Claude Cahun

I.O.U

A photographic collage based on herself. (What does she owe?)

Uses masking techniques of make-up to cover the eyes.

All four faces stem from one neck, which could symbolize that individuals have many different faces/emotions/personalities etc.

The image is broken up and placed back together, and is described as shattered and splinted-
"The image, making the viewer painfully aware that it is constructed in and through ideology."

Around the four heads reads
"sous ce masque un autre masque. Je n'en finirai pas de soulever tous ces visages"
(Beneath this mask, another mask. I will not stop removing all these faces.)

I found this piece in a book named Self Image by Amelia Jones.

"The photographic image, which seems to promise but ultimately evacuates the 'presence' promised (by postmodern ritual images)."

This sentence made me think about photography and how human figures are seen.
Does the photograph take away all living qualities of the figure?
If so then surely what we see are people that have passed away?
Is photograhy a weapon?- We say "shoot" when video recording, but what would happen if people actually died?

Removing all personality. Taking away inhibitions.
What would happen if you paint/change a persons appearance and then take a photo? Do they become that inigma?
If so the photographer becomes in charge, the creator.

Tearing through material to see the person underneath/wiping paint off of the body.
Contrasting imagery as the person would still seem living even after the 'presence' has been removed.

Pamela Reykjavik

Bow Human (2012)

Links well with my previous work of coverings.

Hanni Bjartalíð

Saw Hanni's work at the Liverpool Biennial and it reminded me a lot of Emily Speed, so I will research more into this artist at a later stage.




Hanni Bjartalíð at the North Atlantic Pavilion, part of City States, Liverpool Biennial 2012 from Prohyena on Vimeo.

Drawing with uncommon materials

Today we did a workshop that consisted of us using materials that we wouldn't normally use for drawing.

Using three starting points, we had to make unusual marks that people would find interesting and hard to copy.

The three 'catagries' were:

Ambiguous map of the body

Using graphic stencils

Perspectives of the studio

By ripping paper into strips of around 4 inches wide, i was able to construct a long, thin background to work on that spread the entire length of the room.

I then went on to try and make unusual marks using and mixing together:

Black paint

Tipex

Wire sponge

Garden wire

Charcoal

Stencils

Shoe polish

Face wipes

Toothpaste

Washing powder

Chalk

Sandpaper

Sudercrem

Biro pen

Marker pen

Pegs

Kurt Schwitters

Schwitters work is mainly about collage and creating something from found objects e.g newspaper, receipts, posters.
For a while the images of his work were starting to look the same, until I came across some with figures in which I found more interesting like the one below by Barbara Kruger.



I am going to do some experiments using collage and see if I can get some interesting effects, as normally this style reminds me of primary school.

Emma Hauck

Basically visible internal monologue, sometimes random words that enter the conscientiousness.
Emma reinforces her emotions with the words by layering and using different forces of pressure on the work.
This links with earlier work when I experimented with using emotions as the force behind mark making.

First experiment using writing and pressure. The words are from songs that I was listening to at the time.

I would like to create more work this way.