WWW:
In these photographs I see different people constructed in a funny way. In these photographs I recognise that each person is different and making me wonder of why they look this way. The equipment that I used was scissors, scalpel, cutting mat and sellotape. The process was to make a abstract looking picture using folds and cuts to make the image interesting. These images remind of when I went into a underground and I saw many different people who stared, and laughed. I think, these images is telling me a story or a suspicion is going on because they look like they are all looking at me except the second lady who is laughing. |
EBI:
I think my work is successful because the images each tell me something in there eyes. I think the first one doesn't work so well because you don't actually know what's going on in her facial expression. I think some people would be quiet amused by my work, they would stop and look with some thoughts and look at this work, if I had a gallery with these images I constructed. I wonder remember the lady who is laughing because it just already makes me laugh. I have learnt to construct an image with my own ideas. |
WWW:
In this photograph, I see the face has been constructed with stripes that have moved the face to look like there is multiple of noses. Also, I see a face popping out of the man's blazer. The equipment that I used were, scalpel, cutting mat and sellotape. This photograph reminds me a fantasy film with a mix of old century times. This image is different to real life because you wouldn't ever see a mans face being in stripes. What interests me the most is the man popping out of the blazer because it looks like it has done something wrong or mysterious. If I was in this image I would ask the man in the blazer, 'What are you hiding in his blazer?' |
EBI:
I think this image could of been improved a bit because you can see that the stripes are not lined properly, so you see the background behind it. I think other people who sees this work would be interested on seeing it because it's asking yourself what has that man done in the blazer. I would definitely remember the man under the blazer. I have learnt to experiment with a story that tells the image. |
Kensuke Koike:
Kensuke Koike (b.1980, Japan) creates unique artwork by manipulating found, vintage, photographic material. Kensuke’s approach revolves around the idea of using the assets found within an image to create a contemporary visual with a new narrative. The process for the artist often starts as a puzzle begging to be solved with each image setting its own unique challenges. |
“nothing is removed, nothing is added” - Kensuke Koike
Lipps was born in 1975 in Oakland, California. He currently lives and works in Los Angeles, California. Matt Lipps has spent the past decade focusing on the relationship between sculpture and photography. His artistic process is methodical, often following a set of guidelines that transform his collaged elements into a unified composition and narrative.His photographic constructions rely on collage strategies, sculptural tropes and theater staging techniques. His photographic constructions rely on collage strategies, sculptural tropes and theater staging techniques. |
“We live in a photographic mind-set, creating memories for the future,” - Matt Lipps
UNTITLED (WOMEN)
UNTITLED (MEN)
HORIZON/S
UNTITLED (FACING) |
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Daniel Gordon:
BORN IN BOSTON, MASSACHUSETTS, 1980; RAISED IN SAN FRANCISCO, CALIFORNIA LIVES AND WORKS IN BROOKLYN, NEW YORK Daniel Gordon is known for photography and sculpture that employs appropriation and reproduction in order to question the nature of the image-object relationship. Melding optical illusion, pastiche, mixed media, and a recalibration of analog processes, Gordon consciously reframes what it means to have a photographic practice. |
"Positions are temporary. Ranks and titles are limited. But the way you treat people will always be remembered." - Daniel Gorden
Born in Nottingham, Lives and works in London Found objects and images are the staring points to Abigail Hunt's artistic practice. Through investigation, deconstruction and play, her imagery transforms from the readymade into delicate constructions.Her practice is based upon a procession of tasks: the investigative research of an image, the deconstruction of a line, the disablement of form and finally the reconstruction and reconfiguration of the object. These processes are similar to that of understanding a new language. Through translating one language of images and the later reformation and retelling through made objects Abigail creates her own structures, tones and descriptions. Abigail Hunt's fascination with paper and repetitive and almost incomprehensibly impossible and meticulous processes has continued to be of interest within her work. Continually questioning notions of finite detail, artistic integrity and aesthetics, works consider ideas of definition and the point at which, through the process of change or deconstruction, an object becomes something it previously was not. |
WWW:
In this collage that I made, I can see a young man looking through a ladder, a old man looking at the owl, and many images duplicating across the collage. For this collage I used magazine papers, scissors, sellotape, scalpel, cutting mat and glue. This is affective because everyone can see this collage in a different way to how I see it. This collage reminds of when me and my dad went to drive to a forest and we went on long walks in the forest. In this collage, it's telling me, that there is some mystery about the grandad and the grand son and it is set in a forest and maybe they live in the forest in a wooden small house. |
EBI:
I think this collage is successful because because it tells a story about a grandad and the grand son. I think people would love this work because the collage is colourful and it tells a story as well. I would remember the grandad looking at the owl and the boy maybe stuck from a ladder. I have learnt to try and make a story from making a collage at the same time. |
"I am not there to tell them this is good, this is bad but to push them in their extremes ... artistic, creative extremes. This they love! [...] They fall into a world called creation and this is really incredible. This opens up a BIG space!" - Klavdij Sluban
Prison Photography is a collection of 137 shots taken by the inmates of the Penal Institution of Bolzano/Bozen, Italy during the photography course taught therein by the artist Nicolò Degiorgis between 2013 and 2017.Playing with and around the limitations imposed by the prison’s own isolation, the shots are a gateway into the world. This can be seen through the eyes of an incarcerated individual, spending its days in the shared, claustrophobic cells of a jail, in the absence of privacy, in poor hygienic conditions and far removed from the outside world. Divided into thematic chapters spanning a range of photographic techniques, the book aims to trigger a reflection on the medium of photography. Also on its ability to act as a means of escape from the monotony of life in prison.
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