Influences for GIF-ts For Lovers -UNIT 7-

For Unit 7 I’ve been printing, drawing and animating and recording a podcast. A lot of my inspirations are still held from my work last year on the ideas surrounding paradise and post-internet art.

In this post is an overview of my inspirations, from the subject matter, colour to medium. My bibliography will be updated and I will provide photographs of my paper notes and sketches of the idea of my final piece in my next post (that transformed over time) and supporting prints.

Grayson Perry’s Lecture – Wimbledon

The lecture I had attended was mainly about issues and recommendations of how to make in the art world. But a large portion was dedicated to talking about Perry’s own working methods. So much of his work takes imagery and meaning from religious artwork, he takes the story arcs that can be seen in hindsight and inlays current affairs into them. Taking advantage of the built up languages that religious art uses, but also playing with how it has been represented in incredibly domestic settings. The tension between reality and story’s.

His controlled style can be seen in this example, ‘The Walthamstow Tapestry’:

Above image and further reading: https://www.theguardian.com/artanddesign/2009/oct/06/grayson-perry-tapestry-victoria-miro

“It’s almost like a religious fresco celebrating obscure gods and beliefs” – G. Perry

The detail in pattern and busy colour pallete are held together by an over arching story of everyday people’s values. Half celebration of the ordinary, half hidden satire? Maybe, but they are such vibrant pieces and so full of humour, I find it hard to be insulted on any level.

The mediums of pottery and tapestry (and other crafts), hold heavy work throughout history. Luxurious items with hours and even years of work involved, perhaps mostly dedicated to religious purposes.

I have been to see his work in person at the British Museum. A very succesful merging of ancient artifacts and his own work interwoven with them, it really encapsulates his working methods. ‘Grayson Perry: The Tomb of the Unknown Craftsman’ was on from 6 October 2011 – 19 February 2012. It has been an inspiration for me throughout my years in education and I worked around shrines before coming to university, I feel it has now been emerging back into my practice this year.

Further Reading: http://www.britishmuseum.org/about_us/news_and_press/press_releases/2011/grayson_perry.aspx

________________________________________________________________________________________

Rachel Maclean’s in Tate Britain

Maclean’s is a very popular name currently and it’s easy to see why. Like the work, hate the work, it stands out so harshly in the normal ‘white space’ gallery. Strong colours, highly saturated concepts and unreal use of green screen.

I was first made of her work through green screen workshops at University, and since then have looked into her work a few times, it very much reminds me – visually & conceptually – of Jess Mac’s work ‘What Happens on the internet, stays on the internet. There is a growing amount of artists who see more value in putting work out into the online hemisphere rather than traditional gallery spaces, or even just physical spaces.

Maclean’s work ‘Wot U 🙂 About?’ (15 November 2016 – 9 April 2017 at Tate Britain), is a combination of her film ‘it’s whats inside that counts’ (2016) and her 6 x 2.1m by 3m, dye sublimation fabric prints ‘We Want Data!’ (2016). The fabric prints face each other in two groups of three, ideals on one side and the unhappy ‘reality’ on the other side. It was like walking through the main hall of a cathedral, but walking on the light pink glittery carpet didn’t quite fit… these banners framed the way to the central piece ‘it’s whats inside that counts’, a huge projection. A chaotic representation of an unreal, not-here-yet reality, the experience of watching it is a dry one, the feeling of being barraged is tangible.

Example of wall hanging from ‘We Want Data'(2016):

In contrast to this very physical installation, Maclean’s website; www.rachelmaclean.com is a beautifully curated online space, that reinforces her work. It also houses the art work in a very open way, from descriptions to full films. In this way, really embraces the ethos of online availability and is very self-aware.

________________________________________________________________________________________

David Shrigley’s Fourth Plinth -Public Art- Trafalgar Square

Link: Image Above and Further Reading

Visually quite different from previous work, Shrigley’s ‘Really Good’ (2016) has quickly become quite iconic. I’ve seen many people taking selfies infront of this sculpture, I must say I am tempted also. It is a piece of work that is incredibly comical, yet thought provoking, if you let it. I am intrigued in this careful balance of obsurdity and sincerity.

The Gaurdians article exclames how inately phallic it is and rather aggressive on the horizon, even though Mayor Sadiq states it’s intentionally, simplistically optimistic! Both of these contrasting views are why this piece is succesful, I think it connects with the public because of the slightly sarcastic air it has.

________________________________________________________________________________________

________________________________________________________________________________________

Need to Write up:

• Richie Moment

• The Saatchi – Selfie Exhibition

• Note to self: UPDATE PPD and SHOW PHOTOS OF BRISTOL

• Paul Peter Piech – Colletion at the Regional Print Center