summative assesment commission

7/29/2019 Summative Assesment Commission

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Commission Pt. 1

Environment

Landscape and City


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Landscape

Concept

With landscape I wanted to interrogate the falsecommercialisation on local lands claimed to be tourist

attractions and beach like scenes. The location I havechosen has been falsely advertised through the internetand signs actually at the location to have golden sands,beautiful scenery full of nature: but the reality whenyou get there it is completely flat and vastly different

from what we have been shown.

By creating false advertisements I could re-create thelandscape and mock the commercialisation of it that

consumers digest and believe.


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Riverside Country Park

This park in lower Gillingham, Kent has a particular

part that helped define my project. Horrid Hill, a

very well chosen name has a sign in front of it

displaying a beautiful scene of golden sands and a blue

river that runs along the bright blue horizon line.

Claimed to be one of Medway's most beautiful

attractions.

The landscape is in fact extremely flat and dreary.


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Contextual ReferencesTo re-create this beach scenery I needed to understand the type of colours and imagery that

would re-connect the viewer with this type of landscape and engage them into my idea. I looked at

artists such as: Albert Ernest Backus. His soft tones and warm environment emulates a holidayadvert scene taking us back to the summer season. By using palm trees he frames the landscape

and we become involved in the sitters movements. Potthast focus on the joys of the beach; the

movement upon it including people and objects. Again using the typical golden sands and blue

ocean to re-familiarise ourselves with the beach landscape.

Albert Ernest Backus Edward Henry Potthast


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John Lowrie Morrison involved nature more into his work: not only focusing onthe shore line but including deep movements in the background of mountains

and a deep blue sky, with the green nature in the foreground, making this

scene more enclosed and intimate. But once again these colours of the sand

and sea are very much the same: showing how as the viewer we are recognise

the same landscape. So this is the sort of imagery I should use for my

advertisement.

John Lowrie Morrison


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Sean Hillen gave me the understanding of how to use photomontage along withthe artist John Heartfeild and Peter Kennard. Either cramming in images that

flick a light in our minds to re-connect us with a certain place or event, or

being very simplistic yet very accurate to control the image and the viewers

emotions a lot more to enable a more focused view of the work. Controversy is

used a lot in photomontage and shows the freedom and exploration that comes

with it.

Sean Hillen


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Peter Kennard

John Heartfeild


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I also studied holiday adverts, looking at the way in which they took our

minds on holiday as we viewed it but also what they used to give off the

impression of a perfect holiday. Particularly I looked the ThomsonHoliday Ad 2009, this showed a holiday destination being constructed

just for you which was what I was planning to do with the montage. But

they here are mocking themselves, what they say you is just an image.

http://www.youtube.com/watch?v=qcTrCXVrsPk
http://4.bp.blogspot.com/-C7k3X85Q2DI/ULs7CFgIWJI/AAAAAAAAAjI/lzGdXp5-T5w/s1600/thomson4.jpg


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Location Test Shots (Digital)


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On this day in particular the weather was perfect for what I wanted: dreary, cold

and wet: the horizon line blending in the middle and background to create thishorrible flat landscape.

It was the perfect setting for what I wanted but I could only go on a day when the

weather was bad so I could get the correct aesthetics for the image.


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Chosen Image

I chose my final images based on a range or reasons. Firstly,

technically I waned my exposure to be correct to keep the

landscape flat and not to over/underexpose the foreground

which will highlight that area too much. Also the focus on theforeground needed to be accurate as this had rocks in which

would just help create that visualisation of a shore line. Also

after deliberation I wanted my images to have continuity: so I

chose one image to photomontage.


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Photomontage Trials

As my images were to take the mick I did not want the cut outs to beplaced or cut perfectly: it needed to look false to portray this false

advertisement. I trailed on the digital images. As we can see her the

simplified image with the couple re-creates a summers day stroll on the

beach where the next image creates a more holiday destination.


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Here I played with the size on the images and drawing onto the image to

make it more fake. Using different size images and playing with the

structure of things alters the viewers perspective to must be done well

enough so the concept of the image is not lost.


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FINAL IMAGES


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I initially thought about adding text to the images to really create this

advertisement, but I feel they work well without it: the images added are

obviously very fake. The image with the couple is my favourite: its very simple

yet very idealistic of a summers beach, so I think I achieve the most with this

image.


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City

Concept

I wanted to focus on the basis of our cities structure. When we think of

the city or look it up we are confronted with images of the skyline and

architectural structure across the world that we all stare and gaze at in

amazement. But I wanted to look at the base of these structures: it is away of transport, it navigates us and we use it daily yet we do not look at

it the same. It is architectural designed in each area to specifically fit

that area. In each location I have used the pavement is different in

colour, texture and in the way we use it. I chose to look beyond the

everyday movements of the city and looked simply at the ground: it has

been interesting to interrogate that how in different places, we and thepeople who own it chose it differently yet in each area it is there for the

same purpose.


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Contextual References

I found it hard to reference the type of images I wanted to create: I initially

looked at how artists used the ground themselves: street artistic who bring

our attention towards the floor by creating unusual art the lifts the ground

or allows it to go further. But this type of treatment of the ground was to in

depth: I wanted simpler images that made the ground more of a focal point.


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Ed Ruscha


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Mick Buston Vivian Maier

As well as looking at artists such as William Gedney and Philip Lorca-Dicorcia

who had a theme of city life and the ways in which humans populate and use

it. The artists above were more engaged with my concept. Looking at how

including more of the ground in images and having subjects interacted with it

becomes a main focus point. We see here how different ground textures are

used and how these different textures signify different areas of cities/places.

The cleaner more polished floor of a shopping mall/business centre and the

hard cold pavement then seeming cheaper and of less importance. The type of

lighting I use will help signify this treatment of the floor and will help me

represent these different treatments.


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Chosen Images

Piccadilly Circus


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Canary Wharf


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Westminster Pier


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My choice of the three locations were obvious to me: somewhere pristine and well

maintained to keep up with the running of the area: Canary Wharf. Somewhere busy but

still seen as slightly higher class and therefore is maintained to keep the expectations of

the street alive: Piccadilly Circus (Regent Street) and somewhere busy, where tourists andcommuters flood through everyday: Westminster Pier.

Each image is different in terms of the shaping and overall aesthetics of the pavement

and in the way in which it is treated. Going from clean and pristine like no human has

ever walked on it to the regularly used and abused streets covered in litter.

The images emphasise this social hierarchy we have in London, how certain areas hold a

certain class and how what is seen of certain areas, how it is viewed by others is more

important to us.

I feel my exposure of the images is ok but the focus on the Westminster one is out due to

the different levels of litter. I chose to use a large depth of field to make sure I connected

with the hole frame.I would like to experiment more with the images, experimenting with shallow depth of

field and how this would help move the concept along as I dont think it is evident in just

the three images. I want to expand the series to several images for each location and

discover more locations that meet my concept.


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Self Evaluation With both units I must leave more time to blog post my progress and things have been

rushed or left out: and also with the blog posts go into more depth.

Technically analyse my own work and artists reference work to help me gain a greater

understanding of the medium which will improve my own development.

Make my references more relevant to my concept: this will show how my idea has

developed through the use of references and show how I use them and they inspire me.

Manage my time better on shoots: I rush important parts of the shoots such a light

readings: this has meant I have had to re-shoot on some occasions on other units.

Be more technically aware with my work: know what I want technically and produce that

to the best of my ability. I feel my darkroom work has come along well. I work independently trying to correct

myself as this is the only way I will be able to learn anything: but must improve on colour

corrections as I now must re-print so landscape images work better in the series.

Time manage work. Did not leave myself enough time to re-photograph the landscape

,montages so have only scanned them initially. Had to re-do this process whilst doing waste

unit.

Overall I feel I have engaged with both environments looking at the expectations andtreatments of them. How the commercial world has led us to false advertising areas and

only making certain areas of a higher quality to help boost tourism, economy etc. I have

interrogated both environments differently to what I expected I would at the beginning of

the unit which has improved my technically ability and has opened my mind up to more

conceptual ideas.

I want to expand on each part of the unit to create solid concepts and images that I willbe proud of.


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Commission Part 2

Waste Unit


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The Concept

The waste unit I focused on discarded furniture: I wanted to make the

viewer see the waste differently, rather than being an old piece of rubbish

we would look at it as something new: and within the frame it would own

the space it is in and challenge our perception of it. With my images I

wanted to create 3 separate parts which as a whole would create one space

in which there would be two corners, one which a lamp would stand (notwaste) and one in which the waste table would stand. This would then pose

many questions to the viewer: which is the waste subject, why are we

viewing it like this, why is it isolated. And overall would question their

perception on what is and what isn't waste.


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Contextual References

Danny Treacy took discarded clothes and gave them a new life

as a new garment: I focused mainly on the poem that came

along with this series of work: a line that said they take a

chance on existence, such as the waste I used was taking on

chance of owning that space again.


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I looked at Lucinda Devlin and Ricarda Roggen, looking at

the isolation of the object, and how they even lightingcreates this objectivity of the chair/table so that we

hover over it more and ask question of why it is there.


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Richard Wentworths series making do focuses on objects livingpast their immediate use and still taking chance on existence by

being used in alternative manners. Wentworth incorporates the

waste in an original environment, yet its use seems so regular.

As well as these I also looked at the Bechers, Gursky and Struth

in terms of the structure in images: getting ideas of framing for

the work etc. All which is evident on my blog.


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Chosen Images

The colours are different on what we see here and all is not aligned, but I

did what I could in the darkroom to get the colours and alignment as close

as possible. As I will say in my evaluation, I am not happy with the images I

have produced: they are not of a high quality; parts of the images are soft,

the flash is too harsh as are the shadows.


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Images as a whole (no colour correction)

As a whole, despite the technical errors in the images and the lack of colour

correction in the image above, they could work well as i had planned for

them to. They create this space in which the viewer is placed in which is

dominated by the isolated objects. Images of higher quality would appear to

work better than the ones i have produced.


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Self Evaluation

Final images are of poor quality: must treat the interior like a studio and practicefurther on this over the course of the summer

I must develop further technically as my skills are not evident in the images I have

produced for this unit

I must also ask others for help and advice and use this to push forward and develop

as an artist: at the moment I shy away from this and am left with work I do not like.

My darkroom skills have yet again improved and I am making more thought through

decisions that limits the time in which I am printing a single image.

My research for this unit has been far more structure and focused, both

contextually and conceptually.

I did not use the blog as much as I should have so yet again picks up the pieces late

on.

Overall I believe I must improve on my technical abilities to maintain on the course:

my passion is there and I know what I aim to do is achievable, I must learn from thebasics and develop my ability both on and off campus.

summative assesment commission

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