French photographer Guy Bourdin ´ s textural pieces depict a monochromatic black and white image ,
Sofia Abdulazizova |
Teni Asade |
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Gaétan Bauné |
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Tom Broome |
CRITICAL INVESTIGATION : |
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GUY BOURD |
Kennedy Chee |
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capturing a close-up detailed image of cracking and peeling paint , the flaking paint is emphasized by contrastive shadows outlining its fragmentation into asymmetrical geometric shapes . The irregular flakes fill the scene , which enforces how this photograph only captures a fragment of the greater picture . Bourdin focuses in on the beauty of decay and its intricacies , using the photographic medium to capture the abundance of detail in the process of aging . The use of greyscale and contrast between darks and lights brings forth the entanglement of obscure minute cracks , embodying how the process of aging begins as miniscule imperfections that grow and spread outwards unpredictably . The absence of color and vibrancy captures another aspect of aging , Bourdin ’ s capture of the dark textured surface beneath emanates the sense that pieces of life have flaked off revealing darker more brooding undertones that are devoid of the energy of youthfulness . The photograph creates the sense of slow eventual , and the continuous nature of it as the paint peels and flakes off piece by piece . The contrast between the grey tones of the background and the lightness of the paint develops the sense that fragments of life remain , however each flake is brittle and surrounding by the grey darkness of the background , seemingly being pulled into an atmosphere of dark and foreboding mystery . This is synonymous with the loss of memories over time , and the disintegration of the brilliance of the past . The lack of scale or contextual detail within the piece produce an abstract , alienlike and almost inhumane setting , from which creates an image of an unfamiliar foreign landscape . Despite the abstraction of the piece , its connotations are familiar and clear , as the desolation of this unrecognizable landscape alluding to the solem ness and solitude that cultivate amid the process of decay . The fragility of the paint flakes is not only synonymous with the insecurity surrounding aging , but also shows the impermanence of human creation and human life . Bourdin ’ s choice of subject implements natural and urban environments that are integrated within our surroundings , that we may look over . Though the piece at a glance seems foreign and surreal , the concept of aging is an intimate part of our lives and thus is recognizable , connoting hints of an earlier presence of things that once were , now overshadowed by their current state of decay and disrepair .
COMMUNICATION OF IDEAS :
In my inspired piece , I adopted pointillism as opposed to photography as my chosen medium . Using fine point pens in combination with grey and green watercolours . I started initially by creating a background using dark watercolours in order to produce the dark background in similarity to Bourdin ’ s piece , this was layered with lighter green watercolours which I felt created the desired contrast between darker and lighter tones . I opted to approach my piece using organic coloration as opposed to the greyscale style of Bourdin ’ s piece . The precision of the fine point pens allowed me to capture the detail within the fine cracks and fragments and create contrasting outlines highlighting each flake . To capture lighter or darker shadows , I used denser or more spaced-out dots , creating a suggested sense of three dimensionality . I was able to exploit the textural characteristics of pointillism , in conveying an ominous expressive piece .
REFLECTION ON TECHNIQUE :
I chose to express the textural aspects of aging through a different medium than Bourdin , I used pointillism which allowed me to capture the intricate details in the same way Bourdin ’ s photograph does but in a more abstracted form . My choice of brown card based medium in combination with shades of green watercolours invokes a sense of organic decay , focusing more on the decay of natural aspects in contrast to Bourdin ’ s exploration of urban environments . I built up shading to produce a range of dark and light contrasting tones , to produce this sense of three-dimensionality and capture the flaking effect of Bourdin ’ s piece . Through the precision of pointillism , I was able to capture the intricate detail of cracking and aging , reflective of the delicate wrinkling of skin . The irregular dark lines somewhat resemble that of tree roots extending out and branching , therefore conveying the sense of growth in contrast to the overall foreboding theme of aging and decay . Additionally , the pointillism technique creates a fungal aspect to the piece , elucidating an image of organic rot . Through adopting a paper and pen-based medium meant I could further explore the irregularities of decomposition , using tones of shading to produce depth as well as contrast that creates a dramatic eery atmosphere in similarity to the work of Bourdin .
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Adam Chen |
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Jennifer Funnell |
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Maddy Gale |
COMMUNICATION OF AND INTENTIONS
EXPRESSIVE POTENTIAL OF MONOPRINTS
CAL INVESTIGATION
Bill Murphy is known for his intense and
URPHY rich prints , predominantly using the Lithograph and etching techniques , as well LEENA as his paintings and drawings . To the MONOPRINT ON upper left and lower right are examples of
PAPER BY BILL his monoprint portraits . Murphy uses the
MURPHY 28x20 monoprint technique to create highly dramatic and contrasting pieces with extreme differences in tonal value . He also uses rough , textural marks to give a sense of irregularity and turbulence . With his style , he carries across the energy and life in his subjects and the loose nature of
RAWING mono-printing assists in portraying this energy . In my first single-toned print , I
PRINT BY tried to replicate the semi-chaotic nature of
URPHY 22x22
CRITICAL his style . I think mine has less of a rough texture than his style .
INVESTIGATION
TION ON TECHNIQUE
e monoprint technique , I was able to create these dramatic prints . I used tools Qtips , tissues , and pieces of card and scrim with the help of white spirit to remove as of the ink on my board . For the smaller details , I used utensils like the back of a sh and an etching needle . I also used a paintbrush to add back ink in places I o much off . To the left is a sample in which I experimented with many differing king techniques using the monoprint medium . ity of the ink made it challenging to make my pieces precise and clean , as well as pressure on me to finish before the ink dried . Although this means my pieces as refined as I might have liked , the naturality and movement created , and the had to be more expressive with my strokes , were benefits . The monoprint e also allows for high contrast which added to the dramatism of my works . ng the smooth perfection of Rodin ' s sculpture into this print was tough under the sure , so I was unable to get it to be smooth , however , I was definitely able to get e intense mood of the sculpture through this technique . Printing with the two colour assisted me with this .
Identity : Photography - conjuring an emotive landscape through obscuring and manipulating the camera lens . deas & Intentions I aimed to create works which obscured the landscape , through different
Artist ’ s Impact : Mathew Brandt . o enhance the emotions which the photographs bring out . I wanted to explore
Mathew Brandt creates photographs , and develops them in natural ways , such as using lake water , to
es which could conceal or exacerbate parts of the landscapes , so that I can bring develop his photographs . He tries to reflect on the inherent nature of passing moments , utilising orward and continue to create emotive pieces . I feel that it was important to see transient printing materials or methods . He reflects on the mortality of photographs , and how they ting , contrast and tonal qualities affected the mood of the piece , and how the will always fade over time , how light creates and degrades photographs . Brandt often creates he work . I am also interested in how the mood of the piece , and the contrast of unique photographs , finding it to be interesting to be in the contradictory space within the
Perso ffect how the viewer ’ s attention and focus differs , as well as which part of the mechanical connotations of photography .
- Edited th t important .
I feel that in his first work , Brandt tries to reflect and convey the magical , mystical emotions of the lake , as well as the overwhelming presence of light , and its affect on the world , as
Method well as photography . I feel that he achieves his desired effect , through the white flecks present ,
Here , I started by taking photographs of different landscapes , which bend away from the highlight of of the sun on the water . Unlike most photographs , his central whilst obscuring the lens with acetate , to create differences in focus ( the highlight ) is in the centre of the composition . This unusual composition helps to emphasise
lighting and tone , as well as experimenting with exposure and motion the importance , and power of light . when I was taking the photographs . I found that the initial
Whereas , in his second photograph , I believe that Brandt tried to convey a sense of age , distortion of the photograph , helped the edited outcomes not to damage and the fragility of a moment . He achieves this through eroding the ink from the photograph
look as fake , or manipulated . Then , I used Lightroom to obscure the in a natural way , most likely through a natural method of developing the photograph . Additionally , Perso photographs further through use of lighting , contrast , clarity and the patches of red tones , complement the white , sparse areas , adding depth as well as contributing to - Edited th aph 1 motion blur . After this , I tried two methods of further editing my the aged and damaged tone to the piece . to pictures : I printed them onto gloss paper and then used acetate to
Overall , I feel that Mathew Brandt inspired me to think about the effect of smaller eroded erode the ink off of some of the pictures , and others , I placed the areas compared to large damaged areas , which I experimented between with acetone . Furthermore ,
paper in the wrong override tray , which led to some ink not adhering Brandt highlighted the importance of reflecting on the outcome , not just as a piece , but as a work , to the page in some places , and in other places , black ink adhering in and whether it should be reproducible or not , whether it should be pristine or aged and damaged , random places . These methods led to some interesting outcomes . whether the focus should be on the composition , highlights and contrasts , or the subject of the piece . Brandt ’ s works and ideas can help me reflect on the portrayal of identity , and what identity is , as well as the similar and differing factors of one identity and other identities .
Person
Reflection on Technique - Edited th aph 2
I used Lightroom ( LR ) to convey either a more mystic sense to the photographs , or to further warp the images so that their contents were further obscured . For example , in my PP4 , I increased the contrast , as well as the intensity of the black , so that the line of light was emphasised , and it created a more dynamic piece . As well as this , the dark shades , and warm purple tones , convey a sense of platitude , and calm . Whereas in my PP2 , I aimed to craft a more dystopian and futuristic sense within the piece , in order to obscure the original atmosphere .
I chose 4 works which I printed from the wrong override tray , as I liked the differing effects created , which help to obscure the piece in terms of physical objects removed / hidden or a change
Person within the atmosphere . Within my PP8 , I like the texture created , and how it creates dissonance
Mathew Brandt 1 Mathew Brandt 2 - Edited th aph 3 within the piece , however I believe that it causes the piece to lose its mystic atmosphere as the white overrides the gentle light of the piece , which creates a contrasting effect to the original piece . In contrast to this in my PP9 , the white highlights added by the printer are more subtle , and complements the highlight in the bottom left corner . Finally I find PP11 to be the most striking due to the black streak across the work , which immediately draws one ’ s attention , and obscures most of the building . I feel like this is the closest PP to my goals of obscuring the piece and creating an emotive scene due to its striking effect .
Finally , I used acetone to erode ink from the prints in order to obscure the photograph . I feel that the visual effect of PP6 is striking and dramatic . The piece has an immediate shock factor , as well as , appearing fluid and dynamic . This affect was achieved through pouring the acetone onto the printed photograph , and then quickly washing off the excess . Although , I feel that the more emotive piece is PP7 . I feel like the piece reflects on a certain chaos and haste , through the motion blur from Lightroom as well as from the original photograph , aph 4 underneath the swirling scratches produced by the acetone . The scratches were made by a rough paper towel , lightly soaked in acetone , being rubbed and twisted against the printed photograph . Overall , I feel that these three methods of editing the photograph , work well in cohesion , and even if the location of the landscape is not obscured greatly , a frenzied madness was added to the piece , masking the original emotion and aura of the location . Additionally , I fell that the garish highlight of yellow adds a harsh and confrontative tone to the piece , and develops the emotivity of the piece , as well as creating a certain factor of shock within it .
Megan Handy |
Elsa Lamptey |
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Hebe Marr-Johnson |
aph 5 Personal Photograph 6 - Edited through LR and Acetone
Ciaran McCarthy
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Personal Photograph 7 - Edited through LR and Acetone |