Recent Photos

I noticed these whilst walking through Kentish Town. They were stuck to a wall on a building.

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In Conversation With: John Stezaker And Margaret Iversen

The National Portrait Gallery hosts a regular Friday night activity, and this week it hosted a conversation between Margaret Iversen, professor of art history and theory at Essex University, and John Stezaker, artist and photographer.

Stezaker has an exhibition at the National Portrait Gallery which includes collage from found photography and a film called Marriage. The film is shot at 24 frames per second and is made of still photos. The photos are collages of a male and famale face which have been joined together.

john_stezaker_2Fig. 1. Marriage VIII (2006)

Stezaker believes the series encourages the viewer to find a way to reconcile the two imdovidials and return them to being a couple.

It’s not what I see. The collages leave me asking what has happened to the couple that leaves them broken and on the point of divorce. There’s a good learning point here for me as a photographer :- I can never know how the viewer will interpret my photography.

john_stezaker_1Fig. 2. Marriage 1 (2006)

Here are some bullet points from the evening.

Collages
Masks
Couples sepetating
Viewer naturally wants to reconcile them
Found photos, postcards, newspapers, magazines
Fascinated with images since childhood
Not a conceptual photographer – the image is all there is
Not surrealist
Curator
Collector of images
Portrait
Collages don’t need to align precisely
Analogue – to much of a temptation for precision with digital

Although I am working with masks in very different ways, I am reconciling my innersel by producing masks to explore my mental health. I aim to produce an opportunity for my viewers to explore their mental health and the qualities they have which help them through their difficulties

Collages
Masks
Couples sepetating
Viewer naturally wants to reconcile them
Found photos, postcards, newspapers, magazines
Fascinated with images since childhood
Not conceptual photographer – the image is all there is
Not surrealist
Curator
Collector of images??? Image library?
Portrait
Collages don’t need to align precisely
Analogue – to much r temptation for precision with digital
Although I am working with masks in very different ways, I am reconciling my strengths by producing masks
I aim to produce an opportunity for my viewers to explore their mental health and the qualities they have which help them through their difficulties

Illustrations

Figure 2 Stezaker, J; 2006: Marriage VIII [Collage]; Online: AT https://www.saatchigallery.com/artists/john_stezaker.htm

Figure 2 Stezaker, J; 2006; Marriage 1 [Collage]; Online: AT https://www.saatchigallery.com/artists/artpages/john_stezaker_1.htm

Assignment Five – The Process Of Making The Collages

Progress, I feel like I am getting somewhere. Making the collages has been fun, and once I have finished these I will need to create voice recordings for each, and buy the props that will complete the installations. It’s very exciting that I can now see how this will work. The only perceived difficulty is that the final pieces will not show off their full effect as a photo on my blog.

Step 1, making holes

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Step 2, stitching

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Step 3, taping the reverse side

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Step 4, cutting out objects and positioning

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Step 5, making more holes and more stitching

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Step 6, a finished collage

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Step 7, but matching props and photograph them as a still life in front of the collage

Step 8, make voice recording

Step 9, add voice recordings to each collage

Exercise 4.7 – Photomontage

Brief:- Juxtaposition in photography can be as simple as placing two photos side by side. But juxtaposition can also be said to happen within the frame in still life when objects are purposefully placed together. In photomontage rougher and often amusing juxtapositions result from sticking bits of pictures together. Have a look at the work of John Heartfield and Hannah Hoch to prepare for this exercise. Heartfield’s photomontage’s are politically charged images designed to express social ills: www.getty.edu/art/exhibitions/heartfield. For more advanced contemporary examples, search for Beaten Gutschow’s “S” series. Get a few old magazines or newspapers. Decide on a background picture – for example a large view of space or any place. Now add to it a figure, or at least the head and shoulders of a person. Now find some other images that you can substitute for the person’s head (for example a cabbage) or their eyes (telescopes) or mouth (a pothole). Stick them on the face. Photograph the result. As you can see, the process tends to result in bizarre combinations. But there is a deeper meaning to this process. By cutting and pasting fragments of images, you’re choosing how a picture should be made and offering an interpretation of the different subjects you choose. You’re also constructing an image in a way that would be impossible to construct in reality.

For this exercise I produced two ideas boards (seen here), neither of which I have followed through with as yet. Brexit is something which concerns me . IIa  a remainer, I value cultural diversity and I want to remain part of a wider European community. Regardless of my desire for Britain totremain as part of theEU, I feel that the current British Government is making a right pigs ear of Brexit negotiations. When I made the initial collage I had the intent of producing a mixed media image. My final two images include the handmade collage, digital editing I. Photoshop, acquired images from the internet, an uploaded photo, and the Photoshop text tool. I’ve produced two results, one of which replaces Theresa May’s face, as per the brief, and my preferred picture which doesn’t. Overall I’m pleased with the result, but I took far too long in Photoshop when turning the background white.

Original Collage

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First Draft

You Will Regret This Brexit Mayhem

Final (as per brief)

You Will Regret This Brexit Mayhem

Final (preferred version)

You Will Regret This Brexit Mayhem

I believe my montage makes a strong political statement, similar in nature to Heartfield, but Hoch had more of an influence. I like that she makes use of image and text, and the business of her collages were more appropriate for my chosen theme, than Heartfield’s minimalist approach.