THE IDEAS AND THEMES WITHIN MY WORK.
1. Charles and Ray Eames, Power of Ten.
2. Jacques Derrida
3. Roland Barthes, Camera Lucida.
4. Gabriele Basilico
5. Birmingham Bullring.
6. Graphic Europe; An alternative guide to 31 European cities.
7. Damien Hirst.
8. Marco Zanta: Birmingham
10. Guy Debord, Theory of the Dérive, from society of the spectacle.
11. Caleb Smith
12. Ellen Gallagher
13. Lee Friedlander: America by car.
14. Killing Fields: Christopher Menges.
15. Reconstuction, Dioisio Gonzalez
16. Sam Javanrouh; 360 cities
Within my current projects I have chosen aspects of the world I have operated within city’s looking at signs, Bustops and other things to produce images concentrating on the form, structure and eventual repetition of the entity.
I have influenced from everything around and like to bring my work to somewhere, that may eventually become quite a mundane subject, but within this express an deeper perceptive of the subject.
Charles and Ray Eames, Power of Ten.
This video powers of ten, by artists Charles and Ray Eames shows the relationship and perhaps insignificantness of everything, it communicates that every object derives from another and that essentially everything is the same just based on a molecular structure of cells. This film is quite complex but fundamentally shows our relationship to the world suggested by the scale of the power of ten.
Low-res version: http://vimeo.com/819138
In Jacques Derrida’s book ‘The Truth in Painting’ he replies to the historian and philosopher Meyer Schapiro and Martin Heidegger on their analysis of Van Gogh’s ‘Still life of shoes’. He does this by raising the question of how a work of art sticks together, or on the contrary, separates off bits of itself, disseminates, but he does not do this by remaining with the stokes of the painting or with the shoes.
Instead Derrida takes Heidegger’s description of the gapping boot to point to the way he moves out of the traits of the painted shoe, the space inside of the shoe is imaginary, in a way different to the shoe itself, as it is not directly created by the paint. He also suggests that the structure of the paint strokes, encourage the movement of the outside, or rather inside the paintings space.
Derrida observes that the shoe’s in this painting cannot be assumed to be a pair and that they may even have belonged to two different people, he argues that they could be two shoes for the same foot and also that it could have to do with a fetish.
Roland Barthes, Camera Lucida.
In the book Camera Lucida, Roland Barthes examines photograph’s he discusses the truths we can get from photographs however unimportant. As well as the feeling and ideas we have about photographs. He discusses the idea of looking at a photograph and how it can change your feeling by looking at it questions it can propose and the nothingness of them.
“If the Photograph cannot be penetrated, it is because of its evidential power. In the image, as Sartre says, the object yields itself wholly, and our vision of it is certain- contrary to the text or to the vague, arguable manner, and therefore incite me to suspicions as to what I think I am seeing. This certitude is sovereign because I have the leisure to observe the photograph with intensity; but also however long I extend this observation, it teaches me nothing. It is precisely in this arrest of interpretation that the Photographs certainty resides; I exhaust myself realizing that this has been; for anyone who holds a photograph in his hand, here is a fundamental belief, an ‘ur-doxa” nothing can undo, unless you prove to me that his image is not a photograph. But also, unfortunately, it is in
Proportion to its uncertainty that I can say nothing about this photograph”
Basilico’ photographs show a real incite into the cities he photographs, the enjoyment of what he does as well as the background of cities he has
I have lived in Birmingham all my life; I feel the Birmingham Bullring plays a large part of my memories in Birmingham. I have seen many changes to the Bull Ring through out my life, they have reflected life in Birmingham and are an important part of progression in the city. The feelings of the people that live here are very different to visitors, and from child I can remember tourist coming to see it. This has made me think about how we view our immediate surroundings in comparison to areas further away. The fact that there is a pizza hut right by the sphinx in Egypt makes me think about how your perception of a place changes when you start to have memories of a place.
Graphic Europe; An alternative guide to 31 European cities.
A guide to cities around Europe. I first looked at this book while working mainly in the graphics field. An alternative guide it is set out different to your usual guide and is an interesting look at cities in an unusual orderly way. A beautiful object, but functional guide.
“Hirst’s work is an examination of the processes of life and death: the ironies, falsehoods and desires that we mobilize to negotiate our own alienation and mortality. His production can be roughly grouped into three areas: paintings, cabinet sculptures and the glass tank pieces. The paintings divide into spot and spin paintings. The former are randomly organized, colour-spotted canvases with titles that refer to pharmaceutical chemicals. The spin paintings are ‘painted’ on a spinning table, so that each individual work is created through centrifugal force. For the cabinet series Hirst displayed collections of surgical tools or hundreds of pill bottles on highly ordered shelves. The tank pieces incorporate dead and sometimes dissected animals – cows, sheep or the shark – preserved in formaldehyde, suspended in death.”
Marco Zanta: Birmingham
Marco Zanta has made from 2000 to 2004 by the European countries in search of a common identity, a city – that Europe exists, even if fragmented, in different countries, size in a hug, recognizable, and then shared.
Cartier-Bresson typically shot within seconds of seeing his subjects, would take only a few frames at a time, even when the subject was famous (such as Matisse) or the situation was history (such as the 1968 uprising in Paris), and yet the exhibition demonstrates that his work is as precise — in the use of line and in the range of his black-and-white tones — as staged works that take other photographers days to set up and shoot. That moment when subject, background and all the other elements of a scene unite to create a spontaneous but powerful photograph will rarely last for more than the proverbial blink of an eye. It is an instant that documentary photographers call the decisive moment — a term, not surprisingly, coined by Cartier-Bresson.
Guy Debord, Theory of the Dérive, from society of the spectacle.
Theorie de la derive was first published in international Situationniste ♯2, (Paris, December 1958) One of the basic situationist practices is the derives [literally: “drifting], a technique of rapide passage through varied ambiances. Derives involve playful constructive behavior and awareness of psych geographical effects, and thus quite different from the classic notions of journey or stroll. In situationist texts, a derive is an attempt at analysis of the totality of everyday life, through the passive movement through space. It is translated as drift.
French writer and Situationilist Guy Debord first theorized this concept in his studies of preconceptions, to refuse to limit legitimate discussion to architectural styles or residential percentages, but to discuss the reality of actually inhabiting the environment.
LEE FRIEDLANDER: AMERICA BY CAR
Driving across most of the country’s fifty states in an ordinary rental car, master photographer Lee Friedlander (b. 1934) applied the brilliantly simple conceit of deploying the side view mirror, rearview mirror, the windshield, and the side windows as picture frames within which to record reflections of this country’s eccentricities and obsessions at the beginning of the twenty-first century. Friedlander’s method allows for fascinating effects in foreshortening, and wonderfully telling juxtapositions in which steering wheels, dashboards, and leatherette bump up against roadside bars, motels, churches, monuments, suspension bridges, essential American landscapes, and often Friedlander’s own image. Presented in the square crop format that has dominated his work in recent series, and taken over the past decade, the images in America by Car are among Friedlander’s finest, full of virtuoso freshness and clarity, while also revisiting themes from older bodies of work.
Killing Fields: Christopher Menges.
Christopher Menges was the cinematographer of the killing fields and dirty pretty things among many other great creations. Born in Herefordshire in 1940 he originally started out his career as a journalist for ITV’s world in action and slowly progressed to becoming a cinematographer for Kes. (from britmovie.co.uk) In his long career he has always focused on hard hitting political issues focusing on the human suffering caused by cultural violence and danger. I have never watched the killing fields and found it quite intriguing when I first picked it up. The movie is hard hitting and shows the mass destruction and inequalities on the Khmer regime in Cambodia when all western forces retreated. Although I did watch the movie thinking it was ground braking in its time, I still kept thinking if it was remade it could be much more powerful. With this in mind I could still appreciate the cinematography of the film and the images of nature and humanity in its natural form.
Reconstuction, Dioisio Gonzalez
Dionisio Gonzales is a young photographer from Spain. Even though at first glance his photos might seem like simplistic views of the depicted Brazilian favelas, there is more to them then what meets the eye. Upon these vast setting of spontaneous disorder arise issues of contemporary differences, Not those issues that address mere rhetoric poverty, not just bare depictions of piled up barracks; these are architectural collages of all sorts and kinds. Dream-like growth that spontaneously envisions the contradictions of the present. Buildings that seem set in the wild west, houses that remind of Carlo Rossi, odd hyper-structures that recall the deconstructivism of Gehry or Libeskind, all shamelessly stand side by side. Gonzales magically transforms the poor outskirts of the city into a complex, diverse and visionary place. The sedimentation of cultural differences seems to catalyze a stratification of architectural diversity: we may see it as paradise, an urbanist as his biggest nightmare.
Sam Javanrouh; 360 cities
The accessability of art to the world means art is viewed in a different context which poses questions as to how much the surrounding art is placed in mean to its construction.