THIS IS NOT MAGRITTE's PIPE

Can we really judge the familiar or common because in reality we all have preconceptions of it; we've already made up our minds about a person, portrait, subject or object. Therefore one can no longer be truly objective - a preference can be expressed but without objectivity. The commonplace is taken for granted, well-known through long or daily association. We look without seeing. 

Here started my exploration of divergent ways of working with the figurative form, challenging myself to create artwork using and combining  a range of media, technologies and equipment that are unfamiliar. 

I like fluidity, the organic and free form. Therefore the combination of using Lino with a sharp blade or photographic or silkscreen imagery which is then projected onto textiles to create soft curves and emulate the human form can be achieved. 

I found using wood blocks too unwieldy. (Due to my my inexperience and lack of control when cutting in to the surface of a block, this process was unsuccessful. It made the precision needed to create curves frustrating). Lino worked much better in order to achieve a more expressionistic and textural linear form especially for figurative work. Also repeat pattern was easier to replicate on a variety of surfaces with a particularly pleasing textural quality. 

Examples see: Lyonel Feininger
Untitled street scene - double exposure (1929-30)
Andreas Gursky
Pattern and paradigms of the repeat. 

Acrylic paint on acetate worked well for linear projections on to skin and canvas. The contrast between the painted line on a curved surface was particularly evocative. 

I used the copy camera with George to produce a series of large scale film positives of my 'Klimt' inspired life drawings which can be used for initial projected designs or textural silkscreen prints. Also I have combined my botanic illustration studies of flower forms as patterns on naked skin and translucent fabric which I then photographed and interpreted as repeated designs using both digital and traditional printing methods. 

Retro Textile Patterns

Patterns which reflect and personify 'self'..solipsistic? All my initial digital fabric work has begun with an image reflecting an emotional epiphany; kaleidoscopic trees, a child's doodle, an Australian sunset concealing a devil in disguise or have been taken from eclectic sources which are personally iconic ie. film, slide and photographic film and printed ephemera.

Some of my designs have then been transferred from digital to dirndl, with the material steamed, washed and hung with care by Becky the Beautiful. Each piece is a sketchbook reflection; a snapshot taken and manipulated from a facet of daily life and the fabric chosen is an example of the subject portrayed - depicting a slice or swathe of humanity perhaps?

ONE DirectionNEW Direction

29th December 2016

Harry Styles is not my bag but Harry Seidler is. Kurt Kranz, Bauhaus imagery and influences which parallel German Expressionist stylistic linocuts have been the inspiration for a variety of my work for the Developing Practice module.
   

"Photography is painting with light"

Miroslav Tichy

I am interested in the idea of camouflage and pattern- using the human form as both reference and canvas with the printed image (specifically a combination of the photographic and digital) which is now more prevalent in my work. My light projections and photographic imagery have become the springboard for further exploration into textile, silkscreen and most challenging and interestingly for me, projected print. 
The work of Mat Collishaw, specifically his work involving Crucifixion projections of 1990 as part of the Modern Medicine exhibition has been inspirational.
http://matcollishaw.com/works/crucifixion/  The overlapping styles using mix of transparent and textural with a propensity of linear and abstract are interesting means to develop projected abstractions using the human form as a key line.

Gueorgui Pinkassov Tokyo Businessmen 1990 

Examples of 'impediments to clarity' and 'camouflaging reality' can be seen in the work of Gueorgui Pinkhassov. In my opinion, his reportage imagery from the 1990's is reminiscent and an amalgam of the Bauhaus, Collishaw and Rodchenko, where his portraiture is interrupted by shadow. The work of Kurt Kranz too mirrors this theme.

Mat Collishaw 'crucifixion' 1990 Projection

Kurt Kranz 'Portrait of Otti Berger' 

With all my current experimentation, I have tried to incorporate the styles of artists who excite and inspire me and also using coloured, textural or movement of light as a printing medium, whether distorted, directed or projected, has become a new direction.
The moving image too is an excellent way to create emotive pattern or 'impede' the clarity of your subject. I have begun looking at colour halftones and pixellations to distort my canvas and photographic work. Again the work of Mat Collishaw and the photographs (1980s) of fashion photographer Guy Bourdin, where colour and camouflage alter the perception of an image, have been influential. The theme of 'retrospective' using film stills from the 1960, 70s and 80s as patterns 'hiding' the figurative are other forms of my emotional exploration. 
Therefore, I may have all the myopic tendencies of Mr. Magoo but creating prisms of paradise using film and projected beams of light feels mighty fine.

"Painting is a blind man's profession. He paints not what he sees but what he feels"Picasso

Packaging the human form

10th December 2015

Pattern and vibrant colour creating the illusion of seductive camouflage is the thread binding my current photographic imagery. The series of bold photographic projections taken in the studio using an SLR camera, digital projector and using the skin of Rhyannan my life model as the canvas, have inspired my use of developing varied linear organic shapes on a curved surface. This abstract approach has lots of potential and I am interested in exploring this aspect in more depth. (see work of Emma Hack and Vadim Stein)

In my work I am attempting to develop the theme of packaging; covering the human body using a range of repeat and abstract patterns in vibrant colours and alternative fluid shapes. These are taken from my own figurative silkscreen, lino and acrylic painted designs which coalesce when

projected onto curved forms - with particular imagery relating to the personality or essence of the specific person encased within. 
(Inspirational examples of this have been taken from a range of sources ie. Yayoi Kusama, Maurice Binder and Robert Brownjohn, Alli Jang). My thoughts have been directed to the theme of Butterfly to Chrysalis, Frankenstein, Chameleonesque camouflage and a myriad of textural coverings which could alter our perception of the human figure, hiding or sculpting the organic so that it blends seamlessly with any environment. 
From my own research I have found that projecting solid blocks of colour works and strong linear patterns work most effectively. This led me to take inspiration for my own projected linocut designs from the work of German Expressionists and to a lesser extent Matisse. (see Otto Dix, Ernst Kirschner, Egon Schiele).

An extreme example of this is the fashion designer Iris Van Herpen who collaborated with the Belgian artist Lawrence Malstaf and vacuum packed her models on the catwalk taking the packaging idea to an extreme. 

I am using a series of contemporary artists to assist with my quest for creative diversity with emphasis on the human form; specifically Peter McGrath (portraiture and psychology),  Miss Bugs (chameleon-like vibrant silkscreen mixed media) and Martin Maloney (colour female collage 'Actress Slash Model').

Examples of projection Ideas and further relevant inspiration

http://www.judybarrass.com/Berbagi.html

http://judybarrassblog.com/2014/06/24/projections-for-floating-land-2013-revisited/

http://margaretnoble.net/educator/the-art-of-projection/

https://www.youtube.com/watch?v=oYw_vVxw8tg
maurice binder

https://www.youtube.com/watch?v=ngf1Lryep1o
robert brownjohn



Maurice Binder and Robert Brownjohn's innovative 1960s representation of the human canvas can be seen in their title sequences of the early 'Bond' films eg. Dr. No, Goldfinger. 

https://stazouvou.wordpress.com/page/4/
anastacia stazouvou - life drawings illustrating FGM

http://emmahackartist.com.au
Emma Hack's beautiful and evocative combination of vibrant colour and pattern camouflaging the body within a flat surface is inspirational. 


http://www.allijiang.com

Yoyai Kusama

Kusama's idea of 'Self Obliteration' is relevant to my work too and some of her pattern work specifically the organic sculptural forms is reminiscent of my own large scale flower canvasses.

"Painting bodies with the patterns of Kusama's hallucinations obliterated their individual selves and returned them to the infinite universe". Yayoi Kusama

DIY

November 27th 2015

I have been looking at the best material for projecting my images onto in order to create my own 'skin' style canvas. I want a medium which was malleable, permeable to light and colour and tensile enough to stretch seamlessly over the human form. This stretched material would then be a base to project my life drawings and possibly 'retro' deconstructed silkscreen images onto.
As you know I am interested in the idea of Camouflage and this theme works in parallel with my projections. I want to try to hide the human figure and human face within a miasma of colour and fluid line.

White Lycra or Spandex appears to be the DIY projection screen of choice - also white vinyl works too. In trying to source this material found that projector screen material is a form of vinyl. Grey and Pearlescent 'flat' vinyl screen colours are effective for different reasons.
with grey vinyl the images appear brighter and are 'viewable from more angles'. Matt white is a good all round colour, however, pearlescent gives the best contrast.

Take a look at this video on YouTube: think man in brown overall sawing and coughing in a shed...

http://youtu.be/d-WWm8f3nyk

Examples of Screen and Wrapping Material

White seamless paper for Photography

This is advantageous as an 'efficient' alternative to vinyl or fabric in a controlled studio or staged setting. However the paper must be fixed and tensioned so that the image is not distorted.

Vinyl for moving or still imagery

This is a more expensive option for projections but can be used unsupported or backed by textile vinyl.

Rubberised Canvas

The advantages of this is that this material can be folded or durable and can be used for interior or exterior shots.

White Pearlised Spandex 

This is the most effective material for my own projections and what I used for the initial studio shots.

'What will survive of us is love..'

5th December 2015

'Take a moment from your busy life. Take some time to reflect on Death......what does it mean to you? How does it feel for others? The journey we will take affects the way we live. Let's talk about Death'.

Bristol Museum and Art Gallery 

24th October 2015 - 13 March 2016

Much of my work is concerned with the human form, our physicality and to what it is to be human; attempting to deconstruct aspects of humanity in so much as we ourselves are the canvas. This exhibition, featuring over 200 items dedicated to showing how human beings have approached death and dying around the world and across time, was a good place to start.

From the Mexican Day of the Dead and Victorian mourning rituals, to mummification practices and fantasy coffins, this incredibly diverse exhibition reveals stories behind the most universal of experiences. It was curated by Amber Druce.

"A dead body can be seen as the ultimate representation of death. Buddhist monks meditate on the different stages of decomposition, known as the 'nine cemetery contemplations'.The aim is to understand that no one is bound to their body forever."

I found the English accoutrements of death - mortuary slab, the 'time of death' clock, the shroud, the coffin etc. rather jarring, with the addition of the 'wrapped body' forcing one to confront the finality and the physical reality of the end of life. Alongside the clinical death experience there was an array of sculptural and decorative objects showing how death is approached in other cultures and here it appears as an obvious 'celebration' of life (Mexican Day of the Dead). One gets a sense of the departed moving on whilst still being part of the here and now. Therefore from horror to heaven the array of ' Vanitas' paintings, sculptures, talismans and religious artefacts gave an insight into the ceremony and celebrations surrounding death. The shrunken heads and Mayan death masks were particular favourites of mine.

'What will survive of us is love' wrote the poet Philip Larkin. What physically survives is something different. Whether we are buried or cremated, our bones can remain for hundreds, even thousands, of years. What we choose to do with those remains can depend on whether we see them as part of the person we loved in life or just the empty shell of that person. 

Meeting with LUCY COX

Lucy.Cox@UWE.ac.uk

Friday October 30th 2015
10am

I had a meeting with Lucy Cox, Senior Careers Advisor at UWE. I was and am concerned about my direction for the 'Developing Practice' Module and wanted her professional opinion. I have been looking at:

Project Based Opportunities
Interpretation Roles
Workshop Facilitation
Volunteering - Healthcare, Education

All of the above have the potential to be researched and explored within my existing role as teacher and artist. However, as my current projection and print work is progressing I feel that the 'educator' aspect may now not be applicable.
However, below is the result of the meeting we had on Friday 30th October where we discussed where I am now and where I may choose to end up next term with a series of relevant contacts (linking to my current role) to email if appropriate in the future.
Lucy was extremely helpful, supportive and encouraging and with this in mind assuaged some of my anxiety about this section of the MA print course.




Hi Clare,

It was good to talk to you yesterday.
We discussed some ideas for your professional practice module for your MA Print course.
You said you are interested in  working in workshop facilitation – for arts based practice. Drawing and painting type activities – but potentially incorporating simple print techniques too.

You are a secondary school teacher with good experience teaching to large groups and working with a wide variety of people .
You have a particular eagerness to work with disadvantaged groups or those who really need or deserve the experience of creative activities.
You are interested in volunteering to build experience and contacts in this area. You are keen to know what internal support is available for you in this area.

Below are the suggested contacts that we discussed.

Feel free to contact me to follow up on any of these strands once you have made contact with them.

Best wishes,

Lucy


UWE Volunteering
Contact Sally Greenwood  or Jenny Idle within the UWE Volunteers team to ask if they still have any room for an experienced facilitator on their Creative Club. Also highlight your main interests and see if there are any new workshops they could forge for you, with Charities of groups
Sally.Greenwood@uwe.ac.uk
Jenny.Idle@uwe.ac.uk

-----
UWE Enterprise
http://www1.uwe.ac.uk/students/careersandemployability/enterpriseandself-employment.aspx
Book an appointment or email the team to ask for advice on how to start a venture for an arts based practitioner who wants to deliver workshops or training to groups – perhaps Staff development days, school groups, disadvantaged groups... They are running a drop in session on Thursday 29th October in the large open space between the Canteen and SU bar. You could talk to one of their advisers there.
----

North Bristol Health Trust
Contact Ruth Sidgwick Ruth.Sidgwick@nbt.nhs.uk  – contact Ruth and explain your  desire for working in Arts facilitation. Feel free to say I shared her details with you.
She may run some arts workshops with patients/staff that you coudl deliver – start the discussion.
----

Art + Power
www.artandpower.org.uk/
Art + Power is a charitable registered society under the Co-operative and Community Benefit ...
Centre Gate, Colston Avenue, Avon, Bristol BS1 4TR, United Kingdom
+44 117 317 8099

PROJECTIONS, PATTERN & PRINT

Photographic Studio Sessions

Let me give you a glimpse inside my head...think Martha Graham dancing with Gary Hume and Mat Collishaw hovering above Jean Christo. This was the inspiration and strange starting point for a series of large scale projections which I hoped I could use in print or painted form or a combination of both.

Therefore, it was with the taste of fear in my mouth and wearing my creative 'grown up' face that I booked a photography studio with George, who is a consummate photographic professional. Seductively scary. This included organising a maelstrom of technical ephemera - projector, SLR camera, tripod, hard drives and clamps for 9.30am Thursday 19th November. 

I hired Rhyannan my life model, elfin and lithe, who was as excited as I was by the prospect of being bandaged in spandex, covered in bubble wrap and possibly rolled down the stairs in F block. I had, in preparation, photographed a series of my own eclectic organic and figurative images created using a variety of media - acrylic paint, pastel silkscreen, lino cut and photographic - to use as large scale patterns. I needed to produce as much pattern variety as possible, having no idea how the final projected images would look. 

The original idea in my head was to use the human body as my canvas in order to mirror my own figurative work (both drawn and printed) by projecting an eclectic range of 'pattern' onto a variety of visual surfaces including flesh ie. different textiles - spandex, silk, net, gauze to create alternative 'skins' and replicate the nature of the human form. Using metres of semi transparent white pearlescent spandex as my 'projection screen' I photographed Rhyannan in a series of poses whilst projecting onto her body and onto the fabric. The final photographic images highlight the curves, bumps and familiar features of the human form melded with strange, uneven distortion caused by the tension in the fabric.  

The resulting figurative projection work, where I took inspiration from the photographs of Vadim Stein and the wrapped sculptural forms of Jean Christo but in miniature, looked truly amazing. Rhyannan's strikingly beautiful sculptural form and intuitive modelling enhanced the 'humanity' of each projection and the vibrance of the colour from each pattern when projected onto pale and transparent planes (skin, silk etc) became even more intense. There is an abstract beauty to each image and when dissected (using a viewfinder) I have been able to produce a myriad of alternative figurative shapes for further projection or print (see a selection below).

I have no idea of the direction for this "body" of work (..see what I did there?) but this could be the start of something big, although Im going to need a much bigger projector and fuck loads more bubble wrap.

UWE MINIATURE PRINT COMPETITION 

" You can't spend the rest of your life crying. It annoys people in the movies " Oscar Madison - The Odd Couple

5th November 2015

OMG! My work won the UWE miniature print poster and e-card design competition.
I never come first, even at birth my twin sister squeezed past me, therefore was I so excited for this piece to have been chosen.

The idea originated from a series of Ektachrome and Kodachrome holiday slides circa 1961 which I scanned and digitally manipulated in photoshop and indesign. Firstly converting it into a combination of a layered colour halftone keeping a section of the original and then saving the images as artwork (pdf format and jpeg). The final image has also been replicated as a four colour separation silkscreen print minus the type which is much more textural. 

I absolutely love the vibrancy of Kodachrome colour; the unreality of it, like an ice lolly bursting with E numbers or a postcard of Weston super mare from the 1970s (the green too green, the yellow like egg yolk... to perfect to be real) and the dot structure of the digital halftone - with the moire effect enhancing the textural quality of each print.

I have been inspired by this media and by the idea of pre-printed material from the 20th century, particularly from the 1960s and 70s, which is evocative of home, childhood; nostalgic reminiscences using both film and photographic imagery. I am in the process of producing a series of A5 'retro' four colour silkscreen mini-prints taken from moving, photographic and slide image formats with reference to 'family' and 'found'.

 

Movie still taken from 'The Odd Couple' 1968
director Gene Saks based on the 1965 play by Neil Simon

UWE MINIPRINT DISPLAY

ARNOLFINI BOOKSHOP

3rd December 2015

Delineating the linear
27th October 2015

I am a piece of meat - we are all lumps of meat. God forbid I am those 2 rashers of bacon or a single sausage! My childhood mealtimes and illicit sarnies make the man (or woman in my case) ... Bowel cancer here I come.  Digression complete, perhaps picture yourself sandwiched between transparent plastic sheets which compress your flesh and suffocate, packaged and processed like a chicken. 

Take a look at 'Shrink' the work of Belgian artist Lawrence Malstaf. 

https://m.youtube.com/watch?v=LrkjOpe16TM, perhaps you could be immortalised in metal - the work of the Korean artist and sculptor Seung MO Park illustrates this: http://www.seungmopark.com

Or perhaps you become smothered in fabric, breathing it in, so the textile becomes as a second skin; the curves and structure of your body masked in a maelstrom of limbs and nipples, as with the beautiful photographs of Ukranian photographer Vadim Stein  https://500px.com/stein

Using my own life studies and drawing inspiration from these artists, my thought processes concerning the figurative and linear are, I believe, an attempt to 'make flesh', to translate my life drawings into a more three dimensional format using a combination of methods I can control ie. Silkscreen and Linocuts, combined with those processes I find challenging and unknown, ie. Large scale Projections and textile hangings.