Tessa Garland creates small models of scenes and then videos and manipulates them along with sound to create these strange universes. In some of the pieces, she uses cleaver methods to put people into her work. I want to take from her methods, the meticulously crafted pieces she makes. Her models are very precisely done which is what makes them so plausible, i feel like i now need to do this more within my work.
After todays tutorial with Lucy i am feeling really excited and ready to move forward with my work, and hopefully have an idea on what to base my work on for the exhibition. Missing persons was readily accepted, and there was the mention of Victorian Memento Mori Photographs. However, after looking at these, i find them quiet disturbing and creepy - the mix in-between putting life and death next to one another and the pretence of everything being fine. Nevertheless, i am still set on not wanting to include people within my work, and not working with dead people - more missing. The next thing which we spoke about was having the models and photographs running side by side. This does not work. I am going to have a look at different ways to have my photos, i have already established that they look good small scale, so tomorrow i am going to get a projector and look at them big scale and see how they work within the environment. The next thing to be thought about is how my next model will look. Lucy suggested maybe having it on a plinth and what that would add to it, if you were able to walk around it. I feel that this would add to the audiences experience if they were able to walk around and look into it. Therefore, i am thinking of doing a scene of either a cliff top, bus stop or a moor land, (like the Moors Murders), where someone has gone missing from. Once i have done this i will try to figure out how best to put my photographs with it. People use the phrase, "doing a Reggie Perrin", his clothes were found on the shore line to the sea and he was never found again. I wonder if i could include some clothes into mine to hint that there was once someone there, however, when i put them there they might not be necessary and look somewhat childish. But again i will not be able to tell until put them within the piece.
Tessa Garland creates small models of scenes and then videos and manipulates them along with sound to create these strange universes. In some of the pieces, she uses cleaver methods to put people into her work. I want to take from her methods, the meticulously crafted pieces she makes. Her models are very precisely done which is what makes them so plausible, i feel like i now need to do this more within my work.
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At the moment in my work i am feeling really settled, i know that i want to make small scale/ mock up sculptures and that i want to photograph them. However, i am still yet undecided what route to go down. At the moment i have been roundly looking at destruction and devastation, whilst looking and keeping in the narrative behind the piece. I have therefore been trying to thing of collections, senarios of where i could gather a substantial amount of ideas and information from. From this it then came to me, that my work is always missing people. Why not look at missing people. After taking a look on the internet i found some sites which listed people and where they were last seen, i feel that i could get a lot from these and my possibilities would be endless. I could make sculptures, and from the inspiration of Andres Serrano's morgue photographs, i could put the profiles of where they were last seen next to them. Serrano creates beautiful final photographs of dead humans, capturing some element of their body. He then titles each photograph by the way they died. Some find these photographs hard to look at, but i find them intriguing. They are a piece of art in their own right and are of a final memory of each persons life, when beauty meets death. The figure above is entitled The Morgue, Fatal Meningitis Entitled Dreams of Other Worlds is a collaborative piece by these two artists. It is mainly based around the enjoyment of making things. This, i feel, is very important to my work. At the most there is always a sense of achievement when i complete on of my boxes. I am able to then sit and view it from afar and let myself become lost within it. It is interesting seeing this piece as they have left it as it has been made, just a sculpture, and no photographs being taken from it. There seems to be a play on the irony of this work, both the structure of a house and the structure of a bees home. Perhaps there is a sense of trying to bring back the importance of good craftsmanship and work ethic. We had a workshop with Tutor Lucy about appropriation which was really interesting!! It was something which i had never really thought about within my work. It is using someone else's work amongst yours, but recognising all of the original meanings and depth. Some interesting work was produced by Dinos and Jake Chapman. In the workshop we were then asked to do our own piece, including and artists work that we are really interested in the minute with. I chose Demand's piece entitled "Bathroom". In this piece, there is an elimination of language, he also doesn't want the audience to necessary know that what they are looking at was a scene of death. I then took that forward and decided o put back in language and death into his work. For this i looked up the bereavement section of the newspaper, and stuck that back into his work around the bathtub, where the man died. I fully went against Demands intentions by putting back in language and death. Dalwood creates 'history paintings' that have been formed from collage and imagination. He thinks of scenes and from reading and visual aids, he produces a picture from his mind as to what he believes it to look like. In his piece "Kurt Cobain's Greenhouse" he creates a composition from reading hello magazine article, and then puts into the scene what he believes there to be. I am interested in the idea of never actually seeing a place in which i want to create, letting my mind produce the composition. This is both similar to how Demand and Dalwood create their work. Although i have not yet done this, I believe that collage could help me in my work in organising my scenes and how they will work for when i take them into sculpture. After the tutorial and speaking everything through with Simon, i am defiantly wanting to look into mystery and deception within my work. I want to include both truth and fiction, but i want there to be a fine line in between both.
Group crits are always interesting as you manage to get another persons perspective who you normally wouldn't get. It was a great boost of self esteem to hear from everyone that they were all tricked into believing that what they had seen in the photographs were real!! I find that after sitting around and just looking at my sculptures, the photographs don't hold that element of deception any more, so this was great to hear. There was a suggestion on looking at film more, but i don't feel that that is the way forward. Also, it was almost universally thought that the painting which i did was not necessary to go along with the work, and maybe if i was to do another painting, i should encompass all of the photograph and its details, keeping it as one. Every day we go about our lives so fast, that half of the we often do not realise what is going on around us. We are to busy in our lives trying to get somewhere that we do not take time to appreciate what is going on around us. That is why i decided to do a blurred painting taken from a section of the storm box. The focus of the sea was only brought up because of it causing damage, it shouldn't need to create such disastrous effects for it to be our focus. We don't appreciate the little things and just blur our eyes over it. I m pleased with the concept of this piece, but the actual painting needs more to it. it certainly looks better being photographed but not when just in person with it. I have stared to make my upside down tree. Whilst i am making it i have decided to try and make a stop motion film out of it. However, when i began photographing it and making the tree, i found that, due to gravity, i will have to photograph it lying down to prevent the soil from falling out. This then meant that i was unable to use a tripod for the photos and as a result when i put the film together, it may not make the desired effect. I also found out that instead of slowly making the tree as easy photo is taken, it would be easier to make the tree as a whole, cover it over with soil and slowly dust away soil each photograph to reveal more of the tree - making it seems although it was growing. This is the photograph of the main tree, whilst the glue is setting. It should all be dry now. In order to make a long enough film, i believe that i am going to have to take around, 100 or more photographs. So far i am really enjoying working with these natural materials and having to problem solve along the way to figure out what will make this an effective piece of art. |
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April 2016
Kerry FosterThird Year Fine Art Student at Falmouth School of Art. Fellow artists: |