LisaLeggatt Fine Art

A brief documentation of myself as a developing artist. Third year, Fine Art student, on an adventure.

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10 Eco Friendly Artists Who Will Blow Your Mind - Eluxe Magazine

eco friendly artists, eco friendly art, jeff hong, bettina werner, aurora robson, sustainable art, andrea polli, diane burko

Artist research as a result of my crit, the term Eco Artist was brought up and so I have been engrossing myself in this idea. However I have argued the point that I am not what has been mentioned! 

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Artist research following tutorial.

https://www.google.co.uk/search?q=david+shrigley+turner+prize&safe=strict&biw=1210&bih=664&source=lnms&sa=X&ved=0ahUKEwjksfax0PjQAhWFIcAKHTOXCtwQ_AUIBSgA&dpr=1 

Artist research following tutorial. 

A brief artist research following my tutorial, different ideas and practice methods have now arisen. Along with the idea of coming away from the large macro issues, and looking at engagement and subversion tactics. 

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Creating jellyfish still, it’s just a rough idea, I’m hoping to continue to play with it on Friday on a much larger scale.

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Jello

Acrylic on canvas

Painting slightly abstract painting of a Jellyfish, these creatures have always interested me and sparked my imagination, they are brainless and yet have lived since the Jurassic period and beyond.

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I wanted to take some of my photographic work into a 3D nature. 

I projected my photographs on to a large piece of polyester and then cut it out with some scissors.  

Mr Fox is bigger than life size, I did have plans for him to be used within my crit. However I’ve now changed it to something else, so now he is sat in my studio space with the other creatures until I come up with something else for him. 

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Meet Polly, she's my now complete Sea Turtle. Still debating on the eyes, maybe they should be embedded into her. Polly as she is now named, is a conceptual piece with the aim off making people think. She is a complete oxymoron, a new Sea Turtle made out of what contributes to killing the Sea Turtles. Although I am looking at eco problems and our affect on the world, I don't want to be seen as an activist and so with the added measure of humour I think I'm avoiding that. For now.

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Worked on this little creature last night. Based slightly on some ideas from my crit but also from a developing idea I already had. Little sea turtle in the making, I ran out of hot glue sticks, but I'm going to make it bigger whem I'm stocked back up tonight.  

Restocked my hot glue 100 sticks plenty! So I made a jellyfish, look pretty good right now. Leaving it to cool properly and then I'm going to slowly make it ball like. 

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Further artist research from tutorial

Dorothy Cross

http://www.frithstreetgallery.com/artists/bio/dorothy_cross 

Fischli and Weiss

http://www.matthewmarks.com/new-york/artists/peter-fischli-david-weiss/selected-works/ 

http://www.tate.org.uk/whats-on/tate-modern/exhibition/fischli-weiss/fischli-weiss-room-guide-room-1/fischli-weiss 

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Studio Work

With the flowers, I thought this would be a quick and easy way of showing a humans impact on nature, and so I began to document four flowers after I had taken them out of water- which of course they need to feed and carry on their life cycle. 

The flowers had been on the wall well over a week, and in the end I went to take them down as after a certain stage they seemed to just stopped dying. When I took them off the wall I found they had actually just dried up and not like I thought continued to die, so I changed their life cycle. These are now dried up flower heads, which I have decided to keep to see where I could take these within my studio practice- I may decide to produce more. 

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Studio Work

With this piece, I looked at the opposite- looking at the impact animals have on humans. I painted the piece very abstractly with naturalish colours. I then placed it outside, for around 5 weeks and then photographed it as and when.  

The result was a bit of bird poo and some weather damage, far less then of what I was expecting, which did disappoint myself. 

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Studio Work

Over the summer I became interested in using chicken wire, creating a fish and now I have started on a fox, but he looks more like a cat.  

May develop this work by combine my photographs with the sculptures, and projecting the images onto the chicken wire. 

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WARNING. Graphic images.

My take on roadkill 

- I’ve begun to loo at roadkill, photographing them mainly. 

- To show humans effect on the world. 

- We blame the problem ‘roadkill’ instead of finding a solution- stop invading their habitat. 

Looking at other artists who have used and explored the subject matter/ material. 

Adam Morrigan 

http://www.telegraph.co.uk/culture/culturepicturegalleries/6198564/The-roadkill-artist-Adam-Morrigan-makes-art-out-of-dead-animals-found-on-the-road.html?image=5 

http://www.dailymail.co.uk/news/article-461310/Roadkill-art--35-000.html 

Exhibition;  Road Kill (Absolution and Redemption) 

Roadkill Family Album series of British photographer Nigel Grimmer

http://www.ufunk.net/en/photos/roadkill-family-album/

http://www.nigelgrimmer.com/ - will contact. 

Roadkill Family Album is an ongoing series of my work begun in 2000 The project takes the form of an alternative family album which highlights the constructed nature of the images The photographs have been taken on many holidays with friends and family Locations include America, France, Japan, Ireland and throughout England. 

SIMRYN GILL 

http://www.tate.org.uk/whats-on/tate-modern/exhibition/level-2-gallery-simryn-gill

http://gloria-unisa.blogspot.co.uk/2014/08/artist-research-for-project-2_23.html 

Alison Brierley 

An artist who craved roadkill whilst pregnant. 

https://alisonbrierley.wordpress.com/ 

Marc Séguin

http://www.charestweinberg.com/exhibitions/marc-seguin-roadkills-skulls-popes/ 

Cindy Wright

Works with oils. 

Looks at a range of subjects. 

She has created a few ideas that I had thought of within my studio practise, I think I can link very well with her. Although I do not paint anymore I used to a lot, and the things she is painting I want to photograph and explore.  

https://www.debuckgallery.com/exhibitions/3071/

http://www.cindywright.org/works.html 

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Third year and a crisis of faith.

The start of the third year is probably not the best time to have a crisis of faith, however its better then the end of third year. 

Eeeeek THIRD YEAR. 

To be continued.... 

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Studio Practice

Second semester Assessment- Part Two;

From one extreme to the other. These a much larger, just shy of A3 in size.

Anyone who has worked with 35mm negative, black and white or colour knows the sometimes disappointing limitations that come with this size. After a certain enlargement size, even with the image in focus it becomes incredibly difficult to not create blur- in the digital world known as pixelation. If you compare a 35mm negative to that of a small jpeg file (for digital minded people) it would be like creating a much larger file out of the one small jpeg, you get to a size where this just isn't physically possible without pixelating the image. Working within the limitations, I create these two large images exposed in Amsterdam. As you can see another difficulty of working large with light sensitive material, is they become a lot harder to protect from light. As you can see in both images a small amount of light damage. It is hard to say when this light damage happened, darkroom, outside world, but I do know it was before processing due to the fact that the damage appeared in the developer.

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Studio Practice End of Year Assessment: Part One. Throughout the second semester, I have been producing tiny little images no bigger then 1.5 inches across and an inch high. This size is smaller then the original 35mm film negative it was originally exposures too. The difficulty with this size is displaying them in a standard that catches the audiences attention and keeps the audiences attention. Along with not being 'documental' and not art. As this was stated in my previous tutorial that the sizing along with display was documental and not art. The idea behind this display, is the box acts like a camera. You have the small hole that lets in light which then exposes your film; creating your negative and thus the picture you see. So the box is a simple way of showing this, but also catching the audiences attention. For myself, I want people to stop and really have to pay attention to the image they are viewing. So having a small 'viewfinder' acted as a perfect gripping point, to then have the audience focus on what they are seeing. The lights inside helped eliminate the image so it was slightly easier to see the whole image and it wasn't covered with shadows from the box. (Just simple fairy lights) I felt the aims I had for this display was met to a strong degree. The feedback I received from my peers and tutors was mainly positive with critisim on how I could improve elements. However a large amount of peers (if not all in one way or another) fully understood the concept behind the pieces and display. In the next semester, I do want to continue to work within this size however I want to develop it further and continue to work on my display methods. Displaying my work to an exhibition and gallery standard has always been difficult for myself, not because I don't understand or because I don't want too. But because I produce art for myself, I used it for therapy and relaxation. Along with using it to identify and remember things that are of interest to myself. To see the world in a different way. To then put this out on display for others to view and cast a judgement on or to enjoy is difficult. Although I feel this term I have made a break through with this and goof into third year, I hope I continue to make this break through.

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Studio Practice I have been working with 35mm black and white film for a while now; but I keep returning to digital not just because there's something I enjoy about it, but I guess to also keep inline with today's digital age. I got chatting to one of my friends dads, discussing my current work and so on. He's also a keen amateur photographer, and he said about a negative scanner (wasn't aware these existed) so I thought oh I wonder. I went on Amazon and found a decent prices one, so when it arrived I began scanning all my negatives. The pictures show how the negative looks once scanned, this makes a digital file. So combing both elements that my work has been through, once scanned they are sepia. However I'm working on editing these so I can get some really colour into them and go from there. Although there is something rather delicate and raw looking at a negative in a new way. This also sparked a new idea, perhaps a project but I doubt it will go towards my degree work and will be more a stay at home summer project. Taking all my grandparents negatives converting them to a negative file, and producing something new and modern. It also lovely to know that I know how to reproduce these photos into a new exposure. Which has something warming to it, to know now there won't just be the one image and all the family could have an image if that's what they want.

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Studio Practise and Art in Site 

Whilst going through my Amsterdam and Berlin photographs, I began to revisit my other photographs shoots that I felt like they hadn’t given everything yet. 

These images are from my Febuary shot in my local park, with a couple of different lenses. Micro lens and the Tilt and Shift lens. 

As I come towards the end of this semester, I have begun to reflect upon my practise in more detail and have learnt more about my own style and practise. 

My style within in digital photography is UNDEREXPOSED, when I hit ‘perfect’ exposure within my style that is still over exposed. Often along with underexposure, my style will consist of higher than ‘normal’ contrast levels.