27/11/2012
Today during the trip to the Manchester Convention Complex I took a side trip to look over new artwork being exhibited at the Manchester Gallery
The First Cut exhibition showed a wide range of work by proffesional artists and illustrators all centered around the common theme of what amazing things can be done with paper including stenciling up to cut-out cities moulded from books. Some of the best effects depend on light, shadow and bending paper into familiar shapes.
Su Blackwell produces installations comprising makeshift butterflies and paper-cut-out trees while Andy Shingleton creates large silhouette masses of paper based on cosmic nubulae seen clinging to the ceiling and projecting swirling gaseous shadows.
Others including Rob Ryan a illustrator imagines darkly surreal landscapes through cut-out stencils Kara Walker
Tuesday 27 November 2012
Wednesday 21 November 2012
Continuing the Liverpool Piece Development
Having been inspired by the photography of April A Taylor I decided I would use the apocalyptic dark horror theme to develop on the "Ruins of Holyrood Chapel." The extreme isolation of the piece already made the aspect of abandonement possible so I decided to add aspects of urban decay to express civilizationin collapse and disuse.
My tutor suggested that I add specific or subtle details to expand on the post apocalyptic aesthetic of work although it became evident that the best place to make a noticeable difference was in the heavily darkened area in the foreground and so I decided to issue a lone "stop" sign to make use of the negative space.
I had already discussed using another colour to press over the original design having though yellow orchre would be a suitable tonne. This turned out to work well over the black and adds to the apocalyptic look. Observing the piece as a whole it easily looks like a poisonous atmosphere I had used a sponge to distribute the colour and used water to reduce the intensity at various stages to give it the impression of air blanketing the scene.
The idea of the bottle is something I consider to be a possible recurring element for similar works as there is something eerie, foreboding or perhaps even assuring in the thematic apocalyptic scape depicted here. A lone coke bottle stands for a piece of society lingering on and the fact that it remains upright in perfect position without giving in to the environs begs the question "who's out there" a sentiment made more applicable by the distinct desolate world around it.
My tutor suggested that I add specific or subtle details to expand on the post apocalyptic aesthetic of work although it became evident that the best place to make a noticeable difference was in the heavily darkened area in the foreground and so I decided to issue a lone "stop" sign to make use of the negative space.
I had already discussed using another colour to press over the original design having though yellow orchre would be a suitable tonne. This turned out to work well over the black and adds to the apocalyptic look. Observing the piece as a whole it easily looks like a poisonous atmosphere I had used a sponge to distribute the colour and used water to reduce the intensity at various stages to give it the impression of air blanketing the scene.
The idea of the bottle is something I consider to be a possible recurring element for similar works as there is something eerie, foreboding or perhaps even assuring in the thematic apocalyptic scape depicted here. A lone coke bottle stands for a piece of society lingering on and the fact that it remains upright in perfect position without giving in to the environs begs the question "who's out there" a sentiment made more applicable by the distinct desolate world around it.
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