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Today's Document
DEAR READER
Mike Driver
trying on a metaphor
Sweet Seals For You, Always
todays bird
Not today Justin
if i look back, i am lost
tannertan36
d e v o n
$LAYYYTER
Lint Roller? I Barely Know Her
we're not kids anymore.
untitled
almost home
taylor price
pixel skylines
Cosmic Funnies
No title available
seen from Bangladesh
seen from United States
seen from United States
seen from Bangladesh
seen from United States
seen from United States
seen from United States
seen from Portugal
seen from India
seen from United States
seen from United States
seen from United States
seen from China
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
@1002bethanysmith
Documentation
A simplified view of the photoshop process.
Whilst we started out creating our images individually, after talks with our tutor, it was decided that consistency was necessary. Because of the form of our PDF being a real estate catalogue, usually known for the high quality photographs of the home. We decided that all our images would be photoshopped to be as realistic as possible.
@1002bethanysmith @vickkkking
Radioactive Legacy
For one of my images in the PDF, I was influenced to create something inspired by an event that occurred in real life
The photos above don’t show a dystopian future, they show the current day wasteland of what once was a city in Chernobyl. The Chernobyl disaster was the worst nuclear power plant accident in history (in terms of cost and casualties) in 26 April 1986 at the Chernobly Nuclear Power Plant in Ukraine. There was an explosion and fire released large quantities of radioactive particles into the atmosphere, which spread over Europe and Western USSR. It was classified at the maximum classifaction (level 7) on the International Nuclear Event Scale (only one other event, the 2011 Fukushima disaster has been classified in the same level).
Four hundred times more radioactive material was released from Chernobyl than the Hiroshima atomic bombing. The contamination from the accident scattered irregularly due to weather conditions. Following the disaster there was an increase in mutations found in both humans and other animals. Deformities such as missing or extra limbs, missing eyes, heads or rivers, or deformed skulls.
The power plant is located next to the Pripyat River, which feeds into one of the largest surface water systems in Europe, which supplied water to 2.4 million residents. The radioactive contamination became a major problem after the incident with the most affected areas of Ukraine. In the aftermath, 237 people suffered from acute radiation sickness. And in 2005, it was reported that thyroid cancer among children was of the main health impacts from the accident. Currently (in 2015), a few evacuated residents have returned to their villages, but Chernobyl still remains deserted.
I decided to create one of these homes in the Chernobyl area. Looking into the future, I imagined Chernobyl now having safe levels of radiation, but there would be reminders of the incident. In my imaginings, developers have capitalised on this location and started building. The shiny new house will sit out of place in the debris of ruins. The mutated animals also exist to serve as a reminder of the incident. And overall the house is priced at a relatively low price due to risks of the remaining radiation.
@1002bethanysmith @vickkkking
Michael Kerbow - Portent series
A little bit of backlogged research that I forgot to post. When we were in the first stages of our PDF idea conception, we stumbled upon Kerbow’s work. These are beautiful images that explore a concept similar to ours. We wanted to look at the way human impact would change the future. Kerbow creates content about how we as people engage with our surroundings and the possible consequences our actions have upon the world we live. Questioning the rationale of our choices, and trying to reveal the dichotomy that may exist between what we desire and what we manifest. His work focuses on the mechanisms that power society and how they influence the construct for a possible future.
Kerbow envisions the possible reality that we as humans might face if we continue our actions. We are exploring these ideas in a different format, although taking cues from Kerbow, our focus will be on homes of the future and how they’ll be impacted the choices and lifestyle we make today. His painterly dream-like aesthetic shows the grandeur of scale in the consequences, whereas we aimed for a more realistic style that puts one object in focus.
@1002bethanysmith @vickkkking
Experiments and artwork for assessment
the house stranded in the middle of a brand new Chinese highway
An elderly Chinese couple refused to leave their home after local officials ordered it demolished for a new highway, claiming the compensation would not be enough for them to rebuild, forcing them to build the motorway around this block of flats.
It’s inspiration for our assessment as it looks out of place and the environment has taken on a new future and life around it.
Dismaland
Dismaland was a temporary, pop-up, art project by the street artist Banksy in England lasting for 36 days. It had a ‘sinister twist on Disneyland’ with a dystopian and ominous nature. It was described by Banksy as a ‘family theme park unsuitable for children’.
We drew inspiration from Dismaland as it plays on ideas of something which is new and exciting and looks at the darker side behind this.
Assessment 3
Concept: A dystopian vision of human impact on our environment. Form: a real estate catalogue of future homes. Inspiration: Real estate catalogue, Banksy’s Dismaland, Michael Kerbow’s Portents series, Ruin Lust, underground world homes - Girard B Henderson
@1002bethanysmith @vickkkking
The 1970s Cold War Era Home built 26 Feet Underground
This underground home, equipped to live for up to a year without resurfacing in the event of a nuclear missile strike is highly inspirational to our assessment and idea of the dystopian world within real estate in the future.
Its designed to be lived in and be able to be survived it but think it captures a dark and dystopian environment.
This is a huge inspiration for our assessment as we are looking at the dark side behind the idea of a new and enticing future
Inspiration - dystopian, ruins, destruction
Inspiration - dystopian, ruins, destruction
Useing photoshop and our own drawings we are interested to capture a dystopian environment due to the worlds distruction.
Inspiration - real estate catalog
We are interested to explore our 12 page PDF publication through the form of a real estate catalog while looking at the future. We can really play around with the format of this along with playing around with the words and slang used within them.
“Hello how are you?”
Statement - Assessment.2
My body of work consists of 50 photographs accompanied by an installation component. At first glance the photographs represented in a grid form are unclear and unfamiliar, with each having a block rectangular surface and a patch in the corner depicting different imagery. After observing and analyzing each photo it becomes clearer that behind these plain surfaces we are looking out at different scenes within the environment. My aim was to express this idea of looking out and beyond, further than we are in this moment of time. This is much like the nature of desire where our desires are ahead of us and we are looking beyond what we have and where we are.
My art making process involved me making a “well thought-out” rip in a large canvas and then placing this one canvas in 50 different locations in the natural environment from Hornsby Shire to the Northern Beaches. I photographed the canvas sheet in these different locations, capturing what came through the ripped hole. The intensity and enormity of the 50 different photos in 50 different locations, spanning across Sydney’s Northern suburbs, brings a depth to the work showing its scale and commitment.
The rip in the canvas was “well thought out” in the sense I wanted the sizing and positioning to depict an environment and scenery without giving too much detail or clarity. Looking out of the ripped holes there are many different scenes, some being at the beach, in a park, residential areas etc., however the way they are all photographed and framed creates an uncertainty and unclear fraction of an environment. This allows us as viewers to draw our own perceptions on what we see through the hole and to construct an image in our minds going beyond what is just in front out us.
The repetition and collaged grid form allows unity and a graphic element to be portrayed which is contrasting to how the environment would normally be captured. This contrast allows there to be both a connection and “life” to the work while there also being a disconnection and flatness to the work.
Unintentionally, with no editing or personal manipulation, the white canvas changed with the environment, being influenced by the environment itself. In photographing the canvas the lighting and shadows surrounding transformed the pure white, picking up different shades and tones of blue, browns and greys. It allowed the canvas to embody the environment in the sense it brought nature onto the surface of the canvas. This natural occurrence ended up being a strong and distinctive component to the artwork allowing variety and interest across a very repetitive work. It embraces the environment by adopting a contemporary concept where as artists we let the environment take on a role in shaping a work.
The installation component consists of the used canvas set up on an easel. This accompanied by the photographs, provides an unspoken link and allows viewers to understand and conceptualize the process and the involvement nature played. It allows us to grasp and appreciate that the scenes behind the hole were not just images stuck behind, that the coloured flat surfaces are actually the ‘one’ canvas with a three dimensional rip and it gives a perspective of the proportions that were worked with.
My concept and inspiration for my body of work was heavily influenced from an experiment I did with aluminum foil stuck behind white paper which had a diamond hole, allowing the foil to be seen. I was really drawn to the absurdity and uncertainty which came along with this work as well as the idea of looking into and through. Following on from this experiment my process and artwork evolved into what it is now.
Louise Hawson in her collection 52 suburbs, a search for beauty in the ‘burbs, was influential to me through the dedication and enormity of her exploration in the environment which surround her, capturing the essence of 52 suburbs within one year through photography. One photograph, Harbour views, framed, I found specifically links to my body of work through the concept of capturing the environment through a hole. The work is simple but interesting in the way your eyes are ‘tunneled’ through to the other side, out from the framed walling and into the natural environment, which is unclear but still recognisable.
Bibliography
Hawson, Louise. 52 Suburbs: A Search for Beauty in the'burbs. University of New South Wales Press, 2011.
http://52suburbs.com/about/
Miller, John (1 May 2007). "Excremental Value". Tate Etc (10). Retrieved 2 May 2014.
https://www.pinterest.com/pin/401383385514033498/
https://www.yatzer.com/DESIGN-BEHIND-DESIRE
FINAL BODY OF WORK - ASSESSMENT.2
50 photographs accompanied by an installation component
Influential artists
Louise Hawson, Australian – 52 suburbs, a search for beauty in the ‘burbs
Hawson explored 52 suburbs of her own city of Sydney within one year, photographing the unordinary and “capturing the beauty of the ‘burbs’”. All of her photographs are beautiful in their own way and each depict a unique insight into Sydney.
Her practice is influential to me through the enormity of her exploration in the environment and suburbs which surround her - she dedicated to explore 52 suburbs in one year capturing countless unique photographs. Although my body of work didn’t involve nearly as much commitment it does follow this idea of embracing the environment which surrounds you and does show a sense of commitment - 50 different photographs from 50 different locations.
One photograph, Harbour views, framed, specifically relates to my concept and process of capturing the environment through a hole. The work is simple but interesting in the way your eyes are tunnel-ed through to the other side, out from the framed walling and into the natural environment which is unclear but still recognisable. My body of work does this through the canvas acting as the frame with the ripped hole looking out into a small faction on the environment.
Experimenting for assessment.2
After taking the photos of the canvas in the different environments, I played around with different way to present these. I really liked the nature of the grid, how it gives a repetitive and cohesive overtone to the work.
