Emma Hyles CONTEMPORARY ART
An archive of influences and the humble beginnings of ideas. BA(Hons) Contemporary Art @ The University of Huddersfield.
Year 3 | Professional Practice | Dissertation | Studio Practice
Year 2 | Professional Practice | Contextual Studies | Studio Practice
Emma McNally (2011-13)
1. Clearing
2. I. L. (ii) D 1
3. Hybrid 5
4. Carbon Sound Field
5. Pulsefield 3
6. Signal/Noise
7. Noise 3
(Source: cristianvogel, via jaimeslater)
Jeff Depner - Reconfigured Grid Paintings (2012)
Interested by this idea of ‘reconfiguration’. Re-make, re-evaluate. Kind of what I am doing in my practice at the moment.
(Source: jaimeslater)
I think I need to set myself a challenge of producing (or continuing) a drawing or other art form everyday over the course of the summer, to keep ideas moving and developing so I don’t lose myself or my practice. This can be from something very simple to something more complex, just as long as I am doing something and not just thinking about doing something.
Challenge accepted.
Andre Wee
Website: http://cargocollective.com/andre-wee/
Facebook: https://www.facebook.com/dre.drew.it
Some stunning work using lines and geometry to create beautiful fragmented portraits. I need to do some more drawing to catch up to this talent!!
Exploring Geometry, One Day At A Time
A brilliant blog full of all things geometrical in various forms. Some really good ideas that may link to my current artistic practice and learning.
Geo a Day | http://geoaday.tumblr.com
Geo a day is a collaboration between Jeremiah Shaw and Danny Jones, who are, obviously, very into geometry.
Michael Johansson - Tetris (2012)
Just a little thought about ‘things’ fitting into society and filling up spaces and gaps after seeing this work. I’ve always been interested in the way in which objects and people fit in with society and blend in to their surroundings. Dust kind of does this - fits into tiny gaps and crevices of everyday life. It’s a natural phenomenon that blends into our society. With my sculptures and works so far I have been looking at how I can heighten the appreciation of dust, by not alienating it like we always do but instead learn to accept it as part of our everyday life. Who are we (society) to reject a natural ephemeral substance such as this and claim it has no place?
We have killed organisms in order to use them for commodity and every day practical/aesthetic use. Trees for example. Killed it, turned it into a wooden fireplace frame. Are they actually dead? I’ve just asked my friend about this and he said to me that if it stops growing, it’s dead. Well, does that mean that post-adolescence when the average human stops growing up, you’re dead? And what about this idea of ‘transformation’. Is it really dead if it’s still in a process of transformation. The tree - the fireplace frame…… we’ve transformed it. When it stops being a fireplace frame, it’ll be transformed into something else. But what right do we have to choose how it transforms?
Imagine if trees and other things and objects dictated how we transformed. In some essences, they do already, because we grow up and adapt to our environments to survive. Are the trees and things adapting to survive us? Has a tree transformed into a fireplace frame in order to survive? Does that mean it is still living? What if the world flipped around, and we were the objects and the things we previously transformed for our sake had a greater power over us and chose how we transformed and used us in imaginative ways? I like to imagine - and I always have done since I was a child - that objects have thoughts and feelings and are ‘living’. I take great notice if I hit something or throw something in a burst of anger, such as a lamp, and I take notice of the affect I am having on it and to some extent I feel guilty of what I have just done. We made it to appreciate it for it’s uses, not to throw it around and disregard it again. Why do we throw things out? Are we ever happy? We made the thing or object to make us happy through it’s practical or aesthetic use, and yet we want to throw it away again after we have gotten bored?
And why do we feel the need to fill gaps and spaces with things?
I have decided I am definitely going to attempt to make my own Kaleidoscope using dust. I am going to utilize this website to assist me in the making of it, as well as my good friend Paul who studies forensic chemistry at my University who will help me to create a solution that will crystallize the dust particles. Fingers crossed!
Dan Keeffe in collaboration with Amy Webster, Milly Bruce and Sam Part,aims to turn something ugly and unpleasant into something beautiful by transforming off-cuts of human hair into delicate crystals which have then been inserted into a kaleidoscope.They extracted the color from three different colored hair; brown, blonde and ginger.Melanin was then added to a salt solution.The water was evaporated and they were left with the different shaded crystals, each reflecting the original hair samples.
Check out Unknown Editors! [FaceBook]
Another use of a ephemeral material that is usually seen as unpleasant, recreated so that it is more visually pleasing. I wonder if I can do this with dust? A lot of my recent work has been looking at the form of dust; past drawings, digital prints and sculptural works have represented dust in a more pleasing, geometric and crystal-like aesthetic. The use of a kaleidoscope too forces the viewer to look into it and be in complete awe of it’s visual appearance. My work could also once more trick the viewer; showing them something that is usually rejected and ‘ugly’ through a kaleidoscope which they may interpret as aesthetically beautiful, and without knowing the true medium beforehand.
“Guyton’s paintings are ostensibly monochromes. Made with an Epson large format printer, these works are printed on pre-primed linen intended for oil painting and not inkjet printing.
As such, the images, marks, and letters Guyton continues to employ are absorbed into the porous material and disperse the ink rather than allowing it, as in his previous works, to ‘sit on the surface.’
Upon discovering this difference in the ink’s interaction with the surface, the artist began to overprint his own paintings with a Photoshop-drawn rectangle ‘filled’ with the color black. By repetitively overprinting, an unexpected painterly process developed. As each piece is created, they transcribe a visual record of the printer’s actions: the trace of movement of the print heads, the varying states of their clogged-ness, the track marks of the wheels on wet ink all mixed with the scratches and smears on the paintings from being dragged across the floor to be fed back again into the printer.”
I absolutely love these. Reminds me of Richard Serra’s drawings that were painterly but also further developed into sculpture. Again, like most 2D pieces, I can see Wade Guyton’s paintings as 3D works much like my own drawings.
