Trying to make the hair & body look like they are one…, not resolved it yet!
A different approach
What’s inside a wig???
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)
I’m selling these for £3.50 (inc. postage), they are hand made, laser printed on Munken paper. There are only 45, I won’t be making more. Email me at firstname.lastname@example.org for more info.
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.
Ante Meridiem is an exiting book project that I’m really pleased to be part of. Here is a taster.
My response of the theme of ante meridiem starts from the notion that in that first period of waking time we exist in a kind of liminal, or in-between state. The morning realignment of conscious mind and body is an interesting time, the morning mind slowly awakens from sleep still holding on to the residue of one’s dream state and fragments of dream logic mingle with the real sensations of the awaking physical body. The morning also represents a transformation of private self to public, gendered body. My images of manipulated ordinary objects associated with feminine grooming create playful relationships between interior and exterior and the real and surreal to hint at the fragile nature of the feminine masquerade we create every morning.
In June 1890, at a seance in the North of England, a golden lily was summoned into existence by a medium going by the name of Elizabeth d’Espérance. The flower remained manifestly real for a whole week, then ‘dissolved and disappeared.’ I’ve been holding on to this snippet of information for a long time, captivated by the image of a golden lily – and its unnatural manifestation.
This piece, developed as a response to Diorama: Blackpool’s Hidden Theatres – seemed the right place for me to develop connections between the popularity of mediums and clairvoyants, and the many forms of spectacle or entertainment they put on show in Blackpool towards the end of the 19th century. The seance in particular always fascinated me. It is an inherently theatrical experience: the darkened room, the heavy, velvet drapes, the anticipation of the audience, the conjuring of apparitions out of thin air, and the multitude of voices inhabiting the body of the medium, who performed, as if on stage, even though they were actually situated in just an alcove or a cabinet, set apart from the normal crowd.
The medium, nearly always female, plays her role in what could be regarded as a liminal state – becoming a threshold, to speak the words of the dead for an audience of the living, and to make physical forms out of purely spectral messages. This act of manifestation mirrors that of photography, just as much as it mirrored and was associated with telegraphy, in the imagination of the Victorians: the latent image materialising in the darkroom, the message being received through the aether by a receiver – both seemingly magic acts. The medium’s body can also be likened to a camera, just as it’s been compared to a telegraphic receiver – capturing the uncapturable, and making visible things the eye couldn’t normally see.
My moving image piece offers a contemporary response to this long relationship between technology, spectacle and the nineteenth century medium. The work was presented as an installation – an image flickering on a piece of glass – viewed through a peep hole.