aph “ Warme ”, Sigmar Polke ier as an artistic medium . Polke opies by rotating , shifting , sliding g the template during the copying the distortion and thus abstraction ecognition . The once normal s became a symbolization of Polke ' s otocopier making every moment w small of a shift . This allows for he still image as a fluid motion .
on , it also allows for the use of d rendition of the art .
In the displayed photograph “ Untitled ” Sigmar Polke uses blurring , o verexposure , multiple exposures , reverse effects , superimpositions , solarization , scratching , and copying are only a few of the methods he uses . He works with the use of outdated paper that creates unpredictable effects allowing for a kind of gestural effect of what the artist wishes .
The usage of these techniques allow for the abstraction and thus provokes in the viewer a sense of nostalgia or even vulnerability due to the lack of name . Far from actual photographs , it is more like those of dreams or memories due to the blurring , chemical spills and usage of old paper .
At the same time , the usage of other techniques such as water drops ,
Using Sigmar Polke as an inspiration , I was trying to use techniques to find similar qualities in the end product pho Polke he emphasizes contrast and abstraction . He uses all kinds of materials , from paints to resins and chemicals photos I took inspiration from ' Untitled ', he allows the res determined by the use of materials and liquids affecting t chemical reactions . Due to this , the outcomes are always unpredictable with marks and deep contrast with negativ seen in my photos such as ' Will make name later ' or ' This
In the other photo I took inspiration from ' Wärme ', he use distortion of the photocopier to create abstraction . I plan of photography which mainly focus on the wavy distortion using the photocopier . In my photo ' New York ' I follow th
The photos I used are my own childhood photographs wh distorted symbolizes my fading almost distorted memorie truly reality . The distortion due to the chemical reactions that by implying how memories become fuzzier as time g make my childhood photos close to almost unrecognizab but somewhat familiar to show that almost nostalgic atmo have for their memories . The use of black and white pho is almost synonymous with oldness . This returns back to decaying memories of what was once .
dentity
1970-1980
Critical Investigation
Wärme 1999
Self with Dad
Review , Refine , Reflect :
Throughout this project , I believe that overall Iʼve had success . As it was my first time exposing photography , at first it took some time to learn . However , I got used to it being able to use objects to create patterns , abstraction and distortion to help reach my goal .
Exploring the Human Form through Photograp
Ideas and Intentio
However , I think I could have improved in many ways . I think I could have been more impressionistic when I moved the photography across the photocopier . I wish to create much more abstract photographs in such a way that causes the fluid motion displayed in “ Wärme ” to be shown once again . I believe if I practiced more with how to move the image during the copying process , I could have made “ Jump ” into a more abstract whilst flowing image . This would have helped me reach my goal even more by showing how memories are blurry snapshots of you during the moment . This would have been a way to express my goal into the form of art .
I was able to in most of my photos create the intention I wanted . Using different lengths of exposure , I was able to create double exposures , distortions and texture to create the goal of a nostalgic view of the past , dreaming with abstraction due to the fuzziness of memories but with familiarity .
Jump
At the same ti er drops , and or scratching could have been further looked into to create e an even more abstract texture and pattern throughout the piece .
ew York
Amber Parker-Swift |
Jamie Sakamoto |
Anna Scheiner |
Nina Sinisi |
EDGAR DEGAS : CRITICAL INVESTIGATION
LIFE DRAWINGS
What struck me about Degas ’ work was the unprecedented softness of his textures , from the fabrics to the human skin . This is achieved through both the mixing of more muted colours and the lightness and gentleness of the strokes used . Despite using very different methods to paint in my own line drawings , I aim to emulate the fluidity and delicacy of the skin through the pressure and movement of my shading ( it will be in monochrome , rather than colour ) and hope this allows for depth and cohesion to be achieved in a natural way . Like Degas , I also hope to explore the female shape and how we interact with ourselves on a more intimate level
Eva Spier Lulu Stephens
INK OBSERVATIONS : REVIEW , REFINE , REFLECT
Working with ink was definitely more challenging that I originally expected ; from how pressure affected the thickness of the strokes to the inconsistencies when it came to the ink flow , I definitely learnt as I worked , using my observations to improve on the go . One method for encapsulating the softness of the human form ( as Degas does ) was through using the card with which we were drawing to create lighter and darker patches , and to in that way smooth and ‘ shade ’ the roundness . Not only did it work towards the texture of the piece , but also the depth . Through the forming of shadows a greater realism was achieved and the body began to lift of the page . This was crucial as , like in Degas ’ CHARCOAL DRAWINGS : REVIEW , REFINE , REFLECT work , the positions I drew were often very Originally slightly sceptical of rubbing out drawings and enclosed within themselves , with a lot of skin redrawing over them , once I started with this method I realised
on skin contact that , if not thought through , would simply merge into a blob of an indistinguishable shape . Whilst I am not in love with all my pieces , especially those where harsh and cartoonish lines are visible , I am very proud of the textures and realism that some of them achieve , . such as the one in the bottom left how liberating it was . Rather than being weighed down with a sense of the permanence of my actions , I realised I could keep and refine the bits I liked , and remove what I did not . It also meant I saw my style , confidence , and skill develop over time , which I really liked . Once we were able to spend more time on our sketches I introduced more colour into my pieces , from the darkness of shadows to where the light fell ( highlighted through the use of a rubber ). I really liked how more tangible forms started to be created , yet with the history of past drawings still showing through . Just like Auerbach ’ s ghostly sketch , my life drawings focus on a clear subject , yet are plagued with an impalpable sense that that is not all . Whilst my approach to this mystery may be a lot more direct and visible , the majorly faded away pieces is something I took from Auerbach ’ s work . Overall I am really glad with my outcomes and how they highlight and even heighten the human form , as well as how they feel like a haze of movement whilst focussing on carefully considered central subject .
Luana van Oranje
FRANK AUERBACH : CRITICAL IN
The hauntingly ghost-like aura of Auerbach ’ s wo with the viewer even once they move away fro something that forms through the faded and arg of tones in contrast to the eerily pale , brigh scribbles ’ of dark background . ‘ Heads of E . O . distant , yet as you observe there is an undenia figure . The drawing feels hastened and very ta most important features standing out prominently passing glimpse of the man . Their is a feeling of viewer ’ s behalf , with the subject clearly bein unfazed by our ‘ presence ’; this leaves an openin that would otherwise not be present . Taking th and the weird , backwards , intimacy it provides , drawings to reflect the rawness of human shape as the relationship between what is concrete in emotions felt below the surface
Antonia Vinnen
Ideas and Intentions : I began to explore the potential of monoprints for the expressive potent gestural and there is a great lack of control and is quite binary in colour forces you to create a highly expressive piece . I decided to try and ‘ trans monoprint in order to somehow convey a more detailed figure but found ew , Refine , Reflect : with limited time . I think I was still a good idea however to do the mon f all , I made a quick monoprint plate and experimented with various created a layer of emotion that wouldn ’ t be possible with only one colou ds of removing the ink to achieve different markings . After this I did a layers of tone and creates a very sharp and distinctive image which is qu monoprint using a reference image form Lambert as a guide to get a understanding of how to monoprint . After these two experiments I tried omething more complicated in the form of a two-piece print where I ut down an orange base and then a black layer adding in detail and shade . I think monoprints in general work really well in terms of conveying a ge and getting across the emotions of the person due to the gestural of the work and so a great for portraiture . I think this method could be or conveying the emotions of someone in a dark place as the black ink avy look is better suited to highly emotional and neutral to negative ons and so I will aim to use it in the future . I do think that one creates a and effective result with the two layered print as it adds another layer of which one can otherwise not achieve . I also learnt that using the cotton was an effective and precise method although in the future I would like to ng a rag and white spirit to try and make the image more gestural and can get more off of the plate and create a more striking image .
My Mono-print based on Lambert A
Critical Investigation : Lambert has used a rag and white spirit to create very gestural which really brings out the shadow in the person and portrays tired . Having only one colour brings this idea further forward world in a very literally black and white manner . I think that L the idea of shadow and its effect and how it creates very mood and also the black and white allows one to focus more on form the textures . I think in comparison to Lambert ’ s my print is re
John The Baptist - Rodin was using her work as a reference image and my print was far m mine focused slightly more on the rough shape of the face and culpture by Rodin has a lot of contrast in this details which result in forming the face . She also has a greater e which I did my best to capture . My print and there may be some techniques that she is using that I don ’ out looking quite regal but also lacked detail , or what it lacked in detail it made up for it its other hand was going far more for precision and faithfulness to etric qualities and stark image . I think I My Two-Layered Print and great deal of time toiling over his work and so as a result w red the core of the sculpture but lacked the mine focused on gesture and getting a rough idea of the man . unding detail .
Robert Wallace
Type to enter text Henry Moore Barbra Hepworth Swirly one idk name
Experimental Organic Sculpture I started my response to the theme sensation with a series of photographs taken on a lo interested in stumps - on fences , styles and chopped trees . I liked how they had all been down by human touch . This was very evident for the top of the style , where people grab climb over , smoothing and altering the surface of the wood . I wanted to explore this con shaping the environment through repeated gestures . I began with experimental and intu to this concept with organic forms . I researched artists who create natural and fluid scul Barbra Hepworth . I liked the intriguing crevices and the use of string , with the perfectly s curves of the solid form . I also looked at the artist … who interrupts his fluid forms with c to slice into my own pieces , believing this would support my concept of humans shapin natural landscape .
I think the sculpture above was the most successful due to the tactile curves and drama natural and organic shapes , seeming fluid but also aesthetically pleasing . I also decided so despite it being my preferred form , I would need to explore how I can include interrup final piece . Initial thoughts include two sculptures that communicate with each other but contrasting colours or textures showing the natural smoothing and taming of the wild lan the form .
I have also researche buttons at Coal Drop dog statue in a tube especially shiny as 1 / gradually smoothing explore how I could i allow viewers to inter I would potentially all use materials that are
Emilia Wood
Photography : David Merewether . Design : Andy Solanky . Printed by Pureprint .