final pieces

I decided to print my images A3 (to allow the viewer to fully immerse themselves in these small spaces - less easy in a smaller print size such as A4) I think these prints were especially effective as the ink from the printer had yet to dry and left small stain marks across the images - very similar to the weathered wood effect on the piece of driftwood. I also think the orange colour helps to balance the palette of the images as well as linking the three photographs together.

Pictured are also the two small wood paintings I did in response to the photographs and would like displayed alongside the photos. Acrylic / Emulsion / Paper / Glue / Charcoal

selecting final images (narrower choice)

I have decided to have part of my final piece be a selection of prints (A3) of beach photographs from Dungeness. This is part of the narrowing process - choosing the images I feel best reflect my concept of space and line interacting within the plane of field/vision

Dungeness B.W

35mm film

Observations: line and space in daily life

looking at line and space and interaction with light over one day in everyday setting

documentation

Man With A Movie Camera

" Man With a Movie Camera " by DZIGA VERTOV - 1929 from Eve Reewear on Vimeo.

film as collage

Placement

Nicole Werner, Rockdispenser 2010, Stainless steel, rocks, fittings

Morgan Fischer, Red Boxing Gloves / Orange Kitchen Gloves, two channel video: Polavision cassettes transferred
to DVD, November 2014 Maureen Paley Gallery

On his work as a 'double portrait': (text from press release) 
"Red Boxing Gloves / Orange Kitchen Gloves was shot in 1980 in Polavision, an instant movie format that the videocassette made obsolete. The work is in the form of a pendant pair, a convention that arose in seventeenth-century Holland. The pendant pair consists of two paintings with subjects that are complements of each other. In the classic case one painting shows a husband and the other his wife. Together the two figures make a larger whole. The two pairs of gloves express this same relation in figurative if conventional terms."

III & IV

paper / photograph / crayon / charcoal 

looking at distortion & displacement 

Collages I & II

paper/ photographs / acrylic / charcoal / crayon

Collier Schorr II

ART21: It’s remarkable how much the past, even the ancient past, is latent in your work.

SCHORR: I started reading after I made the work because my agent told me about this Simon Shama book, Landscape and Memory. And I remember reading about the Nazis’s march into Italy, trying to find this codex and trying to reclaim this history of Arcadia.

I’m not making Leni Riefenstahl’s pictures, you know. I’m not making something that’s about the façade. I’m making something that’s about removing the security, removing the myth—and then, being left with something that is more human and more approachable.

text from an interview with Art21 (2003)

Video of the artist making collages/discussing masculinity vs. femininity within her work

Installation view, Hier hielt die Welt den Atem an 2009

Collage / Cut - Out

Collier Schorr Cut out Kate 2006 / Two Shirts 1998-2003 / 

“After years of organising [the photographs] in a logbook I realised I was making very conscious decisions about where I was placing each frame,” she says. “After that, I started cutting into pictures from a series of photos about wrestling. This impulse came because I wanted to escape the boundaries of the ‘where’ and the ‘what’ the photos were. The specifics of photography can be overwhelming [so] to cut out and rework the figures gave me a better way of talking about what I was truly interested in which was movement, performance and historical, religious paintings.

“I am most thrilled when things start by the accident of proximity and seeing two pieces together creates a dialogue that can be asserted by decisions that involve cutting out or pasting upon. In terms of surrealism, it is the desire to have punctuation, subtext. To create a work that is in itself a conversation or argument.”

Leigh Ledare Air Freshener 2010

source images

II