Kate Aston – Review

OCA student Kate Aston, very kindly sent me two of her photos, from a previous assignment, in which she embroidered over photography. Both of which are of a climbing wall.

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  • Long stitches
  • Creates a shape which I can anthropomorpise
  • Creates an anchor and relay
  • Alters perspective
  • Reduces appearance of size

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  • Small stitches
  • Single colour
  • Provide definition and detail

Although I’m limiting my focus to the stitching, as this is research for my assignment, I do wish to pass comment upon this second photo.

The depth of field is incredible, and this draws me right into the photo. The DoF is so narrow that I imagine that an extension tube was used on a 200mm- 300mm lens to create a macro lens. I’m also going to assume that the shot is made on the ground, shooting high up into a join between wall and ceiling, and that the plans have been shifted by rotating and cropping during the development process. I’m probably wrong. But this photo is so intriguing. It’s also very easing aesthetically.

Having seen this work I have decided to use the embroidery from Kate’s first photo to provide the relay between my face and the subject in Laura Letinsky’s photo. I hadn’t considered creating an installation prior to viewing Kate’s assignment. This is the advantage of connecting with fellow artists and photographers.

To see Kate Aston’s Context and Narrative studies click here, to view her on Instagram it’s kate513940

Moving Home – Which Degree?

I’m excited, I’m focused, and occasionally a little anxious.

Although I don’t have a moving date as yet, it’s likely that I will be moving at the end of the month. I’m excited that I want to begin having contact with people, especially my peers and others in the creative community. Opportunity beckons.

It’s also getting close to a cut off point for deciding which course to study. Do I continue studying with the Open College of the Arts, or with the University for the Creative Arts. I’m very suited to distance learning, and I know that studying with the OCA provides me with as much opportunity as I wish to develop creatively, and flexibly. I’ve pulled off a coup by connecting with Laura Letinsky, and this tells me that I can create my own opportunities by studying this way. I value the tutors and the course material.

Studying with the UCA will give me access to a dark room, a vast library and work placements, as well as the opportunity to collaborate with other students in other fields. But… I’m getting these opportunities with OCA students, and as an undergraduate I can access any university library.

When I put it in black and white like this I can see that I have a preference. Next week I will speak with student services at the Open College of the Arts, and then meditate before making a decision.

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Crystalising Ideas For Assignment Five

  • Installation
  • Photo of my face, over-sewn to represent emotional/mental states of anorexia
  • Positioned 90 degrees to photo from Laura Letinsky
  • Stitch on Laura Letinsky’s photos to pick out detail
  • 1 inch in front of Letinsky’s photo will be plain card of same size
  • Cut out shapes so aspects of Lentinsky’s work can be revealed and others remain hidden
  • Revealed areas will be related to food or eating
  • An object from Lentinsky’s art will be placed between the two photos i.e. Cup, plate, squashed water melon
  • Long stitches to go from my face over to the revealed areas in Letinsky’s photo (in the style of Kate Aston (review to be written up shortly). This will further emphasise emotional state.
  • Sound recording which emulates specific thought patter relating to each of my mental/emotional states
  • There will be six states represented so I will use six self portraits and six of Laura Lentinsky’s.

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Review – Maurizio Anzeri

Maurizio Anzeri (1969)

Wow.

714x480x2Fig. 1. Bernard (left) and Georgio (right)

Some of the most complex embroidery on photography that I’ve seen, I can’t help but admire the attention to detail and complexity.

  • Colour can be used to highlight character, as can shape
  • Bernard has some smooth, peaceful joy to counter elements of mania, business and disjointed thought
  • Georgio is serious, effeminate, passionate and positive

434x576x2Fig. 2. Louise B

  • Louise is complex
  • Ritualistic
  • Likes order
  • Dark
  • Deep
  • Sees everything
  • An active intelligent mind
  • Outwardly feminine but internally rigid

415x576x2Fig. 3. Nadia

I find this to be a deeply emotional and sad photo. There is pain etched upon her face through the burgundy’s that permeate the gentleness and light of the pinks and whites. Those downward looking eyes with the black embroidery which follows her gaze, suggests a deep sense of sadness and loss.

412x576x2Fig. 4. Peter

Perhaps a person with no sense of identity who lives in a complex state of psychotic delusion. He has a brain which is set to combust and explode, with an overload of neural connections. But also an introvert and unable to express his ideas.

Reflections

Embroidering on top of a portrait can add a depth of characterisation. This can be done by using colour and shape, and with the right level of technical expertise, an artist can bring out different aspects of an individuals personality.

Anzeri’s art is phenomenal and he is a technical expert. I’m going to have to rewatch the following you tube tutorial to gain some tips.

Illustrations

Figure 1 Anzeri, M; Bernard and Georgio [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)

Figure 2 Anzeri, M; Louise B [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)

Figure 3 Anzeri, M; Nadia [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)

Figure 4 Anzeri, M; Peter [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)

Mental Health Professionals Stigmatize People With Mental Illness

Sadly there is a host of peer-reviewed research which highlight the reality that mental health professionals stigmatise people with mental health problems.

Although this is a disturbing finding, being on the receiving end of it is far worse. I have experienced this as an inpatient, as an outpatient and also in general.

I’m aware of these attitudes, but today I perceived stigmatisation by a former mental health professional. Yes some of my photography is disturbing, yes I’m aware of this, but do I have to hide my lived reality, whether past or present, so as not to offend you? No! My lived experience is real, and as a visual artist I will retain my authenticity, even if you believe it to be attention seeking. It isn’t, but to describe it so only increases the social exclusion that exacerbates mental health problems in the first place.

At some point in the future I will write a photo essay which explores stigmatisation by mental health care and general health care professionals.

https://www.ncbi.nlm.nih.gov/m/pubmed/16445483/

https://academic.oup.com/schizophreniabulletin/article/32/4/709/1934707

https://journals.sagepub.com/doi/full/10.1177/0840470416679413

Assignment 5 – Why Embroider Over Photographs?

Coming to the end of Foundations In Photography with the Open College of the Arts, I find myself in a position in which I want to prepare myself to study for a BA in Photography. Assignment 4 can definitely be the basis for a further body of work, probably by using masks or embroidering on top of photographs to represent aspects of self, especially those hidden repressed aspects. Sewing over the top of my own face was successful, if painful for me to view.

I have thoroughly enjoyed Staged photography and still life, and found a means of being authentic with these genres.

I’m very keen to explore these themes further, and I believe that sewing on a photograph provides an additional means to enhance or hide emotion and mood. It also means that I can distort my images and create harmonious fine art photography or to create visual and emotional discord and discomfort.

I’m going to use assignment 5 as a stepping stone to develop a secondary skill, and so that I can use photos as the basis of mixed media art.

Review – Jamie Rawlings

Jamie embroiders over the top of appropriated images and cigarette cards. He is a visual artist and is inspired by nature and rainbows (Rawlings; 2018)

Rawlings uses bright colour and a variety of patterns. He doesn’t make use of the variety of stitches that Puentes does, but his patterns can be very intricate.

rs=w_600,h_600Fig. 1. Sable Antelope (2018)

Cigarette cards are small, which adds to the admiration that I have for his creative expression. I struggle sewing onto a large photo, and found that the stitches often tore the paper. I could be wrong, but I believe that Rawlings makes use of a hole punch. If I decide to emulate Laura Letinsky, it would make sense to combine this emulation with that of Rawlings. The simple lines would be effective.

I recommend viewing Rawlings’ Wold Animal cigarette cards. I feel that the embroidery is complimentary, despite the bright coloured threads. You can view his art on Instagram here. 

Illustration

Rawlings, J; 2018; Sable Antelope [Cigarette Card and thread]; AT: https://jamierawlingsartist.com/shop-1?olsPage=products%2Fsable-antelope (accessed on 21/12/2018)

Reference

Rawlings, J; 2018; About Me; Online: AT: https://jamierawlingsartist.com/about-me (accessed on 21/12/2018)

Review – Maria Aparicio Puentes – Research For Assignment 5

I have now made the decision that I am going to embroider on photography for assignment 5. I’m not yet sure if I will work with emotional expression or something in the style of Laura Letinsky. Whatever I choose, I am looking forward to sewing over photo’s.

Maria Aparicio Puentes (1981)

  • Puentes “hand-stitches over images. She works closely with the existing structure of the photographs, overlaying geometric shapes with thread.” (Frankoski, 2015)
  • She uses a wide variety of stitches
  • She mostly embroiders over black and white photo’s, adding the dimensions of colour and texture
  • Some of her stitching is complimentary to the photography
  • Some are quite garish and out of place
  • She collaborates with other artists and photographers

Be-brilliant-05_2xFig. 1. Be Brilliant 05 (2014)

This photo conjures up two ideas to me. One is of a person who is both singing and plucking music out of the air. It has a beautiful, sensual nature, and represents a positive, joyful connection with the universe.

The other thought is around bulimia. Of a person expressing the high of vomiting. Bulimia may sound quite disgusting if you are not bulimic, but for many who are it can bring relief and sometimes joy, especially in the earlier period of the illness. There is potential for me to use this style.

M.-Aparicio-Puentes-Sasha-MademuaselleFig. 2. 01

The above collaboration works well. It’s crisp, simple and the three pastel colours make the art very natural. It’s so subtle that the stitching could quite easily have been on the jumper itself

Illustrations

Fig. 1. Puentes, M, A and Wierzbowski, L; 2014; Be Brilliant 05 [photographic paper (semi-matte finish) and threads]; AT: https://www.mariaapariciopuentes.com/Be-brilliant (accessed on 21/12/2018)

Fig. 2. Puentes, M, A and Mademuaselle, S; ; 01 [photographic paper (semi-matte finish) and threads]; AT: https://www.mariaapariciopuentes.com/01 (accessed on 21/12/2018)

Feature Image Puentes, M, A and Radičević, T; 2014; Be Brilliant 02 [photographic paper (semi-matte finish) and threads]; AT: https://www.mariaapariciopuentes.com/Be-brilliant (accessed on 21/12/2018)

 

References

Frankoski, E; 2015; Maria Aparicio Puentes; Online: At: https://www.pifmagazine.com/2015/07/maria-aparicio-puentes/ (accessed on 21/12/2018)

Also viewed

https://www.frankie.com.au/blogs/art/artist-interview-maria-aparicio-puentes-photo-embroidery (accessed on 21/12/18)

http://www.escapeintolife.com/artist-watch/maria-aparicio-puentes/ (accessed on 21/12/2018)

Project 3 – Learning From Other Photographers

Brief:- Research point – Self reflection – Requirement Most visual artists learn from one another. Both historic and contemporary photographers and visual artists can teach you new things and by learning from them you can bring something new to the subject. So how do you learn from other photographers? There’s a tradition of ‘after’ painting, where an artist copies a master’s work – but in his own style rather than theirs. Pablo Picasso often did this for inspiration. Édouard Manet’s Olympia is slightly different in that it’s a critical response to Alexandre Cabanel’s The Birth of Venus and other such romantic and idealised nudes. Cubism’s visual experimentation was influenced by the work of Paul Cézanne, who had a ‘blocky’ style of painting in daubs of paint. Hannah Starkey’s photographs are clearly influenced by Jeff Wall’s tableau pictures without ever being copies. So really you take from the artist anything that interests you: the arrangement of characters in a scene, the pose of a figure, the way light and dark interact, the type of subject matter, the mixing of media, the visual strategy, etc… Research point – Self reflection – Throughout this course you’ve been introduced to the work of different photographers to help give you an understanding of the creative potential of photography. Now it’s time to question your own work and identify anything you think is lacking. You don’t have to be over-critical, just honest. Write down any areas in photography you need to develop. (Your tutor reports should give you some clues here.) Write what sort of photographs you want to take. Just note down keywords. Now look through a book like Hacking, J. (2012) Photography: The Whole Story, or Cotton, C. (2014) The Photograph as Contemporary Art (3rd edition) (both London: Thames & Hudson) and try to identify some photographers who have exactly the key elements that you want to attain or just things that interest you. It doesn’t matter if the photographer is contemporary or historic. Make a note of these key elements. Now research these photographers online and choose one key photograph to use in the next exercise.

There’s one area which glaringly stands out for me to work on. Lighting. Making use of lights to create an atmosphere, using spots, using ambient lighting or controlling background light, I need to develop these techniques. My tutor has recommended observing light in indoor settings and then trying to recreate it at home.

Now that I have a speedlight I am making slow inroads into understanding flash photography, and that’s going to be an ongoing process.

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Mixed media art is also a growing interest. It’s something that’s been developing over the period that I’ve been studying. Exercise 3.5 Photography from text (here) was a good introduction. I’m part of an OCA collaboration group and have enjoyed collaborating with other artists. Toxic Shame (here) provided me with the opportunity to write and narrate prose as part of a collaborative project. People with Autism co-authored Autism: Out Of The Box (here) with me, a project in which I wrote the essay and encouraged the co-authors to produce accompanying photography or art for the essay.

A woman with autism is currently writing her story, and my role will be to support her to make photography which will accompany her writing. This is a role I wish to develop. The OCA collaboration group is on-going, and I have had initial contact with an artist in Australia who may wish to collaborate with me.

I’m very pleased to be studying Experimentation:- Still Life, which is part 4 of Foundations in Photography. This part of the course has opened up my creative potential. I made a sensory collage, just for fun, out of materials left over from the emulation exercise. Photomontage, collage and sensory collage all give me the opportunity to practice with lighting.

Lighting is the way forward. When I return from my travels I will look through my many books to find find photographers who inspire me, and who make creative use of lighting. I will then create some emulation based upon their work.

The piece I produced to emulate Laura Letinsky will be added next week when I return home.cof