The use lurid colours, bizarre imagery and the celebrity world come together to create photography that is aesthetically pleasing and fun.
Being overweighted with colour brings this sense of artificialness to his work and highlights the side of being a celebrity the public normally shy away from. Why does LaChapelle want to show this? I believe he shows the celebrities in a bizarre yet playful composition as he knows he will receive a positive response from both the celebrity world and societies from around the world.
This type of work started to come about when LaChapelle returned to his roots of being a fine art photographer where he explores themes such as celebrity fascination, positivity and recognition.
This article explores LaChapelle importance in today’s society and how he highlights important factors like Trump becoming present, in the new Diesel campaign. It also indicates the presence of the LaChapelle style in Instagram feeds like Beyonces and snapchat filters which people around the world have access to.
As LaChapelle believes imagery is important and powerful which is shown in his work by combing the themes mentioned above with the lurid colours which bring attention a skill which I want to bring to my work in both the Field and Subject modules.
Höch’s work influences the use of collaging different facial features together to create these bizarre combinations. By questioning gender and identity in her work through these combinations is an idea that I want to explore in my work and also something that is shown in my outcome.
By combining imagery taken from magazines, journals fashion publications Hoch was able to make collages that were humorous and really challenged societies changes. She has used a wide range of techniques and materials to create her work such as collage, photomontages, watercolour, and woodcuts. Using these techniques shows variety in her practice and the ability to learn to push the work from strength to strength.
It is clear in her work that she was part of the Dada movement, a style that is been said is present in my work or the style of my own work reminds people of this movement. To create a meaningful message through emotion to convey a concept is powerful.
For this collaborative piece, we worked together to explore the way light is used to create shadow work from three-dimensional objects. We began to play with the shadows and different materials and how we can make marks from the shadows. We did this by overlapping the shadows and using tape along with ink and folding the paper to create marks and layers from that as well.
This part of the project I really enjoyed as it reminded myself of workshops I took part in during my foundation year.
From this then we created a relief piece of work which could be used then to create a three-dimensional object. We used parts of our drawings to inspire us. The white paper strands on the image below were inspired by the marks created from the shadows and will most likely be used in our final piece.
The idea behind this pot was to create a form that will create intricate shadows but also play with fragility. The spirals come from the paper spirals created in the relief drawing and the pot was made from coils.
This group task was slightly more difficult compared to the previous one as not all members of the group were easy to participate with and that is where things became more difficult. If I was given the opportunity to do this again I would make the pot less bulky and possibly make the spirals smaller combined shadow and light back into the piece.
Justin Quinnell is a photographer that looks particularly at pinhole photography. He has created the most bizarre pinhole cameras like the one above which was created in his mouth.
I find this idea of using your body as the camera really nifty as your body is the perfect object to use to not allow light to enter. It also creates a strong perspective of what the person is seeing and also how the other person feels when they look into the camera.
“it rediscovers accident, wonder, and delight through experimentation – qualities increasingly absent from contemporary photographic practice.” Phil Coomes. (2013).
A lot of his photographs have been left out over a period a time which creates these trail of lights in his photographs like the one that is seen above. He has described it as the emulsion has been eaten away.
The most famous one is his Bristol suspension bridge photograph. The camera was left out during the course of a year in all weathers which created this really ghostly but surprisingly satisfying photograph.
The idea of leaving the camera in a certain place for a long period of time is what will be used in our field group and it is shown:
In this collaborative project, we work in teams of four made up of Designer Maker and Fine Art which we had to create a 360° panoramic photograph.
As this technique was something I had learned previously it was a nice refresher. We were introduced to the darkroom and also taught how to create pinhole cameras.
As this was the first project that was made up of different disciplines I believe we worked extremely well and made a piece that showed 360° of the heart space.
When creating the camera we had to also think of the camera as the piece of art. As the box was constructed from wood we wanted to keep that tough construction look. It also reflects the Art building. We constructed this large box so we were able to stand the photographic paper up in a circle.
The images that we produced turned out rather abstract. The movement in the heart space creates a ghostly effect which we all rather liked from our first bunch of developed images and something we wanted to continue with. The images have been assembled like this to show the panoramic view.
Overall, this project was successful because we were all able to learn something new from each other for example the makers showed Rhiannah and me how to bend wood and we taught them how to cut it using the band saw. Also, working as a group made our ideas develop and become a lot stronger.
Victoria Miro held an excellent exhibition that was made up of several different pieces of work by DO HO SUH all of which were made by using different techniques with fabric as the main material. What really draws my attention with the work is the size and how such a delicate material is supported to create mimics of rooms that have a meaning to Do Ho Suh.
What is it that fascinates me with this work I keep asking myself and the answer is the detail and time that has gone into his work. From researching his work in the past I was always pushed to see it in person but never had the opportunity until the Victoria Miro had it for a short time and I had to go just to look at the small details. It is the everyday small things that you know are there but don’t always take notice off that are present in this work. For example, the writing on the fire alarm and the switch which is all visually created by using stitch. What frustrates me a little though is the use of the English language in the work. Since his nationality is South Korean the use of the Korean language would have made it that little more personal for me as an artist.
Something about it that makes it look solid or flowing.
Looks like the body, like layers of fat. Possibly a female body.
Maybe a reference to Greek sculpture.
Figurative aspects however it is slowly reaching into the abstract boundary.
Once you look into things it can create questions.
It has a feminine form.
The way it is cut gives it that greek reference.
Looks like a pillar of flesh rather than a torso due to missing arms.
Looks feminine because the shape is soft.
The suggestion of a torso.
Compression of skin
Hard elephant skin
Texture resembles scales
Are there breasts or suggestion to breasts?
Organic vs. geometric.
Banks and I believe; Yates’s small sculpture conveys a plump female figure with expressive marks that could possibly resemble leather suggesting this female is a tough chick.
Is gender a thing?
Two gender in the image but the alien face connotes that the gender is not needed.
Colour background is also playing the masculine and feminine roles, however, the black is again challenging that.
The colour backgrounds are challenging gender binaries.
Challenging gender, body and screen colours.
Simple, innocent, playful?
Third arm? Body postures.
Quite sinister, this juxtaposes the playful aspect that comes through with the background colours.
Conflicting body language.
The covered genitals make the figure anonymous.
Rozel’s animation still breaks the barrier between gender binaries, challenging traditional views on gender. The lurid colours protest against gender typical colours and the black has the significance of mutuality between male and female. The covering of the genitals accomplishes an androgynous connotation, further breaking the barrier.