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.