Saturday, 4 June 2011
Saturday, 28 May 2011
Wednesday, 25 May 2011
Tuesday, 24 May 2011
Sunday, 22 May 2011
Thursday, 19 May 2011
Drawing a Bug's Life
Photography is a starting point where I discover a multitude of new wildlife around me, Form this I adapt what I see into a from of drawing which allows me to experiment with the structures and patterns that make up a BUGS LIFE!
Inspiration by Surroundings
The Environment I inhabit always effects my work, from being in a city to being in the countryside, the direction of my work reflects the atmosphere and my surrounding.
My recent relocation to Rhodes, Greece has had a positive influence on how I am obtaining and reconstructing sources of information and influences. This has led me deeper into my investigation with the anatomy of bugs, adapting this into playful illustrations, sculpture and photography.
Monday, 18 April 2011
Form, colour and placement are the three elements of my work that are paramount in my thinking
The interrogation of found objects is a key starting point, photographing, illustrating and casting them in an obsessive way to understand the significance of the object to me and it’s possibilities.
Further investigation consists of dissecting the object or positioning the object in thought provoking environments.
The idea of reclaiming a forgotten item and transforming it into an art form interests me. Thus the work has been transposed from one thing to the next.
Juxtaposing certain objects into a playful frenzy of colour-coded expression is a point of reflection where I look at the aesthetic need of the work and question the ideology of the piece.
Process has become a key element to my composition. I work zealously with particular objects until I am completely satisfied, pulling them apart, stripping them of their previous identities, generating and accumulating a diverse nature to my body of works.
I carefully consider the materials I use. Putting diverse resources together interests me as much as exploring the idea of how sculpture is a three-dimensional art form, which interacts with the space around it. The texture, denseness and context of the sculpture can provoke different moods for the concept behind the piece.
Interested in the order of chaos, the way I arrange the components to an art piece is often chaotic yet juxtaposed into thought out assemblages which I hope communicate with the viewer, and how one object placed next to another can change the pretence of the original identity of the object.
I am interested in the narrative to the object, interlinking with their own relationships with familiar objects, creating a new dimension to the object, creating "precisely choreographed" installations.
More recently I have been looking at the book ‘On Longing’ by Susan Stewart and trying to understand a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world, whether its miniature books, eighteenth century novels, tom thumb weddings, tall tails or an object of tourism and nostalgia.
Looking at scientific diagrams for inspiration. Drawings of molecules, atoms and DNA interest me as the connection point of each particle has an interesting structure, which complies with my own practice.
My work might not have a direct link to these inspirations. However after a closer look the viewer might be able to make the link, I don’t want my work to be overtly scientific as FORM COLOUR AND PLACEMENT are the main elements that drive my work.
However looking at these resources is an important stepping-stone in the process of my work helping me formulate ideas.
Watching Documentaries on the natural world, planet earth and Evolution inform my practice taking in information and
Being interested by natural formations of the earth, pattern making and the formulation of genetics drives my work to a deeper level. These sources of information have an effect on the way I think about placing an object within a work.
For example a leopard’s spots look randomly formed however there is a complex pattern system that forms in a very ordered way, this is very similar to the workings of how my work is formulated.
My work has a heavy connection to the order of chaos and reflects the interrogation of how components are put together weather it is two pieces of cotton or a plank of wood and a ball of play doe the materials I work with are the foundation in communicating with the viewer.
The Materials I work with are imperative to my practice however I don’t restrict myself to a certain theme of found materials I am interested in the elements of the earth however I mainly work with manufactured objects of the readymade! Mainly mass-produced, `I think this interests me as the idea of the duplication of an object can transpose the initial object into a new light forming new meaning.
The interrogation of found objects is a key starting point, photographing, illustrating and casting them in an obsessive way to understand the significance of the object to me and it’s possibilities.
Further investigation consists of dissecting the object or positioning the object in thought provoking environments.
The idea of reclaiming a forgotten item and transforming it into an art form interests me. Thus the work has been transposed from one thing to the next.
Juxtaposing certain objects into a playful frenzy of colour-coded expression is a point of reflection where I look at the aesthetic need of the work and question the ideology of the piece.
Process has become a key element to my composition. I work zealously with particular objects until I am completely satisfied, pulling them apart, stripping them of their previous identities, generating and accumulating a diverse nature to my body of works.
I carefully consider the materials I use. Putting diverse resources together interests me as much as exploring the idea of how sculpture is a three-dimensional art form, which interacts with the space around it. The texture, denseness and context of the sculpture can provoke different moods for the concept behind the piece.
Interested in the order of chaos, the way I arrange the components to an art piece is often chaotic yet juxtaposed into thought out assemblages which I hope communicate with the viewer, and how one object placed next to another can change the pretence of the original identity of the object.
I am interested in the narrative to the object, interlinking with their own relationships with familiar objects, creating a new dimension to the object, creating "precisely choreographed" installations.
More recently I have been looking at the book ‘On Longing’ by Susan Stewart and trying to understand a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world, whether its miniature books, eighteenth century novels, tom thumb weddings, tall tails or an object of tourism and nostalgia.
Looking at scientific diagrams for inspiration. Drawings of molecules, atoms and DNA interest me as the connection point of each particle has an interesting structure, which complies with my own practice.
My work might not have a direct link to these inspirations. However after a closer look the viewer might be able to make the link, I don’t want my work to be overtly scientific as FORM COLOUR AND PLACEMENT are the main elements that drive my work.
However looking at these resources is an important stepping-stone in the process of my work helping me formulate ideas.
Watching Documentaries on the natural world, planet earth and Evolution inform my practice taking in information and
Being interested by natural formations of the earth, pattern making and the formulation of genetics drives my work to a deeper level. These sources of information have an effect on the way I think about placing an object within a work.
For example a leopard’s spots look randomly formed however there is a complex pattern system that forms in a very ordered way, this is very similar to the workings of how my work is formulated.
My work has a heavy connection to the order of chaos and reflects the interrogation of how components are put together weather it is two pieces of cotton or a plank of wood and a ball of play doe the materials I work with are the foundation in communicating with the viewer.
The Materials I work with are imperative to my practice however I don’t restrict myself to a certain theme of found materials I am interested in the elements of the earth however I mainly work with manufactured objects of the readymade! Mainly mass-produced, `I think this interests me as the idea of the duplication of an object can transpose the initial object into a new light forming new meaning.
Thursday, 14 April 2011
Wednesday, 13 April 2011
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