Pinhole Photography + Colour

although it is interesting it would need manipulating as
you can see part of the box. I would suggest using matt paint for the inside

Looking for the right box is part of the key to this type of photography I have discovered.

It takes patience and a lot of failure to get it right as you can see. You have very little control over a cardboard box and a tin ! However I am pleased with the results for a first attempt. 

camera needs to be pointing down to stop
the circle falling too low and off the page

ditto as above

image of the garden gate
remembering that everything is upside-down

playing with my shadow in the image

flower imagery - exposure 3200
I think this was the most successful image
I like the composition and contrasting colour and the way the
 image appears to float like a sphere

 I am going to photograph imagery on a digital screen to see what happens. I think I may lose a lot of the special qualities -  textures and colour that I am looking for.

 Like everything to do with art practice it leads to serendipity - the elements of chance kick in and this is, I feel, when the fun begins in earnest, when the magic happens for the art AND the artist.

Pinhole Photography + The Family Home as a Remnant

detail of the lace at this window was a rewarding after all the effort  to set up

Being in search of a new approach always stimulates the art-making process ! Looking objectively at my work I can see that the layering of technologies has become a large part of my printing. Still images taken from moving image -  then printing these images up in CYMB half tone separation. This is mainly what I have been testing.


Combining old technologies with the new is another step towards finding a fresh approach. I also reflect back to John Cage and the elements of 'chance'. The exposures are bracketed however the light varies so much it is difficult to gage when to stop. I enjoy this aspect as each time it is like opening a present  - you never know what you may photograph as the light bounces imagery around randomly.
Creating a darkroom and experimenting with Pinhole Photography is both rewarding and frustrating. 


The grand old family home of 40 years is about to be demolished. It appears as a formidable building, however you can see its vulnerability as 'things' have been removed. It is poignant and moving. It needed to be recorded. The perfect location for pinhole experimentation and a camera Obscura.
 My daughter Hannah and I spent five days solid, recording and documenting favourite places and memories then we blew a kiss, closed the front door and said goodbye. 

Pinhole camera set up in one of the rooms. Light was the big issue
as the days were too dull.

camera set up in room

the less the light travels the smaller the image

image taken out of the window was much more successful 

scenery and window detail

double exposures - moving the camera to a new position

the image below is taken from this room as a double exposure

camera in situ outside - double exposure image below

interior - a miniature image  2" x 2"

camera Obscura

Half Tone Screenprints - The Last Flight of the Space Shuttle

Continued experimentation with half tone prints ::
I am happy with my registration and choosing to slow down
during the process of production was a good thing.
This is an edition of 25 and the size is 01.

I used chalk to obtain some interesting breaks throught the surface of the ink
in the top one. Over all I am pleased however I have decided that the ink is too plastic
and the surface too glossy.

I will be using a different ink in my final image in this narrative.
I want the ink to sink into the paper and become a part of the surface.

After the last image in this series which I wil be working on this week, I will be changing my focus.
The subject matter will be changing in readiness for the up and coming show at
Camberwell in August and I am searching for a new fresh approach to my printing.

I will be thinking about :
Subject Matter
Presentation
Printing technique
Pigments



The continuity will lay within the fundamental thread which has run throughout my work so far:

'Things Left Behind'

All That Is Left

 a family home is closed down and it sits in waiting for demolition
I had access to this property recently and this photo reminds me of a stage
the curtains are closed for the last time and the show is over

 

the layers of history - odd curtains and mismatched fixtures
add to the nostalgic mood

the white void on the right adds peace to the mood
of chaotic colours and patterns

light falling amongst the last remnants of the
family adds solemnity to the rooms

keys are scattered and left around the house
they are superfluous now

when a building is vacated, the last objects hold small hints -
they appear coded and contain no beginning or end

open and closed spaces seemingly invite you in and shut you out
- holding onto secrets

wallpapers in cupboards provide the timeline

the passageway echoes and sounds hollow

missing fittings are a reminder of the vacancy

a lone mirror seemingly floats within a floral sea
like a portal

shafts of light dance around like ghosts 

embossed wallpapers hold memories of former comforts

a sturdy staircase feels like the skeletal backbone of the
abandoned building

a chair waits expectantly

the empty box echoes the missing furniture mapped out by
the square of odd wallpaper

symbolic and solitary

moving image + things left behind

Walking along Venice beach in Los Angeles on boxing day, I came across a balloon washing in and out with the motion of the waves. The repetitive action was mesmerising and the complementary colours made it a perfect  opportunity, one of those moments. I prefer the sound cut so the visual is more powerful. I couldn't help but wonder - whose party it had come from . . . . . . 

I was drawn to this rust coloured leaf, suspended by a spiders web. It twirled endlessly and the repetitive, energetic movement was so captivating for me. We often walk on by these opportunities - I think it is good to notice your thoughts when you see objects like this. Especially if they are accidental like this, its a gift.

Human Hair Remnant + David Hammons

these portraits are a selection of my hairdressing work 

Using hair as a material for sculpture is relevant  to my practice as my history working with hair goes a long way back. I used to be a hairdresser, cutting, sculpting and creating 3d shapes meticulously. I have been waiting for 'hair' to emerge and merge within my approach to the making of art. This has finally happened ! 

these balls of hair are from my hairbrush - I see this as a work in progress forever . . . . 

hair + pins

Recently I found the plaits my Mother in law wore as a child in a box, amongst a family house clearance. I think this is when my thoughts gravitated back to the idea of using hair.


 Also Alice Anderson's works in both The Riflemaker www.riflemaker.org.uk and Freud's Museum www.freudmuseum.co.uk had a direct influence. Anderson's works were incredibly seductive materially -  tying up a whole building with red hair and allowing it to extrude seemingly from the walls and fireplaces within the buildings evoked thoughts and ideas which have stayed with me.

I recently went to the Hammer Museum, L.A.http://hammer.ucla.edu/ and discovered the 70's artist, David Hammons.  He worked with hair and this
is so similar to what I have been doing with my balls of rolled up hair from my brush. I bought the book called 'L.A. Object'
a brilliant resource related to this artist and the 70's black artists and the movement at this time.

Currently I am collecting hair from over 20 salons to enable me to construct a sculpture. It is an interesting exercise, asking people to keep something they normally throw away. Mostly the hairdressers have been reasonable and helpful. This is part of making conceptual art - you have to get 'game' and step outside the square at times to acquire the necessary materials. 

Setting Up a Workable Studio Space

I found it took a long time to sort out what is needed for a workable space for Printmaking. Not only does it need to be relatively dust free, it is important to have everything to hand and spaces have to flow. If this is not the case it becomes frustrating and inefficient. It took me a few times, moving things around and laying everything out to find what works for me. I have set up shelves in the middle of my working space to enable everything to be at arms length.

Basic list for print studio :

Dry  - cutting paper area

Hotplate - A food warmer

Plate wiping area/sheet glass

Shelves for inks,tools and sundries

Sink/Wet area for rinsing

Print storage and blotters

Plan chest for dry prints

Large table surfaces

Desk for writing, thinking, drawing

shelves for general storage

heater for drying plates

refreshments area

relaxing area - sofa

writing and setting out a plan numerous times helped me get it
together without actually moving everything initially

Studios are an investment. They are a special space for the artist to retreat to and be creative, think, relax and dream. I will never be without a space in which to do this. It doesn't matter how big or small the space is. It can just be a table at home and rent a studio space within other printmaking groups, for example, Inkspot in Brighton. It is simply what ever suits your needs at that particular point in time. Nothing beats the feeling when the door closes and you shut the world out for a day of ' work.'