2. Get Stuck in……
• In todays lesson you are going to try at least 3 different
techniques.
• The objective of the lesson is for you to be experimental
and hands on, learning new techniques which you can
then apply to your own photographs or work.
• Choose 3 images and play with the materials.
• Study the artists work we have looked at, and apply each
technique in your own way.
• Be experimental and take risks!
3. Julie Cockburn
• Julie Cockburn adds things to old vintage usually 1950s
style photographs.
• She sews on top often adding an unusual or strange
appendage to the person.
• She cuts sections of the photos up and makes patterns
with them which often leave holes within the final image.
• She draws onto the faces of the photos with pen creating
tribal like patterns onto a very different kind of face.
• Why do you think she does this?
• What is she trying to achieve as an artist?
9. Julie Cockburn
• Julie Cockburn is an artist based in London. Her work is
best defined by its delicate craftsmanship and by the
transformation of every day and found objects into works of
art. Through the manipulation of found items and images;
such as ceramic sculptures, paintings, photographs,
printed paper and books, Cockburn evokes a sense of both
the naïve and the spontaneous.
• Through the combination of second-hand objects and
creative labour, Cockburn contradicts the generic and
mass-produced with something crafted, imbuing her
intellectually and physically worn objects with value.
Techniques such as the childlike embroidered patterns that
feature on found photographs and printed images, draw the
viewer in to a sculpted journey of labour and creation.
Cockburn's work challenges the means by which things are
seen and visually digested, shown by the playful visual
exploration of the materials she employs.
• Julie introduces ideas to found objects that generate
dialogue about modernity and art history, gender and
identity, nature and urbanity and the relationship between
process and idea. However, it is an instinctive reaction to
the found objects that dictates the piece, rather than an
underlying intellectual or political viewpoint. Cockburn's
pieces are elaborate, intriguing and beautifully executed,
with an autonomy that makes one want to believe their
existence. Her work is in both public and private collections
worldwide
10. Aliki Braine
• http://www.youtube.com/w
atch?v=2n6OZQg7iTE&saf
e=active
• Use the hole punch and
the black disks to
experiment like Aliki
Braine.
• Photographic artist Aliki
Braine uses an ordinary
hole punch to work into her
landscape photographs.
Likening this process to
that of a painter using a
brush she creates images
that remind us of the
constructed nature of
photographic surfaces and
that within this uniformity it
is possible to find
illusionary and uniquely
photographic textures.
16. • Farhad Ahrarnia, an Iranian
artist who divides his time
between his hometown Shiraz,
Iran and Sheffield, is known for
his modernist inspired
embroidery. In this latest
exhibition , “Canary in a
Coalmine” at Rose Issa
Projects, his stitches suggest
both unease and joy.
• As well as dancers, Ahrarnia
addresses other neglected parts
of Iranian culture, such as the
influence of American movies.
Black and white stills of
Hollywood idols are blown up
and then sketched over in vivid
thread.
17. • Use the thread and the
pens to create tension
and movement like this
artist
19. • Melinda Gibson's series 'The Photograph as Contemporary Art'
adheres to this theory, quite literally. She 'sticks things together' – in
this case, sliced-up images culled directly from the pages of Charlotte
Cotton's seminal book, The Photograph as Contemporary Art, which
has graced the reading lists of nearly every academic institution
offering a degree in photography since its publication in 2004. The
resulting collages are both playful and haunting, metamorphosizing
the photographs that originally accompanied Cotton's text into
'compositions' – into creative illusions – that are entirely her own. For
any photography student (or for that matter, photography teacher) of
the last decade, Gibson's works conflate hours spent in darkened
lecture theatres, brimming photo bookshops and gleaming-white
galleries into singular experience; they transform years of diligent and
directed image absorption into a psychedelic trip down memory lane,
as if a Gibson herself, posing as a photographer, had managed to
capture stills from a dream the night before a big exam.
20. Melinda Gibson
• Use magazines and
photographs, stencils
and scissors to try out
creating images like
Melinda Gibson.
23. Joachim Schmidt
• A simple technique but
effective. Use the
portrait photographs to
create photo collages
like this artist.
• Careful where you cut
and you may need to
change the original
size of the photograph
so that you can
collage.
24. Plenary
• Layout your work on the tables in front of you.
I will layout the artists images in the middle of the tables.
As you look at each others work try to see who has been influenced by
each artist.
As you look at each others work try to see who has been influenced by
each artist.
Think carefully about what have you learnt
How could you take what you have learnt today further.
You now have new skills, and also 3 potential artist studies for your
sketchbooks.
