Seeing David Hockney’s iconic ‘A Bigger Splash’ in person at his major Tate retrospective was a really lovely moment. I think because it’s been a work I’ve loved for a while before seeing it in person it had a lot of gravitas. The vividness of the blues and the clean cut graphic like composition was really striking and impressive. It really re-energised my excitement for painting after it had lagged for a bit.
Hope Gangloff’s work has greatly influenced my approach to colouration and composition when producing ‘Lazy Sunday’ the gangly elongated limbs, the blueish/green tinges, the vibrancy. I was really drawn to her modern and honest painting style, her images are really raw and real and I think that really spoke to what I was trying to create in my approach to the male figure. I wanted to get across a sense of calm, peace and distance, I wanted to show contemporary living and a contemporary man. Gangloff’s imagery really captures that.
Seeing first hand at the Tate Britain Hockney’s work with the iPad really informed my final piece. I think it was hard for me initially to see a place in Fine Art for work created on a tablet, I think it can be quite easy to pigeonhole work made digitally into illustration or graphic design. Seeing Hockney’s work really reassured me that this was something I could develop and persue within Fine Art.
Grayson Percy’s current book “The Descent of Man” and documentary “All Man” as well as the works he produced in the BBC series have been incredibly thought provoking. It’s really made me think more deeply about the men in my life and the effect stifling gender roles has on male psyche. Growing up I was always closest to female family members and with the exception of a few I still feel a great distance towards many male family members. My relationships and encounters with straight-cis men have been difficult, and on occasion violent. Entering into a long term relationship with my partner has been difficult and healing and enlightening, Perry’s work has made me reassess and think about masculinity differently. I think there’s something really valuable in appreciating and acknowledging men through a feminine lens.
This publication has been really useful, the way male models are posed and shot by the female photographers shooting them really speaks to what I’ve been trying to accomplish.
BOYS BY GIRLS is a bi-annual print publication with a fast growing digital presence, where the beauty of the contemporary young man is explored through the female lens.
Launched in 2011 by menswear photographer Cecilie Harris, Boys by Girls strikes a balance between fashion, art and documentary resulting in honest and beautiful photography. – http://www.boysbygirls.co.uk/index.php/info/
While fashion photography, the staging and composition of the images are really informative, the images themselves are captivating in their sort of honest vulnerability.
“Art does not reproduce the visible; rather, it makes visible.” – Klee (1920)
Producing my Sersory Still Life I looked a lot at the thinking and theories behind the work of Paul Klee and his philosophy that art goes beyond reproducing what we see. Employing drawing and painting as a philosophical practice and making clear the process and environment in which the art object was made. His work really inspired the concept behind my final field outcome. Coupled with my research and reading in the New Materialisms Constellation class which has also fed into and informed my ideas around these pieces.
“Vision and hearing are now the privileged sociable senses, whereas the other three are considered as archaic sensory remnants with a merely private function, and they are usually suppressed by the code of culture. Only sensations such as the olfactory enjoyment of a meal, fragrance of flowers and responses to temperature are allowed to draw collective awareness in our ocularcentric and obsessively hygienic code of culture” – Pallasmaa, 2005, p. 16
I wanted to create something that pushed me out of prioritising and romanticising sight and vision and that called upon a more holistic approach in its creation.
The repurposing and reimagining of objects into alternative three dimensional forms present in the work of Tony Cragg seemed really relevant to the processes we explored in our Silhouetted Still Lives lab. Craig’s work with found objects really inspired my group and influenced us to use our found objects to create the shadow of a different but a recognisable form. Looking at his work really got us thinking about things like placement, composition and form. He came to mind after seeing his work ‘Stack’ in the Tate Modern earlier in the year where out of a multitude of refuse looking found objects he created a perfect minimalist cube, it was a really curious juxtaposition of the messy ugliness of discarded objects and the sort of clean cut perfection of minimalism.