Progress photos of my pots
‘ Neck / Livington ’ ( 1988-1989 ) Robert Mapplethorpe
‘ Donald Cann ’ ( 1982 ) Robert Mapplethorpe
‘ Lisa Lyon ’ ( 1982 ) Robert Mapplethorpe
‘ Derrick Cross ’ ( 1983 ) Robert Mapplethorpe
‘ Back and Arms ’ ( 1984 ) John Coplans
‘ Back with Arms Above ’ ( 1984 ) John Coplans
‘ Hands Spread on Knees ’ ( 1985 ) John Coplans
My work inspired by Mapplethorpe
Image 1
Image 2
Image 3
Image 4
Lara Rampersad
Title + explanation
With this set of works , I wanted to explore the process of copper etching ; from the acid etching process , to dry point needling and finally the sugar lift which helped add tones like a brush stroke . I used etching to find a mixture between precision and gesturing , with the individual lines being lined up and organised individually , with the direction , depth and length being taken into account . Yet the layering of the marks as well as the sugar lift providing the gestural bits of the prints as they suggest direction and shape . Also , the ink itself spreads unevenly with each print , giving each its own character and also making them more interesting . I used the acid etching to make the fine marks on the face such as the ones on the cheek and the ones around the nose , but then later used the etching needle straight onto the copper to get further contrast and have stronger lines for the background and the larger shapes such as the coat
I like the addition of colour in these prints , as it made them more striking and noticeable , and the helmet . Also , I think that the needle straight onto the copper however I didn ' t like the lesser amount of contrast they had , so I lined each print with a helps preserve more of the directionality , especially when going for the brush pen in order to define the lines a bit more . Although I do like the way the brush darker tones without much layering from many directions . strokes match up with the ink marks and make them more fluid yet defined , I do wish to
I also think that this mix of etching styles onto the copper helped the try layering on a second print of maybe just the outlines , so I can layer the colour print with pieces have more of an organic feel as there ' d be a mixture of widths of another print instead of something hand drawn . marks which make them look more natural .
Top left was the best result out of the prints without the sugar lift , I thought that it was pretty successful and that I improved most of the details that stuck out to me , whilst also getting it much darker than the original plan , which I think made for a stronger outcome as it made it more striking and prominent . I do wish however I made more marks with on the acid etching , as I think that the finer marks would ' ve helped blend the shading better , instead of relying on the sugar lift tones to get the midtones . I think this would ' ve made the print a bit more cohesive and also give it a stronger identity as a copper etching .
To make these prints , I cro`1pped portraits to focus straight onto the face . Then I blocked out the rough shapes onto the copper . I then scraped off grout and dipped into acid for the first printer , afterwards I used the needle straight onto copper , later I used sugar lift to try different ways of adding tones , and finally I experimented with the different colours .
This was the print with sugar lift and black , I didn ' t know how dark the tones would end up , so I didn ' t scrub the ink from it completely , and whilst this gave it a much dark appearance overall which is what I was going for , I think that it ended up too dark which lead to the readability of the print suffering . I think if I were to try it again , then I would make the sugar lift tones quite a bit lighter so that I can have the super dark lines whilst preserving the midtones .
Mac Raymond
I think that with these prints Rembrandt was trying to make a dark brooding portrait , with more of a focus on the face and it ' s expression . He wants the face of the subject to be the sole focus of the print . I think that both portraits are successful in this . He does this through his dark backgrounds , which are mostly directional and only lighten up surrounding the face , this draws our gaze not only to the center of the print but also to the subject . AS well as this , I think he uses the direction of the marks to follow the contours of the objects and make them feel more organic and natural . Also , he uses a sharp contrast , with not many midtones which result in a sense of harsh lighting and striking images of subtle expressions . Also , I think that the decision to make the subject stare straight at the viewer gives the subject power , as if it were commanding our gaze . These prints are quite striking despite the lack of strong expression and colour because of this .
I think this relates to my work as they share similar aspects , such as the directional background marks which lighten in order to emphasise the face , the contrasting severe tones and finally the composition being roughly similar , with the whole face and some shoulders being the only thing in frame .
I think this also ties into the theme as Rembrandt uses the precision both to follow the contours and give a more subtle way of showing tone in the top print , but also in a more rough , gestural way in the bottom print .
Human Photography
Exploring the potential of photography to create a sense of intimacy
Critical investigation 1 – John Coplans John Coplans was a British artist and war veteran , known for his series of black and white self-portraits , which offer an exploration of the naked , ageing body . The choice to focus on the back and hands , avoiding including the face , creates a sense of anonymity . This shifts the focus from personal identity to a more universal exploration of the ageing body . This also challenges traditional portraiture , which tends to rely on facial expressions for identity and character .
The close-up and focused nature of Coplans ’ photograph : “ Back and Arms ” allows the viewer to scrutinise and closely examine the details of his body , which I think effectively creates a sense of intimacy . There is a sense of texture through the detail in the hairs and dimples , challenging an idealised view of the male physique . This fine , sharp focus further adds to the realism of the image . Coplans ’ work was notably influenced by the feminist movement , which brought attention to gender roles and reevaluated the conventional roles of masculinity and femininity . By depicting the ageing body with its natural imperfections , I think he is challenging conventional standards of attractiveness and beauty , encouraging the viewer to reassess their perception of this notion . The central composition of Coplans ’ “ Back and Arms ” creates a sense of balance and directs the viewer ’ s gaze towards the subject . Additionally , the backgrounds are a plain white shade , further highlighting the focus on the subject , creating a more intimate and intense examination of the body . I think that isolating the body from any contextual elements creates a more minimalist setting that places sole emphasis on the subject , deepening the sense of intimacy and focus and creating a rawer , unfiltered focus on the form .
In all of his works , there is rather dramatic lighting that creates a chiaroscuro effect . The interplay of the stark white of the back , with the darker areas such as the shadows on the sides of the back , helps to accentuate the contours of the body , creating a more sculptural representation . I think that the harsh white lighting also creates the sense of exposing the naked body to the light and , in turn , exposes its imperfections . By solely using black and white , Coplans takes any colour distraction away , heightening the attention to the ageing body ’ s physicality and intricacy . In addition , by removing colour , there is a timelessness to the image , which I think links to the idea of removing his identity from the image , rendering the subject ’ s appearance more universal , inviting the viewer to connect with the subject on a more fundamental level ; in Coplans ’ case , this relates to him delving into themes of personal identity and the human experience .
Critical Investigation 2 - Robert Mapplethorpe Robert Mapplethorpe ( 1946-1989 ) was an American photographer who became infamous for his transgressive black-and-white photographs , which often celebrated the queer community , and explored themes of sexuality , gender , race , and the human body . His pieces were explicit and sometimes homoerotic , which sparked both praise and criticism . In ‘ Neck / Livingston ’, the piece focuses on the intricacies and depth of the human body . Against a stark black background , the striking contrast with the lighter greys and whites of the neck intensifies the power of his outcomes . I find the close-up perspective equally effective , allowing the viewer to intimately explore the subject ' s neck , highlighting detail in the dimples and blemishes , with every curve , contour , and imperfection becoming noticeable . Mapplethorpe ’ s close-up perspective not only highlights physical details but also creates a sense of vulnerability and sensuality . His specific focus on the neck – often considered an erogenous zone with connotations of sensuality – could show that he is not only trying to portray a sense of physicality but also exploring the perception of intimacy and desire . In his other works , there is a feeling of tension in the subject . The subjects ’ slightly contorted poses are emphasised through the visible
Ilse Russell-Jones
Communication of Ideas and Intentions When setting up my photographs , I wanted to capture the same play of light as shadow that I admired in Mapplethorpe and Coplans ’ work . However , I found this slightly challenging at times . I experimented with placing the light source in different areas , trying to get the ideal angle which illuminated the subject ' s ( my ) body . I also tried photographing in the dark , relying solely on the flash of the camera ; however , I ultimately found this less effective in comparison to a more controlled setup .
To create a sense of movement in the photographs , I had to contort and stretch my body , with the poses being slightly uncomfortable at times . However , I think straining and tensing of muscles gave the photographs a more compelling outcome since it accentuated the contrast between light and dark areas , which was a crucial element in capturing visually interesting images . I experimented with the positioning of the photographer to explore the effect of different perspectives . Much like John Coplans ’ work , I wanted to create a distorted sense , such as in image 1 , where the back appears elongated .
After taking my photographs , I used Lightroom to finetune my images . I adjusted the exposure , contrast , and highlights , to emphasise the depths of shadows to create a more dramatic visual impact . I cropped certain images , such as 4 , to create a closer , more intimate exploration of the subject ’ s back , exposing intricacies and imperfections , and chose to turn several images black and white .
My works :
Reflecting on Technique The outcomes of my photographs had a strong sense of contrast which I think has a visually interesting effect . This technique became even more pronounced when I turned my images into black and white . This monochromatic palette also created a more simplistic effect , which sharpens the focus on the textures of the skin , and the shadows of the light .
Reflecting on my work , I think that using a plain background could have been more effective , such as in the work of Coplans and Mapplethorpe . Having a plain background would have lent my images a sense of clarity and simplicity , eliminating background distractions that take the focus away from the main subjects . Perhaps I could have tried posing on a stool , with a plain white or black backdrop . I removed the backgrounds from images 2 and 3 , which already enhances their visual impact against the dark background .
In the life model photography session , I had previously explored the impact of cropping on the composition and visual narrative of the photograph . Building on my previous experiences , I used cropping to create a heightened sense of intimacy and focus on this particular piece . By excluding superfluous elements and honing in on a particular body part , I wanted to evoke a sense of proximity , sparking a connection between the viewer and the subject . It also allowed me to accentuate subtleties such as the array of textures , lines and contours , creating a sensory quality . By juxtaposing the cropped image against negative space , I think there is a sense of the subject ’ s solitude and isolation , which adds to my idea of a plain background .
POTTERY
Reflection on technique These pots are made using coils of clay . In the absence of a pottery wheel , using coils of clay to build up the pot from the bottom is perhaps the most convenient way to make a round pot . I rolled out clay into thin coils and layered them on top of each other to form the pot itself , then smoothed out the coils so that the surface of the pot would be somewhat smooth by filling in the crevices between the coils and smoothing it out with the help of a small amount of water . The inside of the pot was particularly difficult to smooth out due to the way that , as the pot comes inward near the top , it becomes more and more difficult to move the hand inside . Then , for one of the pots , I made flowers from clay and attached them . These flowers were made by flattening out spheres of clay to form petals and attaching them to a ‘ stem ’. After each flower was finished , I then cut off the stem and attached the flowers to the pot itself . For the other pot , I formed planets and moons from spheres of clay , then attached them to the outside of the pot .
Communication of ideas and intentions These coil pots are based on identity , and thus my personal values and personality . As a person who values above all knowledge and truth , the images I chose to present on one pot are of planets and moons , and a black hole , since humanity ’ s exploration of space to me is one of the greatest markers of the expanse of our knowledge – we are constantly finding new things in space , and space seems to hold the majority of our countless unanswered questions . The pot itself seems to gape open , pulled into the black hole . Perhaps we as a species tend towards a morbid fascination of the unknown and the terrifying . Besides valuing knowledge , I also find myself drawn to nature ’ s beauty . Its random nature , so far from our ordinary standards of what is ‘ perfect ’, is as intriguing as it is beautiful . The second pot I made was thus inspired by nature . The rim of the pot is made to look like a splash of water , suspended in a single moment in time . Water is a thing that never takes the same shape twice , a common subject of paintings and photographs because that which is temporary is what we always wish to be eternal . Flowers , too , are fragile short-lived things , immortalised in many works of art because it is the greatest representation of the wonders of nature . We give flowers meanings because their vibrant colours and unique shapes easily evoke emotion . The rose , the flower I chose to make , supposedly represents love in the conventional flower language , but to me , the thorns on rose stems combined with the richness of their colour and their velvety texture are almost the definition of ‘ you can look but you can ’ t touch ’, a sentiment with which I agree with regards to things such as
Xinyi Zhang
Critical investigation I took inspiration for my coil pots from June Ridgway , an artist who works with ceramics . Her pots are inspired by the natural erosion and weathering of a surface upon exposure to the elements . The smokiness of the shapes across the pots give it an ethereality which replicates perfectly the mysterious and unpredictable nature of the natural world . The colours June Ridgway uses contrast heavily , highlighting the smoky wisps . In the first pot on the right , the artist has chosen a wide variety of colours , mainly shades of pink and light purple , with splashes of blue , black and red . It is almost as if there are cracks in the pot , with ink bleeding out of them . This reflects the inspiration for her pots – the destruction caused by erosion and weathering by the elements . I personally found the colours to be appealing , as well as the roundness and smoothness of the pot and the soft yet somehow simultaneously sharp shapes . Pink , black and blue are colour that I plan to use when painting or glazing my pot with the flowers on it . The second pot by June Ridgway , coloured in darker shades , seems almost ominous . Instead of a marbled texture such as the one the previous pot seemed to have , this pot has a pattern more similar to lines crudely drawn across it . Again , there are splashes of colour that seem to bleed out of the lines . The monochromacy of this pot gives it a bleak melancholy . It seems to be wisps floating over an empty void . I personally find the pattern and the mottled grey with patches of white , brown and gold to be reminiscent of what space looks like , albeit less colourful , though the monochromacy echoes the fear we have of the unknown . I find the smatterings of colour to be appealing and hope to replicate it when I paint my own pots , particularly the space themed one . The third pot , below , is almost a combination of the two other pots , with the bottom half very similar to the second pot , with solid black on the bottom curving into the base and fading into white further up , while the top half is composed of much lighter colours . The patterns in black take on a much sharper edge than either of the previous two .
I chose the colour pink for the flowers – a colour often associated with fragility . The pastel colours of the pot presents a friendly image . The contrasting colours of the water and the flowers further highlights the flowers . The water , dripping down , seems to be drowning the flowers .
Over the first term of the IB Visual Arts course , we prepare students to become independent , informed artists through a process of equipping them with a range of practical , technical skills . Often this involves exploring a specific process in the hope that it will trigger an idea , interest or innate skill within a student , enhancing their existing creative strengths . Students participate in life classes that can focus on observation or process . These exploratory tasks are shown here in both the sketchbook documentation of the process and the products of the life class .
Photography : David Merewether . Design : Andy Solanky . Printed by Pureprint .