Double spread A4 drawings with watercolour, completed over a 2 week stay at Borgo Pignano:
Having used this sculpture, made from batteries and clay, as the subject matter in a print (‘Clay Armature’) and painting (‘Versace’ and ‘Graham’s Shadow’), I have tried casting it as a means of exploring ideas of replication and multiplicity. Put in a row of three, they form a dynamic. The murky yellow sculpture is cast from silicone rubber and, as a result, resembles a dog toy.
I’ve been making 3D geometric shapes. In contrast to the crude clay sculptures I have made, they symbolise purity of form. They have a dual objecthood – they exist in their physical, cardboard form but also are also representative of their mathematical ideal forms. Both forms are somewhat insubstantial. I also like the way their different planes capture the direction of light.
These shapes have formed the subject matter for screen prints I am making for the Print Portfolio exhibition at Embassy Gallery.
I am experimenting with painting the geometric shapes and other sculptures all in primary, ultramarine blue then photographing them as a means of further abstracting and diminishing their objecthood.
I have made a large inkjet print (8xA0), which incorporates the blue objects and blue background alongside more recognisable things such as a carrot, pliers. The effect is like a painting, with the blue forms blending into the background whilst certain things (e.g. the carrot) are rendered with hyper real detail.
Quick drawings created by montaging found imagery from different places
In this artwork, fashion magazine imagery is manipulated and decontextualised on photoshop. In the lurid colours, page layout, design, the airbrushed banality and consumerist vulgarity of the content, it counters the good taste and refinement of painting . The superficiality of the imagery lends itself to manipulation. Previously when using photoshop for making digital collages, I have blown up imagery whereas here I’m also interested in zooming out on imagery. It’s shown alongside another artwork in which I have crudely manipulated a blown up magazine photograph:
This artwork offers a solution to combining the still life paintings with the magazine collages I have worked on this semester, in turning the collage into a 3d object which relates to the objects in the paintings. I am interested in developing this idea. The are also the part of the development of my thinking about the concept of expanded practice/painting.
This is the collection of objects which I collected and made throughout this semester. They are all of a similar small scale as they were used as props/subjects for still life paintings subsequently made from them. How do they work as artworks by themselves and exhibited alongside the paintings of which they are subjects? I have been researching artist’s who make small sculptures for example:
They are also inspired by Diego Bianchi whose work I came across at the Lyon Biennial 2011. He makes bizarre installations and sculptures out of rubbish:
John Beagles suggested I look at Franz West’s adaptives:
I am interested in interrogating the subject of the rhopographic/the overlooked/debris in still life painting through looking at contemporary artists, for example Thomas Hirschhorn, Diego Bianchi who make artwork out of rubbish/disused things.