After thoughts

After my pitch presentation, I had other ideas using the same themes. Combining photography, video stills and found materials to produce collages as a source to draw from and work with.

Starting Point:

Collect magazines, photographs (found materials). Continue making films and using photography to record thoughts.

Research artists who work with collage photographic media. I feel that working with a range of materials is important to me because I am constantly experimenting.

Anticipated outcomes:

Large-scale drawings/ paintings

Manchester Art Gallery - Richard Billingham

(Untitled)  RAL 13 1994-96

Richard Billingham b. 1970

SFA4 colour photograph mounted on aluminium with matt seal

This work is from artist's series, Ray's a laugh published in 1996. Billingham wanted some source material for his painting and turned his recently acquired camera on his close but dysfunctional family in their west midlands flat.

I came across Richard Billingham in the focal points exhibition.

Billingham took a series of photographs of his family between 1990 and 1996 in a Stourbridge council flat in the British Midlands, originally intended as a source for paintings. The photographs were shot in a spontaneous style with a cheap instamatic camera on an out of date 35mm film. Antony Reynolds Gallery published many of the images in the book Ray's a Laugh in 1996 in which all the photographs in the series are untitled and many of them released in large scale prints like this one.

Tate -
'This book is about my close family. My father Raymond is a chronic alcoholic. He doesn’t like going outside and mostly drinks homebrew. My mother Elizabeth hardly drinks but she does smoke a lot. She likes pets and things that are decorative. They married in 1970 and I was born soon after. My younger brother Jason was taken into care when he was 11 but is now back with Ray and Liz again. Recently he became a father. Ray says Jason is unruly.
Jason says Ray’s a laugh but doesn’t want to be like him.

(Quoted in Ray’s a Laugh, back cover.)

Billingham’s project recalls the work of American photographer Nan Goldin (born 1953) whose gritty photographs of herself, her lovers and her friends, taken in the 1970s and 80s, inspired a generation of young journalistic and art photographers. Her Ballad of Sexual Dependency, published as a book in 1986, shows people under the influence of drugs and alcohol in intimate and sometimes painfully raw situations.

http://www.tate.org.uk/art/artworks/billingham-untitled-p11756/text-summary


Fish Tank
Parts of the filming make me feel uncomfortable such as when they are having an argument about money and who pays bills etc. In this documentary and series of photographs I feel Billingham exploits his family. We rarely see what happens in other people's home lives.  Your home is a place were you feel most comfortable, because no one is judging you. I feel uploading the film on the internet has made Billingham's family  vulnerable. For me, it would feel morally wrong. I would edit parts of the film leaving out parts that I feel would make my family vulnerable, leaving humorous and less explicit parts. However I respect his work because he has been brave but I don't particularly like it.

Pitch

Tutorial - Jamie Holman

Made a short video of my brother which I don't want to post. I showed it to Jamie and he suggested Richard Billingham.

Artists-

George Shaw

Gary Hill - Projects

Bill Viola

Sam Taylor Wood - Video

Gillian Wearing

Richard Billingham - Fish tank Documentary ( exploiting family )

I could take stills from the film and draw from them.

Pitch Presentation

Distortion

Starting point: Day at Hebden Bridge

Experimenting with exposure time for a blurred image.

Drawing over the photographs aswell as layering the imagery when drawing.

I picked these images out of several because I felt that these stood out to me with the use of colour and composition. (2) is a reflection of the bottom of a bowl. Through this experiment, it has inspired me to look along the lines of distortion and possibly illusion. I particulary like (11) because it looks like the image is running away. when I were photographing this I moved the camera slightly upwards on a slow shutter.

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Tom Phillips

Tom Phillips, The Portrait Works: NPG Book

When making portraits, Tom Phillip has no strategy. He practise's over many sittings as he is a slow worker, which gives him the opportunity to get to know his subject in depth; their personality, moods and expressions. Over many sittings the sitter will relax into a natural pose, an artificial pose can't be held for so long. 'The final image is an amalgam of many moments and states of mind'

After reading the book Tom Phillips Portraits, I found that his drawings and a few paintings are inspiring

A set of drawings commissioned by Mathew Flowers in three or so sittings

68-71

Mathew Flowers 1985

Anna 1985

Sally East 1975
Pencil and Watercolour
28 x 20.3 cm

One of the three Oil studies of Brian Eno who was a student of Tom Phillips in the early sixties.

Brian Eno 1984/5
Oil on board
11 7/8 x 10 inch

A commissioned portrait, over about six months of Mrs Hilary Hugh-Jones. The central study re-worked several times while the smaller works around were each painted at a single sitting:

Mrs Hilary Hugh-Jones 1980

He painted one panel more than necessary.

Mrs Hilary Hugh-Jones 1980

Minsky on the Rocks 1988
Collage

33 x 29.5 cm 

 

'A Bigger Splash' at Tate Modern

Helena Almeida
Inhabited Painting
Pintura habitada
1975

3 paintings, acrylic paint on photograph on paper

I was drawn into these paintings with the illusion and the blue paint brushed over the face. It seems like her photographic self has made the marks whereas she has made the gesture over the image after the photograph was taken. 

In each picture she is posed with a paint brush in hand. A mark is brushed in over the photographic image thickly using blue paint. Completing the gesture by making a mark over image that her photographic self performed. In one of the images she has completly covered her face. She looks at the illusionary space of the photographic image and the flatness of the paint.

Tutorial - Richard Cross

Cornerhouse

Visited the cornerhouse, Manchester to see the exhitions; Four and Rosa Barba - subject to constant change

Nicola Ellis
Peragro, 2012/13
Paddlestones, silicone, polyurethane, steel. 252 x 71 x 112cm

Rosa Barba

Subject to constant change

I had an idea to project my drawings onto the wall in sequences.

Tate Modern

Manuel Alvarez Bravo

His life's work can be seen as an overview of twentieth century Mexico, documenting a wide spectrum of traditional and religious customs as he rarely traveled outside Latin America and produced the majority of his work within Mexico.  

ICA

Juergen Teller: Woo!