I love scanning objects - the copier always blows the light out so wonderfully, leaving these smears and distortions.
From my 2013 body of work.
Saturday, 25 May 2013
Wednesday, 8 May 2013
Doodah: The Work, Part 3
What the water gave me, 2013
expanding insulation foam, aluminium foil, cellophane
Doodah: The Work - Part 2
It's Like Forgetting The Words To Your Favourite Song, 2013
aluminium foil, aluminium tape
Monday, 6 May 2013
Daria Krotova
"Krotova’s work focuses on the representation of real, living shapes – heads, faces and hearts – isolated from their usual physical contexts. Her visual language raises our consciousness of the representation of life, even of imaginary creatures, within the art historical tradition.
Her installations are sometimes composed of thin, papier-mache-like sculptures; other times of porcelain, another material that could be easily shattered.
For some projects she has created sites with ‘archeological’ objects – not pottery shards but bones and teeth and horns made out of ceramics as a way of underscoring the fragility and fetishisation of historical remains."
(Taken from the Saatchi Gallery profile site)
From 'Heart, Organ Of Love (Sometimes My Heart Turns Into A Chicken)' series:
Her installations are sometimes composed of thin, papier-mache-like sculptures; other times of porcelain, another material that could be easily shattered.
For some projects she has created sites with ‘archeological’ objects – not pottery shards but bones and teeth and horns made out of ceramics as a way of underscoring the fragility and fetishisation of historical remains."
(Taken from the Saatchi Gallery profile site)
From 'Heart, Organ Of Love (Sometimes My Heart Turns Into A Chicken)' series:
Saturday, 4 May 2013
Discoveries are exciting
Damien Rudd - Objects of Intimacy (2011)
Artist’s statement:
“A person’s pillow is their most intimate object. For this project I have photographed 5 pillows from 5 different people. Each pillow is at a different stage of transformation relative to its age and frequency of use.
With these images I aim to show something that is generally hidden. To view them is to see a part of the owner; the history is the relationship between the owner and the object. The pillow is moulded and transformed by the markings of bodily fluids so it becomes as individual and distinctive as that of a fingerprint. It is no longer an innate manufactured object, but is now impregnated with life and mutation.
Each pillow was photographed in the same manner a forensic scientist may examine criminal evidence. The hidden and discreet is now open for public close study. When an individual’s pillow is relieved publicly, it causes a sensation of embarrassment and shame. In our culture, the exertion of bodily fluids is considered distasteful. This is especially true when it may be associated to sleeping in one’s bed. We find it somehow disturbing, yet fascinating, as it is one human occurrence that unites us and emphasizes that in the end, we are just merely human.”
Artist’s statement:
“A person’s pillow is their most intimate object. For this project I have photographed 5 pillows from 5 different people. Each pillow is at a different stage of transformation relative to its age and frequency of use.
With these images I aim to show something that is generally hidden. To view them is to see a part of the owner; the history is the relationship between the owner and the object. The pillow is moulded and transformed by the markings of bodily fluids so it becomes as individual and distinctive as that of a fingerprint. It is no longer an innate manufactured object, but is now impregnated with life and mutation.
Each pillow was photographed in the same manner a forensic scientist may examine criminal evidence. The hidden and discreet is now open for public close study. When an individual’s pillow is relieved publicly, it causes a sensation of embarrassment and shame. In our culture, the exertion of bodily fluids is considered distasteful. This is especially true when it may be associated to sleeping in one’s bed. We find it somehow disturbing, yet fascinating, as it is one human occurrence that unites us and emphasizes that in the end, we are just merely human.”
Friday, 26 April 2013
Castle Market's treasure
Having to put on an exhibition, I have learned, is a pretty tricky business.
However, after you've got your venue, moved past any disagreements and bought a lot of alcohol for the opening, everything seems an awful lot easier.
I haven't made an update yet on how it all went, but I'd like to keep it fairly simple (even though it wasn't quite so simple at the time).
In the end, the venue we landed was a derelict carpet shop - in essence, paradise for an enthusiastic artist who never gets the space to be a little messy. The place is located in Castle Market but may not be there for long. With demolition plans underway, that spot in Sheffield will soon have disappeared. It was a mix of these factors (and sheer desperation for anywhere to exhibit) that created an interesting backdrop for the work we were to make.
The 'we' consisted of: myself, Jenny Morgan, Sophie Webster, Kathryn Davis and Bimal Rana. It was just as well we five haphazardly formed our group because, as we soon realised, objects (in a variety of senses) played a large part in our practices.
The Object Group became Doodah, and the rest is history.
However, after you've got your venue, moved past any disagreements and bought a lot of alcohol for the opening, everything seems an awful lot easier.
I haven't made an update yet on how it all went, but I'd like to keep it fairly simple (even though it wasn't quite so simple at the time).
In the end, the venue we landed was a derelict carpet shop - in essence, paradise for an enthusiastic artist who never gets the space to be a little messy. The place is located in Castle Market but may not be there for long. With demolition plans underway, that spot in Sheffield will soon have disappeared. It was a mix of these factors (and sheer desperation for anywhere to exhibit) that created an interesting backdrop for the work we were to make.
The 'we' consisted of: myself, Jenny Morgan, Sophie Webster, Kathryn Davis and Bimal Rana. It was just as well we five haphazardly formed our group because, as we soon realised, objects (in a variety of senses) played a large part in our practices.
The Object Group became Doodah, and the rest is history.
Guarded, 2013
What function do you serve?
No, really - I want to know.
You stand there, no higher than my weak knees,
Sentenced to gaze at the feet of strangers
And breathe the thick suburban air.
You have lived here much longer than I have,
So I was wondering why you stayed.
I see that you are a little broken these days
But I remember how you held me fast,
That one time,
When I took that awkward phone call out the front.
I'm sorry if the weeds at your base make you think
That I don't think about you -
You are a part of my home.
Maybe you think you could protect me,
But I'm not sure that that's what your job is.
You look more like a territory marker
And I am king.
No, really - I want to know.
You stand there, no higher than my weak knees,
Sentenced to gaze at the feet of strangers
And breathe the thick suburban air.
You have lived here much longer than I have,
So I was wondering why you stayed.
I see that you are a little broken these days
But I remember how you held me fast,
That one time,
When I took that awkward phone call out the front.
I'm sorry if the weeds at your base make you think
That I don't think about you -
You are a part of my home.
Maybe you think you could protect me,
But I'm not sure that that's what your job is.
You look more like a territory marker
And I am king.
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