Tag Archives: experiments

Trial and Error

I’ve always been interested in the idea of artistic ‘interruptions’ or disruptions but not really found the right framework to explore this within my own work. However, I’ve recently been able to access an archive of about 60 years worth of Vogue magazine and I’m determined to find some way to work with it (there are limitations, I can’t remove any of it, and proper copying is a problem).

This is my first attempt – a rough and ready gif – made from low res iPad images of all the legs in the March 1964 issue of French Vogue. I’m not sure yet if I’m going to continue this approach -or, how I’m interrupting or disrupting the archive, but this article on digital disruptions and gifs is giving me some food for thought…

All the Legs in French Vogue March 1964 (version 1)

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Version 2

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Penetralia – further progress

I’ve been enjoying some studio time this summer, with the Manchester Contemporary exhibition looming I thought I’d keep playing with these collages – just to see how far I could take the idea. I’m quite happy with these – and I hope to exhibit some of them at Manchester Contemporary and the London Art Fair.

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Studio time

_MG_9581I’ve been exploring ways of developing my ‘Penetralia’ series a little more. Colour and more holes are two things I’ve been playing with. I’m not sure whether these are ‘final’ images as such – but its fun to see how far I can push things.

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Experiments with a half frame camera

I inherited a half-frame camera from my dad and since seeing Luke Fowler’s ‘Two-Frame Film’ project I’ve wanted to have a play with one.

Luke Fowler, 'Two-Frame Films"

Luke Fowler, ‘Two-Frame Films”

These are my first images – taken on a walk round my dad’s place in Spain. I had no pre-conceived plan and I like the accidental coincidences.

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However, I’m not really satisfied with relying on coincidences, I want to use the camera’s own framing devices as a kind of creative “obstruction”. It seems natural to use the pairings creatively – one aspect of the camera that interests me is the way that you need to try and remember the previous image when planning the current, and the next and so on – so there is a temporal element to taking. The images become part of the strip – like a cinematic film, recording an unfolding event. The process reminds me of watching Hollis Frampton’s ‘Nostalgia’ – where you have to try to remember the past and engage with the present at the same time.

https://youtu.be/foJzsVYK83w

The other option is to forget the strip – and focus on the relationship between the pairings only – this way I could experiment with more formal qualities – fragments, cuts, juxtapositions of forms, abstraction. I’ve shot a set at Yorkshire Sculpture Park (yet to be processed) with these ideas in mind.

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Paper Wigs

 

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The Fielden Project

The Fielden Project with Adrian Davies, Alex Jako, Anna Taylor, Eleanor Mulhearn, Erik Knudson, Laura Davies, Richard Mulhearn & Sarah Eyre

5th – 18th May 2014
Unitarian Church, Todmorden, West Yorkshire

My practice is concerned with a fascination for the uncanny and the surreal in everyday objects, as well as an on-going exploration of gender, identity and place, so, naturally I was drawn to the grotesques on the outside of the church. The grotesque is an interesting concept, the word originated from grotto (as in cave), and is applied to decorative architectural features often mistaken for gargoyles. Grotesque, in short, means things that have a multiple form, often an ‘unnatural’ combination of human, creature and plant.

Mikhail Bakhtin describes the grotesque thus “A body in the act of becoming…never finished, never completed: it is continually built, created and builds and creates another body”. The grotesque can also be defined by forms that do not fit in to known categories, forms that multiply, or mutate. With this in mind I used the forms of the body – dismembered, re-assembled, and fused in combination with elements of Todmorden’s landscape and hand tools that are traditionally associated with gendered work within the town. The selection of ‘objects’ was informed by research into the textile trade – especially the mechanisation of the body during the industrial revolution. The choice of scissors makes a direct reference to gendered work but their form also suggests the human form.

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