I made this piece for the pop-up show at the Raum Gallery as a way of testing my ‘gaze’ concept. Perhaps there’ll be a paper output of this project too – or maybe this multi-layered manipulation of imagery will be used with the video footage I’m going to gather.
All imagery was taken from the book Screen Lovers by Anne Bilson. I then discovered that Eli Craven had also made work based on the same book, providing a bridge between Stezaker’s aesthetic and my own.
John Stezaker’s new show at The Approach looks like essential viewing for me. His return to making silkscreens chimes with my own desire to find new directions for my Redacted Comics / Black Works series. The isolation of a single element emerging from black is a technique that we are exploring simultaneously. Really looking forward to seeing these works tomorrow.
The diagram above loosely maps out the evolution of my Redacted Comics concept, and more broadly my relationship with paper and surface.
Back in September 2013 (!) I came onto the MA with the intent of continuing to make collages. Cut to April 2014 and this collage work has turned into remixed narratives using comic book source material, and fiddling around with isolating a character on a page via scribbling over everything else with a marker pen. I begin to get interested in fragments revealed and in May started isolating / spray painting comic books (double page spreads within whole comic books). A video version appeared in the Chelsea Cons Project show in June 2014.
I starting working on larger scale pieces for the Interim Show in July. Since then I’ve been experimenting with paper weights, finishes and with further manipulation of the image prior to painting by using Photoshop (software I’ve used daily since about 1997 – but for commercial design works) – allowing me to further manipulate / remix / recontextualise the imagery that I’m appropriating. I also started making pieces out of whole comic books again, shown at Arebyte and a newer piece at the last Open at Peckham Platform (it’s behind the bloke in the brown coat). My recent ‘black works‘ are being shown in Hong Kong this month – this show has forced me to create pieces of varying sizes with a very punchy gloss finish (taking me way out of my comfort zone of subtle, hard-to-read, pieces.)
I intend to make some more, possibly larger ‘black works’ but am also starting to experiment with light boxes and printing onto glass and acrylic. I’m very interested as to how the introduction of a light source can change the notion of redaction and narrative – especially if paired with some kind of control given over to the viewer (a sensor that dims the light as the viewer gets closer?). Having the viewer physically moving around in front of my work is something that I’ve become interested in during the last 12 months or so – black spray painted paper that you have to move around so the light catches it, the video piece I made where the viewer had to walk toward the screen to control the speed of the video, the Mystery Beach installation I made where the viewer could control the video my picking up an object.
I just wanted to reflect on this particular aspect of my practice in an attempt to understand it further. I’ll let this sink in for a few days and write a conclusion.
I’m showing seven works from my Redacted Comics series at Asia Contemporary in Hong Kong in a couple of weeks. It’s been an intense period of time making these works, the culmination of 12 months practice. I’ll write up my findings soon. I’m settling into a new studio and planning new works within the comics sphere, as well as some video/installation ideas. I feel like I’m about to enter an exciting moment in my practice. I have shows planned throughout 2015 and aim to discover more about my work and how’s it curated with each new space.
I showed three works work as part of the group show ‘NeoCraft‘ at the Arebyte gallery in Hackney Wick. ‘Premonition’ – a redacted comic book, ‘Gucci Women’, a video loop, and ‘My Dreams Aren’t Always So Sweet’ – a collage of various comic book panels, rearranged and then spray painted, a disrupted narrative.
The last work is a real progression for me, both in terms of the way I construct the image, but also in the finish I’m achieving (by changing printing technique as well as the way I apply the paint.
I’ll write up a separate post of the whole ‘matt linear vs gloss redacted and disrupted narrative drama’ that’s been going on for the last few months.
These pieces really stood out for me at Constant Dullaart’s recent show at Carroll / Fletcher. An image displayed on a screen, with a photoshop selection around certain elements of the photograph. Incredibly simple, something that I’ve seen and used every single day for the last 17 years or so, but was so moving to look at when applied in this way. I really responded to these pieces, for me they lifted the show out of the post-internet / post-irony fad that is kicking around the galleries of London at the moment and repositoned the photoshop selection as a form of animation.
Carroll/Fletcher has become the default gallery for me when I’m drifiting aimlessly around Fitzrovia. The latest show explores drawing in many different forms, one of the highlights being Julius von Bismarck & Benjamin Maus‘s Perpetual Storytelling Apparatus:
“It takes seven million patents – linked by over 22 million references – as its vocabulary. New visual connections and narrative layers emerge within the telling of this story through the graphical depiction of technical advancements.”
Obvious links with my own practice (the displacement of text, making connections previously unseen, new narratives) notwithstanding, probably one of my favourite pieces of the last few months, along with this from the recent Constant Dullaart show at the same space.