Saturday, May 22, 2010

One of my original influences for my colour palette was Marie Antoinette, the film by Sofia Coppola, and the Wallace Collection. SO now I'm questioning how I'm going to hang my show with all of the work constantly changing, I'm revisiting the Wallace Collection for any more further ideas on the hanging.

The Great Gallery (see top image) has lots of large infamous works all in the one room. It's sometimes overwhelming I find, but in a good way. In a sense you're more likely to take the whole of the room in as one piece, rather than each painting individually. However; do I want this for my work?
I quite like the dialogue of the advertising images being considered as the public's property, just like the Wallace Collection is considered part of the nation's collection/heritage. Who own's images?
I feel that scale brings alot of this into question further, we have these images imposed upon us, does that action mean that the only way to deal with them is to just further accept them as part of the environment, part of the metropolis. Letting them fade into the buildings we can block them out. Or can we?
The Boudoir at the Wallace Collection (the pink room above) is alot more intimate, and realistically more similar space-wise to what I have for the degree show. It also seems to be just a room full of women's faces, which is one of the key parts of my work, "The Look", "The Face" etc, and the tedious format of constructed images of women.
Luckily I don't have furniture to negotiate with, but I do have the two long tall skinny lightboxes. It's going to have to be a case of making the work (all wet stuff next week) and then getting in the space and playing. Ultimately there will be two lightboxes, some large poster work, and some super large poster work!

Thursday, May 20, 2010

SO the magazine images have now become pretty fragile. Hours of taking them on/off off/on the lightbox has meant I'm not that happy with how much they may deteriorate.

The need to have something slick, something believable and something that would last the whole show, has led me to this.

A return to my love and use of collage. Driven by my desire to make something both attractive and repulsive, has led to this.

I will be making a longer collage based on this shape for the long skinny lightboxes.

All really exciting this week, other stuff has happened/emerging, but until it's more in place, my lips are sealed....

Monday, May 17, 2010

(p.s. One of my images is currently being used on the University of Arts London website as the link for my college Chelsea!)

Continuing from the dissected shapes, here is an experiment of merging the faces together. I'm happy with it. It exaggerates the transparency and plays on the shapes further.

Today we had a meeting in the space we'll be exhibiting in, its just me and four super talented young female artists. There's gonna be a few installations, some clever sculpture, all really exciting!

The hunt for lightboxes continues, I want super quality to show off the shapes and the concept in general. Tomorrow the quest for images continues too, I'm collecting my Chloe bust shelter poster....Yikes!

Sunday, May 16, 2010


Yesterday I went to the "No Soul For Sale" installation at Tate Modern as part of the Tate Modern 10th Birthday celebrations. One of the things I picked up was a newspaper style booklet called "Speaking of Destruction...", a beautiful publication produced by the Swiss Institute for the Under Destruction show at Swiss Institute New York.

The Booklet contains quotes from people on destruction, relevant to my work I picked out two of the most poignant ones for me and my practice:

"The impulse of modern art is the desire to destroy beauty" - Barnett Newman.

"I always said punk was an attitude it was never about having a Mohican haircut or wearing a ripped t-shirt. It was all about destruction, and the creative potential within that."
- Malcolm McLaren
Here is an image of some of the work at the moment, at the moment the colours are too reminiscent of Kirsten Glass' stuff for me. But I like the dissection of the image and the further emphasis on the shapes. The writing you can see is the work of James Ashby King who also works on the window in my studio.