My collage # 1 |
g Sensation and perspective through Urban form
different environments and settings around where I live adn photographing diferent settings , I have a particular interest in urban environments , particularly in looking at buildings created public . Through observing the different buildings there was a common sensation of an almost osphere created by the grey clouds at the time of observation and complimented furthermore dull colours of concrete and stones that the different buildings were composed of . These reated a particularly emotive atmosphere that despit being drab , I found was enjoyably the british condition in places such as London and more modern parts of Oxford . However , urse I intend to contrast the urban with suburban and rural envronments and sensations
ugh the photos I have taken and narrowing it down to the two pictured below , I have decided utilising the one on the left as it embraces a sense of imperfect stability as well as being on being the mst survelled city in the world
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Post War Identity - Chamberlain , Powell and The two images to the right depict the New college in Cambridge and the Barbican performing arts centre in London , both of wich were designed by the post war architecture company of Chamberlain , Powell and Bon . Each of the building represents an important part of the development of modernism in Britain . owever the buildings also reeect a common national sentiment of the time , of dreary recovery in post war Britain , the sensation of the working class at the time as the skies were choked grey by the smog , assaulting the respirstory system . Thankfully those days are behid us but I believe these buildings serve as a memoir to those times . |
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igation :
Reflection on rl Fudge , a New-York based artist , draws inspiration and reimagines an eponymous 1919 woodcut one of the most prominent British Vorticists . The latter would stay true to the spirit of this avant-garde
Technique : tric stylisations of machinery and other elements of technology in his work . Due to the sharp and
When working on my , otherwise serene and somewhat romantic English landscapes are obscured by a prosaic industrial paper sculpture , I tried not last furnaces and steel mills . In his take on Wadsworth ’ s work , Fudge has digitally edited the original to focus as much on making xpressive canvas , enhanced by a simple yet dramatic colour palette . Given the choice of colours , I it extremely realistic but o create a tense chaotic atmosphere in order to emphasise how unsettling Industrial Revolution must instead on composing it in the time . Although I chose to keep my work predominantly monochrome , with an exception of a such a way that would age , I was pleased to discover a similar expressive effect as the one in Fudge ’ s work due to allow me to capture nd a busy composition . dramatic angular shadows , crucial for the digital part of the project . The key strength of this process was paper ’ s creasability , which
My collage # 2 allowed me to ( sometimes unintentionally ) create a number of folds , that helped the sculpture to contain its structure as well as to look 3D rather than flat on photos . However , working with such a fragile
My project consisted of two parts . First one was creating a sculpture out of white material , susceptible to paper and tape . I was working from an image of Michelangelo ’ s marble sculpture tears and creases , meant
“ Night ”. Once I finished assembling all the parts , I proceeded to the second stage that I had to be very by taking a series of photos with various lighting set ups . Then , I selected about 15 careful not to damage any different photographs with the most dramatic contrast as well as the ones with of the previously arranged particularly sharp and fractured shadows . These were later edited by adjusting parts . It was also rather various settings such as contrast and brightness , and layered on top of each other difficult to revisit certain to produce a collage . As I was greatly inspired by Fudge ’ s work , I wanted to sections once they have recreate a similar style to Vorticism but in order to achieve the desired sense of been taped together . dynamic movement , I varied levels of opacity for each layer . Conceptually , I wanted to convey the complexity of any given individual , which is reflected in all the layers and shapes overlapping . In this way , a human figure can be seen as a dynamic and extremely intricate structure .
Anna Mindlina
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Madelyn Morris |
Rhea Nelson |
A Modern Perspeccve - Stephen Wiltshire The piece below is a drawing by the artist Stephen Wiltshir who memorises scenes and draws them from his memory . This I nd particularly powerful as his pieces represent a snapshot of his memory , including all the sensations he was experiencing at the time . The piece below shows London on a predictably drab day , however it captures the scale of the city , giving the viewer a sense of awe at the monstrous size that London posseses , tied together by the heart that is the Thames ion - Wyndham Lewis e to the right is a “ Composition ” by Wyndham Lewis . The piece s a lot of angular lines and shapes that compliment my choice of ove , adding to the harsh sensation of the british atmosphere that hostile and possibly even chaotic in the times of rush hour in e of the city , where cameras like the one pictured above are ndem with security systems to keep order amongst the chaos e commute . During my travels I was subject to the jostling of the hen I picked a less than oppurtune time for my journey
Sean Northwood
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elief Sculpture Reflection on Technique :
n ' The Back Series ' to create drama by reducing his stract yet recognisable panel . Matisse creates contrast the detail and focus panel by panel , this creates a sense ession that Matisse has created has a natural balance and nevitable march of time towards death . This idea is eneration of detail , his marks become less defined , the and the subject gradually resembles a set of shapes rather ma because we can only see the subjects back , there is a we may know her identity , yet she is almost frozen in the made immortal by art . to create a dramatic story with religious symbolism by example , ' The Crucifixion ' shows two disciples below ands , slightly slouched , dismayed at the foolishness of relief sculpture process is especially good for this scene mphasised in three dimensions . The relief process also e subjects from the back ground , further creating distance , this creates tension because the dynamic between the of sorrow and devastation more significant .
were to show the progression of time and insight the rried out his intentions by creating a four panel relief al body being reduced and forgotten . This is especially f the woman that Matisse is showing in the end , what d down to its essence in an abstract display . nion were to tell a story . He choses scenes from the gant detail and dynamic focus on the subject . In his scene ys his intentions by emphasising the Madonna as a es the process of relief sculpture to carry his intentions by donna and the infants to create a sense that she is caring
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Communication of Ideas and Intentions : I have created a sculpture similar to Michelangelo ' s ' Study for a Crucified Human ', I tried to copy his marks and the tonal effects to give the same expression he has created . I tried to capture the melancholy look in the face and the definition of his muscles . I focused on the body , creating the ribs and arms for roughly an hour , then switched to the face and hair , I created the face by making the rough contours with my hands and then refining the sides of the face , the nose and the eyes with a blunt flat tool . I then used a sharp tool to create the hair which I wanted to contrast with the smooth body I had created as the hair is expressive marks but the body is more calculated and shaded . I have conveyed the flexibility and strength of the human body by emphasising the mans muscles through the relief process and capturing his contorting awkward position with the process . It also shows the grace of the man who is lying in such an uncomfortable position yet still with a graceful but melancholy expression . Overall I have learnt that the relief process is forgiving and very effective for creating emphasis and special attention to detail , I will try again with it in the future as I did enjoy the experience of creating this sculpture . I believe my creation was a success and now that i know the technique and artists that have used it I will be able to take my time and create a more provocative detailed piece using the skills I have learnt .
I used clay to make this relief and mainly used my hands as tools , at tim tool with a slightly sharp end to help shape smaller features such as the e conveyed drama through the relief process by using depth to emphasise because the drawing becomes three dimensional and this creates further the background and the man . I used a sharp clay tool to draw in the hair marks that Michelangelo uses , these marks express Michelangelo ' s expe drawings and the expressive element of his art . The Relief process adds regular drawing because the detail pops out of the sculpture and the dram feel more real . The strengths of the relief sculpture is the increased capacity for express marks such as shallow light sketched marks and extended features . Dept features and draw attention to things that could be hard to draw attention distance between Jesus and the disciples in ' The Crucifixion '. A limitatio marks are quite faint from a photography perspective and it is hard to ca with an image . Relief sculptures are also hard to add detail onto as the c are much thicker than a pencil would be , so the finer detail is often hard sculpture is also very different from the drawing as I found it challengin
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at the subject of his reliefs is changing and fading by the ly suggesting a loved one that he has forgotten the face dimming and becoming more general , but the persistence letely vanish . Matisse incorporates the element of he starts with what is already an unfocused view of the lines in clarity , descending into a sorrowful collection of s this process feel more real and sad because he has al note of who she is , but also highlights the fade of |
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ts have a large capacity for empathy , through the caring with the unfortunate situation such as the crucifixion of makes this idea more substantial and concentrated . between the background objects and figures which give s to create meaning and emotion by showing the d that no one else cares for the situation . |
relief and Michelangelo ' s drawing is the detail of the en in my ' Light Relief Sculpture '. In my relief I focused ortions and angles of the head and body and I would say my ability as I have not created a relief sculpture before . ief and Michelangelo ' s drawing is the lack of subtleness se the ribs more , creating a starved look in my subject helangelo ' s subject . I think the transfer from drawing to elangelo ' s tendency to use shading predominantly , s and drops . |
Peter Oesterlin |
Ife Olarewaju |
Max Pham |
Alice Reeve |
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Anna Russell-Jones |
Phoebe Strutt |
Ece Tumer |
Rosina White-Belchere |