Sunday, October 9, 2011

sketchbook project progression

















series of experiments investigating different ways to represent or get close to the essence of an object. I found that trying to over represent or copy the form led to a distance from the real thing but when I began to involve the object through rubbing, stencil and using the properties of the tape, I was able to get closer somehow to a true representation and that maybe the most 'true' representation of an object you can achieve involves a combination of absence and dissolving at the same time as presence and appearing.



sketchbook project










fill an A4 sketchbook. I cut down to two landscape A5 on the bansaw. reformatting makes such a difference and created a sense of making pages personal.

from the desire to see beauty in the everyday and throw away I wondered if I could make a two day project from the pleasingly curved sheaves of double sided sellotape.

I started with the camera, drawn in by the relationship between the shadows and the form, how they merged and created something between.

supported by an interest in the contemplative arts where a single brush stroke can be a perfectly simple and powerful expression of presence and nowness.








David James Clark








I saw and was immediately drawn to David James Clark's photographic work at the University of Brighton's BA Photography show 2011 at the Lighthouse gallery.
I'm particularly interested by the cross over between photography, fine art and sculpture that I think this work represents. A paired down visual language using simple materials to express potentially weighty ideas. suspension, tension, relationship, time. This work has influenced a recent college project dealing with the practice of the sketchbook.









Thursday, October 6, 2011

brixton boards




ordinary becomes extra ordinary, isolated and framed. postcards from the city, from a closer look at every day environment.