit too tacky in my opinion,. However the 3 piece suit is 95£, so i doubt we will purchase it, but I really feel like we should be looking at something like this for the male model.The problem is, as pointed out by Tom, this is a fashion project and we will need to spend a bit on the clothes but i really think we can find something similar for a cheaper price. We are trying to organise a trip into London to Brick Road, with all 3 of our fashion experts to find our garments,  but it is hard to find a time where everyone is not working or has lessons etc... But I am strangely enjoying the fashion aspect of this project now and looking forward to actually having the garments!

I will show these to our fashion experts a report back their comments, advice and criticism.

Meeting the Theatre and Set design people

Through My friend Katy, I have organised a to meet this thursday with her and her tutors in Theatre and set design to discuss the technical aspects of the creation of our set. This is the list of things we need to discuss:

-The door it's architrave and how to attach the panel above it and on it's right. (it is a functioning door)
-Details about the MDF bed
-The window, it's frame and the panels attached to it with the brick wallpaper attached to it.


I'll be bringing in the floor plans, pictures of the model and all the dimensions and details about the d=set to discuss with them.

Set build

We have finally agreed to use 7 panels and 1 polyester board. The set should be around 12ft by 16ft in total as a gross estimate of the entire surface. We won't use all that space but we will need to have a studio to ourself or make sure we have a large portion of the shared one. It was good to finally put some numbers down and actually realise the proportion of work this will bring. We will also build part of a bed out of MDF, this is because there is a bed in our picture but only a corner will be visible so there is no need for in entire bed.

Set build Workshop

We did a set build workshop where Mike, an expert, had a look at our concept, ideas and models.
It was useful to have an outside view of someone that does this for a living. We discussed of the issue of having a ceiling but decided to go against it in the end. We build part of our set and got a H1D out to test out lenses and such and to actually get a feel to the picture. A few problems came up like the fact that the camera will have to be quite far away, whilst the was still in the room, the camera was in he corridor. It was also a chance to finally experiment with the window.

Read All About It!

At the moment the Leveson enquiry going on, it's looking at the news today, it's culture, practise and ethics.

newspaper concerns: -spread of info -daily national and international events - owners dictate info flow - political economical and cultural agenda - circulation of ideas - ideology - dominant groups uphold their views - subordination of the masses - manipulation of reader opinion - capable of influential government policy.

design of newspaper: publication must be easy, state clearly the aims and purpose, define publications readership, understand the needs of that relationship understand the structure, chain of command, influence of advertisers

The flat plan: important tool in producing publication, allows everyone in production to see pages and content, updated on regular basis look at the balance and pace of content, indicate advertising pages

Paper stock: newsprint, low-grade paper stock, inexpensive, accepts full colour printing, long leghts of paper used during printing, sustainable

Properties: tactile, disposable, ephemeral, rough/raw, unpretentious

Newspaper photography: images used to support text, front often striking image, to attract there of the reader, communicate something beyond words, depict current events, today's news

What Makes a Great Exhibition?

First you must define who your audience is. never underestimate their intelligence or overestimate the info they have, it's about how much info you give them.

Exhibition are journeys of discovery. It goes through the website link the event and after the exhibition.

Where do you start when conceiving an exhibition, the theme focus of the idea.

Showing is telling, space is a medium in which ideas are visually phrased. Installation is both presentation and commentary, documentation and interpretation:
galleries are like paragraphs
                                                                                 
Walls and formal subdivisions of the floors are                                                                                                              sentences
                                                                                  Clusters of artwork are clauses
                                                                                  Individual works in varying degree of operate as nouns                                                                                                                                                                               an adjectives

How do you conceptualise photography?

Architecture should be considered, not just location but also physical architecture of the building.

Consider sight lines, consider breaking some sight lines and breaking them so you don't see all at once but keep the viewer's interest peeked. (look at recent cindy sherman show)

Scale should also be taken into account as well as texts accompanying the work next to it or even as part of it.

Next is colour ( look at ori gersht) and placement, photography used to be very preservative, so only certain galleries could be used on the wall... Paul Graham is a good example .

Who is the audience? The public, the artist, the curator
The artist perspective: Why an exhibition? Is the best way to get out there is an exhibition?
Why an exhibition? See you work under good conditions? See your work with other artists, because you have been invited to collaborate or other by other artists
. Because you need exhibitions on your CV, it is the ultimate promotion vehicle.
How to make it work? Decide what you need, plan carefully, negotiate with other artists and curator. ( see set built project)
See your work with other artists, invite other artists to join, who you know trust or admire, take care when you invite them. because a brand new audience will see your work, but make sure you promote yourself well (handout labels...) to the right audience for your work. Keep in touch with the people that come to see the show (visitor's book...). Remember that curators, dealers and critics may see your work! So make sure there is a mailing list!


But have FUN!!

Set Build Workshop

The Set Build worksop was probably one of the most fun workshops we've had. Learning how to make walls from panels and how to create portions of rooms.

Aligning the panels

and screwing them together (as perfectly demonstrated by Amie)

First you need to lay down 2 panels flat next to each other and align them as mush as possible. Then screw 2 screws in each section of the panels to hold them together; lift them up with 3 people one on each side and one in the middle to stop the panels from collapsing inwards.

wall with the supports on

We then proceeded to attaching support on both sides of the panels to hold them up. We can either use already made support or make our own (making our own is more fun!)

Part of a set all build and ready to go

We then attach the other wall by adding screws through the support beams and voila! A set all ready to be decorated!

Weights to hold the support in place

Martin looking happy as we add the support  beams to the wall

Taking the screws off

separating the boards

Amie having a little too much fun with the screwdriver

Finishing to take everything apart

To finish we just took everything apart the same way we put it up. Had a lot of fun that day and seeing how ambitious our set build is I can't wait to get cracking on it!