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

My Emotional States Of Anorexia – Assignment Five Update

Yesterday I got 12 photos off to the picture framers for mounting. He understood where I needed the cut outs and why, and took an interest in my art. After speaking with him I felt really secure in the knowledge that he got what I needed.

I have begun the embroidery today. I’m starting with those I will be using for six collages, in which excerpts from Laura Letinsky’s I’ll Form And Void Full will be embroidered onto my face. I’m excited. I also know how I’m going to make the animal masks for my primary version.

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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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Assignment Five – Refining My Idea

I’ll be making my own portrait with 6 different emotional expressions relating to my eating disorder. Justaposing them with 6 different photos from Ill Form and Void Full (Laura Letinsky).

Both photos will be placed side by side on a white surface, with a white backdrop. The surface will become a space in which I will place a piece of fruit, or other food which will match that from Letinsky’s art. The photos will then be squashed, twisted, torn or altered in some way. I’ll then photograph the still life I’ve made and then stitch onto the final photo.

 

The stitching will be done in a manner that uses shape and colour to emphasise the emotional expression.

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Stitch Sampler

OK, so this is not the greatest idea of a sampler, but it’s been good practice to try out different stitch samples for my fifth assignment. The majority of the artists who stitch over photography tend to use a long stitch, rather than different styles of stitching. And hey, their work is fantastic, so maybe the idea is to keep it simple. However, I like chain stitch and diagonal tent stitch – and I can see how they can be used, and perhaps cross stitch would be good over eyes.

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  • Blue – herringbone stitch
  • Yellow – running stitch
  • Orange – Cross stitch
  • Pink – Back stitch
  • Red – Tent stitch
  • Green – Diagonal tent stitch
  • Brown – Chain stitch

Emulating Laura Letinsky – Exercise 4.11 – Emulation

Brief:- Remember, there’s no need to make a direct copy of a photograph, for example a Man Ray photogram; make your own photographic experiment as Adam Fuss did (you can compare their photograms online). If you chose to emulate Man Ray, you might seek out interesting objects that can be rendered graphic shapes in silhouette by shooting them against a white background. Or perhaps you want to emulate the uncanny, liminal sense of space created in a Laura Letinsky photograph but using landscapes. Make the image your own. Artists rarely copy each other, but they do learn from each other. Try to identify exactly what it is in the photograph that appeals to you: the visual quality (tones, colours, light and dark) the composition or design the subject the concept the photographer’s viewpoint the way the photographer has influenced or constructed the image. When you’ve identified these elements, plan what you’ll need: equipment location models.  When you’ve organised all this, make the photo.

Final Two Photos

I need to begin by saying that I am not happy with the results of either photo, but there are aspects to each of them that I do like.

The first photo is the one that I most prefer, and makes more use of colour and planes. Yes it is far busy and less subtle than a Letinsky, but I ensured that it used two planes, and it is also 3D in nature because of the net which drops down from the main canvas, and the roses which are hanging down from the light socket. It is aesthetically pleasing to me, it’s pretty and beautiful.

The second photo has more movement, which I prefer. I love how the sheet hangs, and envision this as being similar in nature to the roof of a marquee. But the second plane that I tried to create, with a petal at the end of each piece of thread, just doesn’t work.

Neither photo has the amount of neutral space that Letinsky makes use of so well. Both photos have finger prints, creases and glue marks, which it goes without saying that I am not pleased with. The first photo also has a gap between the satin effect canvas (pinned to the ceiling) and the net (hanging down).

Technically this was a complicated project. Flower petals shrivel and die, each sheet was three meters by one meter, and very difficult to pin to the ceiling. I made use of super glue to place the petals in the second photo, which was a big mistake. Super glue discolours the petals, sticks the canvas to the carpet, and whilst I was raising the sheet from the floor, a lot of the petals became unatuck. I used PVA glue for the first photo and it didn’t stick the petals to the floor, but still left unsightly marks when a petal refused to stick.

Despite the piece of art that I have created being of poor standard, because of the technical errors, I am pleased with the result of the first photo. I have had a lot of fun, and developing techniques to control the space that I am choosing to work with is good progress. I definitely wish to create art in this style in the future. To do so I would need at least one technician, a large board so the canvas can be ironed, and find an alternate way to glue the petals onto the sheet.

My creation is not a copy of Letinsky, but I believe that I have used elements of her style and technique to make something that is pleasing to my eye.

Contact sheets (here)

Reference

Keys, R; 2018; Picture Analysis – Laura Letinsky – David Bate – Pieter Claesz; Online: AT:  https://photosociology.photography/2018/09/28/picture-analysis-laura-letinsky-david-bate-pieter-claesz/ (accessed on 17/11/2018)