I was looking at the final piece and it didn’t look stable and wasn’t very in the way the prints were mounted.
To make it stronger, I will mount the prints onto poly-board instead of cardboard strengthening the prints and will increase the lifetime of them
As mentioned in Sean’s feedback the projected photographs are a lot stronger than the screen prints. I agree with what has been said however, I will still submit the screen print version as I believe this meets the requirements of the brief as I have been able to bring a technique learnt during field into my outcome and also I have been able to bring my own practice into it.
Orlan, an artist that shocks, makes heads turn and makes you owe in amazing. All of this is shown through the dedication she has to her work and how far she will actually go to show self-expressions by botching her body. Surgeons have done cosmetic surgery on her to make her look like the Mona Lisa and she has also offered skin grafts to celebrities like Madona.
In a Guardian article, it states that an ectopic pregnancy is what started her creative path, the surgeon that performed the surgery on her was a ‘priest’ to her. Her crew were there to film and the idea of surgery was to play an important part in her work. She explains “Pain is an anachronism. I have great confidence in morphine.”
Her career is about rebirth and re-inventing herself with technology and going under the knife, changing her appearance. May would question the reason behind these surgeries and why? Is she doing it for her appearance? For self satisfaction? No, she proudly states “my goal was to be different, strong; to sculpt my own body to reinvent the self. It’s all about being different and creating a clash with society because of that. I tried to use surgery not to better myself or become a younger version of myself, but to work on the concept of image and surgery the other way around. I was the first artist to do it,” From this statement, it shows an artist taking Western art to a new level and making herself a walking gallery.
The work Orlan has performed on herself is linked to the idea of my practice by becoming something you are not. Becoming a being that is strong, striking and confident. Also being influenced by a figure/ thing to become different and to be unique.
The fascination with Warhol grows deeper as I read more and research more work. Much of his work wasn’t made by himself he usually had a team that would help and he sure would need it to make humungous prints. However, aside from his practice, Warhol had created this scene/ environment where aspiring artists would surround Warhol creating an art circle.
The photographs above were taken by Stephen Shore who captured moments from inside The Factory over three years where secrets would be revealed in years to come.
“Contrary to the pop-culture mythmaking around the art studio that has prevailed in the years since, the world the photographs depict isn’t one of the glamorous parties and anarchic debauchery. Instead, we see Edie Sedgwick using the Factory’s only payphone, Lou Reedsplayed on a couch like a gangly teenage boy, and even Nico sitting at Shore’s parents’ kitchen table, being fed matzohs by his mother. These are photos of quiet, bored moments, as well as the hard work of Warhol’s constant processes of making: silk-screening, shooting films, installing exhibitions, and only the occasional party.”
The paragraph explains that pop-culture isn’t what communities think it is and that it is the complete opposite of the ideology that has been created. It shows these celebrities and artists involved with the pop culture are your regular everyday person once behind closed doors. It proves that these people have different personas that are seen by different people.
Playing with persona’s will be involved in future work that I plan on creating whether that be during this project or future ones. They question is though how can I create an atmosphere where people will be able to get the hint to relax and rewind, however, create a different persona when confronted by people that are out of this environment.
Much of Richardson’s work is work that I knew off but never knew it was his. He is the photographer that is so indulged into the celebrity world he has become the celebrity behind the camera. The bold personality of Richardson is transformed into his photo-shoots using props, make-up and creating characters for celebrities who essentially already have fake personas. The constant use of the white backdrops in his work really help the viewers focus directly onto the celebrities and what they are doing.
People he particularly works with time and time again are Lady Gaga and Miley Cyrus, two people who already have bold personalities, however, the Richardson touch helps to transcend these people into more dramatic and flamboyant versions.
Recent work involves him collaborating with Kylie Jenner who admits it’s “a dream come true. ” Now, this tells me that Richardson is a form of an idol for these celebrities as they know the popularity and fame that follow with the work Richardson produces.
Indulging yourself so much into the celebrity world will be the target I want to achieve through the Instagram created.
Richardson also directed the Wrecking Ball music video:
The video is an example of the simplicity in Richardson’s work and it’s this simplicity that is present in the video that draws the attention of the viewers towards the shocking symbolism that grabbed the world such as Miley swinging on the wrecking ball and the lack of clothing.
The shock factor needs to be present in my own work.
The Weeping Woman, the painting that explores fragmentation, being figurative and create an abstract feeling and given the sense of abstraction. From researching into many of Picasso’s different styles, Cubism is one that stands out. Highly influenced by the effects of the Spanish Civil War he became obsessed with this symbol of a weeping woman. Paintings and drawings were created from mixed media building layers to create strong pigments to make a striking palette on canvas. On the Tate website, it states that he commented: “For years I’ve painted her in torture forms, not through sadism, and not with pleasure either; just obeying a vision that forced itself on me.”
Picasso’s work, in general, has had a great influence on my work especially the painting of The Weeping Woman. The use of shapes, block colours and layering is a technique that is present in my practice and one that will be used in future work and most possibly final outcomes. I like how he uses complimentary colours to build up expression and to make every detail in the painting fight against each other enhancing the power. Use of mark marking also adds to this power and is carried out throughout adding depth and dynamic to a flat two-dimensional painting, bring it to life.
The different depictions of the Weeping Woman I find are intriguing. Every drawing/painting of her have characteristics that give her this identity and are present in all. The characteristics of the eyes, mouth and the irregular shaped head are the only ones present, the use of materials and methods is what changes the emotion and dynamic of this person and creates a contrast between each image.
She is seen again in the painting Guernica and again she is drawn in a different depiction.
Again the same characteristics are present however, the lack of colour and the body posture suggest pain and terror and this is causing the weeping. This is the earliest version of her.
How does this relate to my work? The work created by Picasso is what influenced my practice and to create work that is fragmented and divided by the use of different angles of the face create a strange combination. The way He builds emotion in his work is what I wanted to create, and I have done this through the use of projection a technique that is contemporary and different but also gives a playful aspect to the process of creating the work.
The final image for the second outcome. For this one I wanted it to focus on a different angle of the body so it would give variety in the triptych that will be on display. Using imagery from the projections and collaging has really improved the image and will strengthen the triptych. However, I find myself asking in which order will these images be shown.
Out of all the arrangements that I have created below, there are a few that I believe are aesthetically pleasing and are kind to the eye. With the set up of the triptych, I want to achieve an arrangement where a story of movement will be told through the playing of materials and physical movement of the subject within the imagery.
Underneath the next few images, I will number them 1-6 meaning 1-3 will be three of the possible layouts I will use and the other three will be the ones I will not use. This method of choosing is being used because it shows organisation in my work and it is an example of trial and error.
Once the images have been printed and mounted onto the board I will physically display them in each arrangement presented above to make the final decision.