Lauren Baguley

BA (Hons) Visual Arts Student Second year: Artist Research - Artist and Audience - Development - ProCon 1 & 2 First year Graphic Design: Exploring Graphic Communication - Professional Contexts 1 - Visual Communication - Graphic Communication in Context - Directions in Graphics - Critical Reviews

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Andrea Cotton

Obsessive Conpulsive Art. Variety of pen on paper.

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Pattern!

What made me start creating and gaining interest in making patterns?

When I moved to Visual Arts, I wanted to be more experimental with my creations. I wanted to make something bigger. I started producing abstracts of work in my sketchbook and on paper, reaching a new idea of wanting to change. There’s a lot going on in this selection I picked out, a bit like my own abstract work.

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DOLLY BLUE HAIR by me.

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Residence Summary

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On Placement - START ART THERAPY CENTRE

Printmaking mornings, every Thursday. The photographs are basically a story of what gets done. Linocutting and print onto paper. So much can be done but we're basically IT!

I love working with START, going through tough times myself, I like to support the members there, in creative activities. Printmaking in lino was a new experience for me, so I lingered in my own practice a lot, endorsing in the skill of carving for the first time.

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Having a little practice // #linocut #linoprint #carving #art #illustration #printmaking #vsco #wip

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Zine 3, floralness #illustrator #illustration #linoprint #printmaker

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Lovely linocut roses on customised paper for an abstracted outcome.

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Brown’s 

Hotel Peace Camp, Trajector Artfair, Hotel Bloom, Brussels - 2013

Dolls in Mixed media - 2011

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Jemima Brown

Graduating in London at the Chelsea College of art with her MA, she is a humanoid avatarist and sculptor. Creating people from some animation, drawing, dolls; in small and life size.

Screentests - 2007

A series of similar figurative sculptures

Before & After - 1996

She has done foundations of humanoid, life size mocked up dolls of people. ‘Before and After’ is an example of that.

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‘Maybe this is a Dream’ Nathalie Djurberg and Hans Berg

Exhibited in Kölnischer Kunstverein, Germany.

The prime matter of this exhibition was about having fun with science and what comes up in your mind to create something out of the new. You become immersed in an out-of-this-world galactic experience, in the darkness of space you become illuminated by colour, sculptures of donuts and eggs placed around the installation space. She thought of it as ‘making something out of nothing’ stated in her interviewing about it. Naive, crisped and dismissed as childs play even with her playful attitude to produce out-in-space vibrances. Djurberg is mixed ranged with her works, from still enlarged glazed sculptures, to lightworks, interactive and animation, it’s not to animate alone. You need to have things going on to occupy the viewers of the exhibits.

The elements of her claymation bring me back remembrance of children's and adults television shows I'd watch as a child. I remembered a lot of vibrancy and American animation from my childhood, and claymation was a popularised style back then. I don't see much of it as now, maybe it grow out of style to the point I now see it as an old fashioned way of making animation. In that sense, it is still a very good thing to witness as it makes me reminisce back to my young days. It’s an underground thing to see. I couldn't find any books about her in the library so maybe she still is a bit underground despite being well spread.

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Nathalie Djurberg

She is a Swedish claymationist often enough working alongside her partner and composer Hans Berg that makes sound effects and soundtracks for her animative sculptive pieces. She’s had so many world wide exhibitions of her freakish contemporary animation work, from her home country, to London, to New York, you name. Seeing as she’s a new artist that graduated in 2002, she has come so far merging into the post-modernist society today, creating her own unique thing. She currently lives in Berlin with her collaborator since 2004. 

The themes of her work represent desires and sinful thoughts and feeling that create symbolist and alternate outlooks of today’s societies of the world. Djurberg feels freedom becomes an important factor in her art, as she can play and unleash her skills, style and feeling in what she makes. It is a freedom to express. She has the interest in abstraction of the mondain. The style in the work is quite grotesque and nightmarish, accompanied by synth; repetitive electronic soundscape pieces Berg also clasps into the showcases.

‘Deceiving Looks’ digital video animation - 2001

‘a female figure burrows holes in an innocuous desert landscape of cadmium yellow flanked against an ultramarine sky... masked snake-like creatures emerge from the recently dug warrens, first seeming to attack the horrified woman and then turning on each other, themselves performing acts of self-cannibalism. With each chomp, pink and turquoise clay blood oozes from the freshly inflicted wounds, driving home the potential of raw material as a stand-in for reality— clay’s proximity to the fleshly substances of blood and bone.’

‘I Found Myself Alone’ clay animation - 2008

Sources:

Web:

http://www.lissongallery.com/artists/nathalie-djurberg-hans-berg

http://www.brooklynrail.org/2012/06/artseen/the-parade-nathalie-djurberg-with-music-by-hans-berg

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J. Svankmajer

Because he is one of the most modern contemporary animation artists out there with a surrealist output into film; current, post-modern film makers and artists look towards him for inspiration, such as Tim Burton, Terry Gillian and The Brothers Quay. You can see the gothic, dark and some sinister similarities from each of the Artists film creation. Whether it’s from an animated context or building a creatively constructive surreal theme and setting to a films mise en scene.

I think I will look further into what goes into the productions of The Brother’s Quay because of the sculptive dolls they use on their set. Image shots of their work declare an eerie and sinister vibe to their work, which is something I'm drawn to, as well as the use of clay dolls.

Personally, I don’t like Svankmajers work, I feel you either become fascinated by his concepts or feel nauseated in hour he mashes, clusters and jumbles things out. I notice how he likes to challenge himself as he works, as there’s a persistence and repetition of pattern in pattern experiment, like you see in ‘Dimensions of Dialogue’ he plays around with food and all kinds of material. It’s not good for an uneasy stomach or an unsettled mental state of mind. But there is still that part of him and his work that I will admire.

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Jan Svankmajer

He is a Czeh filmmaker that creates mostly motion works, from a variety of processes such as cut-outs, stop-motion, puppet animation, stop motion and live action. He definitely isn't narrow when it comes to making his animation come to life. His films appear old fashioned as he uses traditional media and techniques to turn stills of toys, sculpture, moulding and objects into motion. In this day and age, most filmmakers create motion and animation through computer software.

“Through his unique use of stop-motion animation, anything from a doll to a sock becomes a puppet in his hands. Use of antiques, toys, hardware, animals pelts, skeletons and meat and other malleable food stuff”

He makes his film out of surrealist stories, puppet theatre and the nature of taboo Czech traditionalization. Writers such as Karel Capek, Franz Kafka, Lewis Carroll and Goethe Edger were some of his film influencers and what he’d base his films on. At one point, his films were that horrific and disturbed that they became banned to show, this suppressed Svankmajer’s creative appetite afterwards.

“His imagination takes his viewer to dark places, even as the delight in his extraordinary creation grows.”

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DSC_0309 by napoleonchan on Flickr.

Requested - Robot/mod BJDs! [Volks Nono]

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Beautifully crafted and finely sculpted. This is a customised BJD as it has dark decorative pattern and add on.

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(via https://www.youtube.com/watch?v=r5Of_ULSjCM)

Artwork by Jan Svankmajer.

The theme of ‘doll’ in the artist practice. Svankmajer set childrens dolls in motion to an enduring and eerie theme, as of this extra I found on YouTube.

“Curiosity, terror, vengeance, and surrealism infuse this haunted adaptation of Lewis Carroll’s classic. Svankmajer strips away the cuteness that has marked other adaptations, to create a twisted fantasy of obsession, a delicious, convoluted, goose-bump-raising nightmare. A shabby animal pelt comes to eerie life as the cunning, bright-eyed White Rabbit, portrayed as an adversary and mastermind rather than a mere guide. Alice is not a victim but a pragmatic little adventurer who can gamely come to terms with an aggressive rat in a blue velvet suit or kick the stuffing out of an offending toy. In Czech with English subtitles.” http://www.siskelfilmcenter.org/svankmajer