My work is an investigation into personal memory. My paintings have their source in the rendering of remembered environments and the fragments of memory that survive the effects of time. I use paint to evoke the ephemeral qualities of memory and to render memory’s tactile qualities in painted landscapes that are both real and imagined.
The finished paintings are intended to inspire a very open reading, encouraging the viewer to create their own visual associations in deciphering the work.
]]>
I’m an animal. I like animals. I actually look like an animal.
Tight-lipped lizardy look-alikes and the bouncy ‘butter-wouldn’t-melt-in-my-mouth breed of models steal the show this season; inundating this seasons most alive trend.
This season has been no exception to the unwritten rule of fashion – ‘do what you can to amuse, shock, confuse and entertain.’ The boundaries of normality have been stretched to create a variety of collections which are startling and fierce, unpredictable and resilient. McQueen, Chanel and Marc Jacobs have created pieces that are so effervescent – they make you wonder what the little design minions are fed.
McQueen set his infinitesimal models stomping down the catwalks with a look that could kill- quite literally. How the models could see out of their deeply furrowed brow is almost miraculous in itself, never mind how they managed to walk in their ever so imposing ‘shoes’. His savage designs are challenging – forcing the observer to question their own taste - why step out in jeans when you could wear a largely caped shouldered creation? The patterns were innovative, combining animal prints with textures to create a look that screams ‘I am as close to an animal as a human will ever be’ – the should-be caption of one of this seasons most warped trends.
The desire for their creations to be eulogised, and to have Anna Wintour leave the show and say ‘that model bore an uncanny resemblance to a bow-legged deer’, was echoed by Chanel, who exhibited their collection in a space set out to imitate the wild woods. The bright-eyed beauties appeared and circled around trees, sometimes barefoot, and sometimes even smiling. Their make-up was fresh and minimal, allowing the focus to be safely rested upon the designs and the show as a performance. The colours were mild, exploiting marshmallow pink, winter white and a buttery beige. The tailoring was, typically of Chanel, painstakingly flawless.
Karl Lagerfield has given Chanel a rather expensive make-over, handing the brand a youthful pizzaz, and allowing it be talked about with the same fear of the unexpected that McQueen is, well almost. Not one to miss a beat or a button – Mars Jacobs is a perfect compliment to this trend. Whilst many of his models were analogous to freaky woman – not the Lady Gaga sort, but the sort you can imagine lounging around in Clockwork Orange, some of them carried a bird-like grace. Perhaps it was the taut-faced blonde, who sauntered down the catwalk wearing a ruffled creation that alluded to the feathery creature look. The ruffles, trimmed with lace and beads were harmonious with the tousled collar she wore around her neck. Though the dress design was perfectly feminine but stringent, her look was savage. Another of his looks exhibited a sea-blue silk two-piece – possibly torn of an exotic mermaid and wrapped around another taught model.
This trend has been explored with an admirable versatility this season. Credit is due to the whole creative team at each of the brands – for creating a show that could very well be a zoo procession, the high-end type. It’s a combination of the set, the models, the accessories and of course the designs that add the animalistic quality. Not to mention the hair and make-up, which completely defines the look. While many catwalk trends are quickly snapped up by your average Amy, I think this one may take a few adjustments before Amy heads out to buy her first feathery creation…
Hattie MacAndrews
All pictures thanks to style.com
]]>
Magic shop project
The magic shop project is an interactive illustrative book with cut-out paper constructions. I was very much inspired by the internet-based phenomena of designer paper toys which you can download, print and construct – but I wanted something with more, context, story, and subtlety. The project is based around word play, puns and wit with words, in an old curiosity style shop.
Transition stop motion film
I had always wanted to do a stop motion film since watching the eerie ‘Secret adventures of Tom Thumb’. I think a dark story works really well with the creepy effects you can get with pixilation and stop motion – I was also inspired by The Cure’s ‘End of the World‘ video and Slipknot’s ‘Vermillion‘. The film took just over a month to complete, from concept to finish.
Pink Teapot
I worked as a resident designer at a charity 2 week event, ‘Worthless’ held in Seven Dials, Covent garden. Members of the public were asked to bring in unwanted items, which were then made into something desirable, which the customer could buy back. As one of the event’s sponsers was Jelly Belly, I decided to put my resources to use – I sold several of this particular print of an old yellow toy teapot which I transformed.
Maria Lee-Warren
]]>
Greatly under-exposed and seldom regarded as material for main headlines, there is a movement straining to protect the buildings that have for hundreds of years served to construct the identity of our small, but great country. Structures from ancient times right through to the last century continue to be violated and razed at the hands of unsympathetic developers.
This short series of posters were composed to highlight the demolition of historical buildings in Britain: Of late, an issue relentlessly pulling at strings of my heart. Conservation, compassionate restoration and thoughtful utilisation are collectively the most ethical answer when redeveloping urban and rural areas. Demolition has however, become barbarically the primary solution chosen.
The intention of the posters was simply to encourage the public to question the value of their heritage, and stir them to fight for what essentially are the stories of their individual legacy. The slogans were simple, leaving room for further research into the subject to be carried out by those who were simply curious or vastly moved by the message.
For more information, visit Save Britain’s Heritage and English Heritage.
Hannah Wallace
http://milkytreats.blogspot.com
]]>
Compelling. Petite. Passionate. Ella Pearce Heath has been inflicting her British sense of style upon rock’n’rollers, classical beauties and influential designers all around London. Having styled the likes of Noush Skaugen, winner of the Rising Star category at the Download Music Awards and Escala, the electric string-quarter for the final of Britains Got Talent on ITV, Ella’s thirst for styling hasn’t gone unnoticed. Having got into the industry through working with ‘bands and musicians and making wacky clothes to shoot with a photographer friend’ her clients have evolved to include publications such as the Financial Times ‘How To Spend IT’, JFW Magazine, Vanity Fair and the Daily Mail.
Training at the Royal Academy of Music for three years seems like an unlikely origin; from a musical marvel to a conversant stylist. Ella stuck to her belief in fashion as an ‘art form that can reflect our society in a way that many other parts of the arts cannot.’
Clothes became an interest ‘Because not only are they objects of beauty worthy of admiration and a route of identity, forming transformation, but they are also part of a multi-million pound industry across the globe that cannot be ignored’. Holding an awareness surrounding the importance of fashion within our society has not only influenced Ella’s style and aesthetic, but the people she works with too.
The look that Ella creates, both for her clients and herself, is ‘British Eccentricity’. Drawing inspiration from everyday life to create looks that are fresh and exclusive, ‘I’m inspired by everything around me – nature, architecture, art, literature, cultures, politics, history, tradition and probably most importantly, people with a unique voice that aren’t afraid to stand out and go against the mainstream’.
Certainly not one to suppress any sense of creativity, Ella delves into the deeper depths of fashion through her writing (www.Ellapearceheath.com). But which does she prefer, styling or writing? ‘I think they need to go together, how can I write effectively if I don’t work hands on in the industry? Similarly, how can I style without understanding the wider cultural implications, and having my own theory on beauty. I couldn’t pick between them.’
Unlike many ‘Fashion Journalists’ today, Ella doesn’t just write for the sake of writing. Nor has she succumbed to the ease of writing about ‘must-have items’ and celebrity trends. She writes about the role of Fashion in Society ‘because you can’t fully understand anything until you place it in its context’. Constantly scouring the city for fresh designers untainted by the artistic restraint of sponsorship, it was Ella who recognised Fannie Schiavoni as an emerging new talent before she was acknowledged by the likes of Browns and Tank Magazine.
But why choose to use young, unrecognised designers? ‘Because they often are still in the position to place the aesthetic, a unique voice and forward thinking at the forefront of their collection as they haven’t yet been compromised by the buyers need for ‘2 of this in 3 different colour-ways attitude’. Not to be misunderstood, Ella is of course aware of the importance of influential high-end brands such as Alexander McQueen, Lanvin and Iris Van Herpen, and her inspiration and admiration is still drawn by ‘Prada for innovation and single-mindedness, Stella McCartney for feminine simplicity and Antonio Berardi for amazing dresses’.
The next step for Ella is preparing the Look-Book for Komodo, an ‘ethical, hempy and hand-made’ brand. Individuality and artistic exploration are both equally as important as sustainability, influencing Ella’s belief that the future of fashion ‘must move away from celebrity; collections by non-designers just trying to make money or boost their fame etc are just a gimmick. True fashion is an art form, and this needs to be recognised’.
How can the effects of the recession be seen in Fashion? ‘I think it has bred a new wave of designers who realise we aren’t infallible as a society or a people, and therefore has resulted in a rise of ecological and sustainable fashion designers who see a responsibility to our world’. It seems that Ella’s plans for the future are simple and to be honest, slightly understated , ‘I hope to make people think and to make beautiful images! Can that be a plan, even if it’s an ever so naive one?’
She’s headstrong, determined and knows exactly what she wants, and how she wants it done. Her ideal clients include Alexander McQueen, Gareth Pugh and Vivienne Westwood – who would be ‘pretty fantastic to work with, with all her rebellious attitude and strong opinions’.
Perhaps there’s a little bit of Vivienne in all of us.
Hattie MacAndrews
Just as FiX predicted, the Turner Prize was won today by Richard Wright.
His gold leaf fresco was a favourite of many visitors to the exhibition and the judges said they “admired the profound originality and beauty of Wright’s work”.
He was awarded the £25,000 prize and the runner up artists each received £5,000. The exhibition will be on display until January 3rd next year at the Tate Britain.
Read more on it here.
And read FiX’s verdict on the exhibition here.
]]>
There are usually two types of reactions that the majority of people experience when confronted with the term “The Turner Prize”.
The first type of reaction involves a certain image springing to mind, usually resembling the notorious “My Bed” kindly contributed by artist Tracey Emin, in all of its blood-stained and defecated glory. This may then induce a grimace, or at the very least a raised eyebrow. The second type of reaction is more complex – drawing subconsciously on society’s depiction of the Turner Prize in recent history, certain words are flung about in the head; words such as “PRETENTIOUS”, “BULLSHIT”, “SADISTIC”, “INCOMPREHENSIBLE”. Thus, a decision not to spend a mere £8 at the Tate Britain is made.
Aside from the fact that £8 is hardly a fortune, (£6 with a student card, FYI) my fervent argument is that this year’s portrayal of young British artistry is actually quite compelling; with my task to convey this without giving the game away so after reading someone will willingly witness it for themselves (i.e. wishful thinking.)
So this year’s victims shape themselves to be Lucy Skaer, Richard Wright, Enrico David and Roger Hiorns. Collectively their diversity in medium is noticeable – from Wright’s use of paint and gold leaf to Hiorn’s scattering of atomised jet engine.
However it’s how they effectively DEAL with the art they have produced within the gallery space and the response it provokes that is most striking. One would think Skaer’s gargantuan partial adult male sperm whale skull (below) is the focal point of awe in the exhibition, but really it’s the way in which she hides its vastness from view so the only way we can mentally assemble it is through small gaps between the walls.
Labelled by various critics as “a modern fresco painter”, the viewer is naturally drawn to the physical intricacy of Richard Wright’s luxurious work, a wall of pattern convoluting and entangling itself.
Yet, the way in which it is placed speaks decibels louder than the work itself – at the very end of a truly humongous and very empty white room, commanding its own serenity.
Now, perhaps, a better understanding can be ascertained as to why the general public are so quick to judge this unjustly named “postmodernism”. It’s both easy and safe to form an opinion on a static image, but that only half-represents the work of the artist; the other half is the spatial gallery itself. The cliché “you had to be there” doesn’t just apply itself to a past it’s sell-by date joke. Granted, the setting itself is artificial, with major emphasis around the £25,000 prize. But the work, the very fruit of these artists labour if you like, speaks beyond such a competition. So disregard feeble headlines such as the Daily Mail’s oh-so-funny “A whale skull, heap of dust and rocking eggmen? Must be this year’s shortlist for the Turner Prize…” and trek to the Tate Britain yourselves.
Sophie McHiggins
The Turner Prize is announced Monday 7th December and the exhibition runs at Tate Britain until 3rd Janurary 2010.
]]>