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Paul
Paul Barnett
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The work in my portfolio comprises of what was initially an exploration of memories into how a 3 year old me compares to a 19 year old me. I wanted to draw a parallel between childhood innocence and how an adult perceives and reacts to this with fresher experiences and much broader awareness. My work evolved into a more in depth analysis of personal relationships and how they have changed as I have grown older and more observant.
Through experimentation with media, colour and composition, my collage sketchbook helps me to develop initial ideas for final pieces. Collages are a crucial component to my work-not only do they bring a sense of freedom to my work, they also banish any deficiency of creative flow I may be suffering with at the time.
In my current work I have been exploring the transition between reality and unreality. Over the past few weeks I have kept a journal in which I document my dreams through drawings. Not only do dreams epitomise the barrier between reality and unreality, I also believe they reveal many thoughts, fears, fantasies and imagery, enabling me to evolve my thought process in terms of my art work.
Polly Morgan is to me an inspirational artist, her thought provoking work combines beauty and fear with various concepts. Taxidermy is an art form that has always fascinated me, it is a new media I will be experimenting with over the coming weeks.
when we are alive, they betray us
when we are arrested they forget us
when we die they miss us
na Gamboa em março de 2004
Stunning statement gold necklace featuring faceted green amethyst stones.
This beautiful 18 carat gold plated statement necklace has seven gem stones hanging from the centre and graduating in size and colour to the back namely (citrine, aquamarine, green amethyst, amethyst ,blue topaz, lemon quartz). the stones are cushion cut and round in shape this statement piece is timeless in design and can give style and sparkle to any outfit. Its also available in plain green amethyst. or other stones on request.
Approximately length: 16in with 1.5 in extension.
The stones have been faceted and cut to our own specific dimensions by experienced and traditional stonecutters in the beautiful city of Jaipur.
All our pieces are handmade in our London Design Studio making Mounir a truly British Brand.
A rod that indeed makes a statement. To the upper corner of a trout's mouth.
R.L. Winston Rod Co. Uncompromising.
I chose to explore through photography the idea of identity in portraiture, in a project titled the Disappearance. This was interesting to me, as I have worked as a fashion model and I find the act of being a key focal point in the creative process, yet being totally removed from that process very unusual and almost unsettling. This really affected how I worked on the project, using long shutter speeds to blur images to strip away identity, and physically altering photographs of myself to hide my own identity. On a different very open-ended project, titled Stopping Time, I used a combination of acrylic paint, oil paints, oil pastels and metallic foil to paint abstract samples inspired by my research into current theories of space time and human perception of time. These theories inspired me: for example when reading scientific articles about how large gravitational waves cause our time to warp and shift I became very interested in the fact that our perception of time is so concrete that we do not notice these shifts in our timeline.
I became more interested in the human experience of time as the project progressed. The fabric of our space time may be warped from a scientific viewpoint, however human experiences can, at least from our, perspective cause time to slow or to speed up. For example, I find that time can slow down upon hearing bad news, or time may slow and almost seem to stop during an accident. This concept caused me to revisit some Polaroid photographs I took of a valley where I have experienced some instances where time has subjectively slowed down dramatically and completely changed my perception of my surroundings.
I have been working on using photographs and paint to build up a visual language in an attempt to describe these moments. I am continuing to develop these ideas and am currently working on paintings that show landscapes which evoke very emotional responses as human perceptions and experience continue to fascinate me.
Horne Lydia 1114388174
This digital portfolio represents my journey and the steps I am taking on this course. Everything I create is of value within my progression, especially as I begin to understand the themes that are surfacing. This poster was created for my Viva dated 28/1/14. As I reflect upon it, I feel it generates a holistic representation of my studies. In the poster I used an image of a ‘universe’ to represent themes that are ongoing. The planet is in silhouette to represent my fascination of extreme light. Using cardboard as my canvas is a replicated process, I believe it is because of the texture and physical layers of the material visually representing the layers of myself and my work. With regards to Jung’s theory, I am interested by the fact that my perceptions and understandings are influenced by my own personal unconscious as well as the collective unconscious of humanity. The dark planet might not be a literal representation, but perhaps a sense of unknown, therefore I have undertaken a process of my personal and collective unconscious surfacing to become part of my conscious workings. Without realising it, the image I created was a representation of a similar image I had seen whilst relaxing and browsing through a book. It was only in retrospect that I recognised the connections, as though my unconscious was aware of the significance and taken a snapshot of this image, days before my consciousness. I feel this poster strongly describes where some of these images from digital portfolio have spiralled from, just as a fellow student in my Viva said, “your piece is more significant than a world”.
ARTIST STATEMENT
"Recline at the End of the World"
MelOrchid
She's comfortable. That's what disturbs people.
The world is falling in blocks the size of buildings, the surface she lies on exists only in present tense, and she has arranged her legs like she's posing for a portrait. I made this piece about the performance we maintain even when no one could reasonably expect it—the muscle memory of being seen, the habit of composure that outlasts its context.
There's a particular feminine training I'm interrogating here: the body that automatically arranges itself for observation, that cannot not consider its angles even as the architecture collapses. Is this critique or celebration? I don't know. Both. She's absurd and she's dignified. She's performing for no one and everyone. She's found the one red line still holding and made it her stage.
The massive blocks falling around her are everything that was supposed to be permanent—institutions, assumptions, the built environment of certainty. They fall. She reclines. The posture survives what the structures cannot.
I paint the strange grace of bodies that forgot how to stop being watched.