Juxtaposing the ugliness of rotting fruit with the beautiful aesthetics of jewels for her project ‘tiffany’. Everyday fruits are encrusted with sparkle whilst areas of their rotting flesh remain revealed. Food for thought....
Showing posts with label artist. Show all posts
Showing posts with label artist. Show all posts
Tuesday, 29 July 2014
Luciana Rondolini
Today I am loving the work of mixed media artist Luciana Rondolini. She draws on the irony of manufactured beauty and the 'plastic' clone-like idea of modern day identity, utilising iconic imagery and famous faces such as Gaga and Beiber.
Juxtaposing the ugliness of rotting fruit with the beautiful aesthetics of jewels for her project ‘tiffany’. Everyday fruits are encrusted with sparkle whilst areas of their rotting flesh remain revealed. Food for thought....
Juxtaposing the ugliness of rotting fruit with the beautiful aesthetics of jewels for her project ‘tiffany’. Everyday fruits are encrusted with sparkle whilst areas of their rotting flesh remain revealed. Food for thought....
Monday, 21 October 2013
Charlene Mullen
There is something about Charlene Mullens embroidery. It could be the quirky humour of her Drawings range, or the pleasingly simple shapes of her Geometric designs, or the clever way she has updated traditional embroidery and folk motifs. Whatever it is, it speaks to people. Jennifer Goulding, House & Garden.
From her training in both illustration, print and an established career in the fashion industry, she has successfully turmned her talents to designing luxury homewares. Since the launch of the studio in September 2008 at 100% Design where she made the best newcomer list, she has won international acclaim having work shown in London, Paris, Milan and New York as well as being featured in leading interior design publications worldwide.
Charlene creates unique embroidered textiles mixing traditional techniques with her love of the drawn line. The end product - cushions, throws and lampshades are suitable for residential and commercial projects. Drawing on a wide range of inspiration such as Swiss paper cuts, Stig Lindberg's ceramics, Blackwork, scientific structures, tribal costumes, Gee Bend quilts, she works with master craftsmen in India so each piece is beautifully hand embroidered using tapestry wool to ensure shade, colour fastness and durability.
The studio is committed to original design and making quality products. In addition to the collection Charlene provides a commissioning service working with private clients, interior designers and architects to create bespoke projects both in the U.K. and worldwide.
www.charlenemullen.com
I can look at Charlene's work and draw comparisons with my own. Although she works in black and white and i work in colour she also fills in the details of her drawings with organic patterns like circles in the same way that I do.
Her cat cushions are adorable and have such character even though they are constructed of what looks like canvas, or heavy cotton and have a simple, single black stitch to define their features. The off-white fabric that she mainly uses is a way of highlighting the embroidery that is placed on top.
Her chosen colours if any seem to be red and blue. The way she uses minimal amounts of colour (and when used always the same shades) means that she has created a style for herself which is instantly linked back to her brand. I always use pink within my own work, no matter what I do I am drawn to incorporate pink in there somewhere. Perhaps this is part of what makes me and my style. What is the point of making something I don't enjoy!?...There isn't one.
Wednesday, 27 March 2013
Kurt Schwitters Research and PDP
After my tutorial with Brian Falconbridge I decided to do some research into some of the key people in the art world that he said I would be interested and inspired by.
In 1917 the 30 year-old artist was drafted into military service, which he spent in the orderly room, due to his suffering from epilepsy. He was discharged after four months. The impressions of the war and the inflation made him a modern artist, who even left Expressionism behind; his first collages emerged in 1918, for which Kurt Schwitters used litter found by chance.
His art and literary texts became a Dadaist institution in Hanover, which he called "Merz", a fragment of the word "Commerzbank". "Anna Blume", a collection of poems and prosaic texts published in 1919, made him famous far beyond Hanover's boundaries. He got in contact with Herwarth Walden, Hans Arp and Tristan Tzara and took part in the "Sturm"-exhibitions in New York and Zurich.
From 1923 on he worked as a commercial artist, graphic designer and typographer for several companies from Hanover and beyond. Apart from this professional work, he continued the collages and material pictures of the "Merz"-series.
In the mid-30's he was successful on an international level for the first time; in 1937 he emigrated to Norway. His exile in Norway was followed by his escape from the German troops to England.
In 1941 he became involved with the London art scene and his work began to engage with British society and culture, shaped by the use of new source materials for his collages and poems.
His work began to be shaped by the material culture of the wartime city. The fragments of paper and found objects that he collected from London’s streets were incorporated into his collages and assemblages. As his work was made from discarded everyday items, it reflected the environment in which it was made. The materials he used included sweet wrappers, bus tickets, metal toys, pieces of linoleum and a scrubbing brush.
This form of recycling materials into art is something that captures my interest. I think where possible it is kind to the environment to use and re-use naterials again and again. It's also more inspiring for me to deal with less prescious "scraps" rather than clean paper.
Schwitters also explored the transformation of ready-made images, using photographic reproductions of nineteenth-century paintings as a starting point for collages. He was fascinated by English words and typography, and incorporated fragmentary phrases which make references to contemporary popular culture and politics, and also seems to comment on the process of adapting to making his work in a new environment. Words, as disscussed previously are a massive influenece of mine, to take this forward I would like to find some poetry with the of sealife and/or mermaids.
For Kate- 1947
Kurt Schwitters died in 1948. It is only after his death that his life's work is appreciated internationally. Schwitters was far ahead of his time and strongly influenced the art of assemblage of the neo-dadaist artists.
Das Undbild - 1919
Photos combined with text and textured papers.
1923- Aphorism
http://www.tate.org.uk/whats-on/tate-britain/exhibition/schwitters-britain/
http://www.schwitters-kurt.com/
Kurt Schwitters
In 1917 the 30 year-old artist was drafted into military service, which he spent in the orderly room, due to his suffering from epilepsy. He was discharged after four months. The impressions of the war and the inflation made him a modern artist, who even left Expressionism behind; his first collages emerged in 1918, for which Kurt Schwitters used litter found by chance.
 |
| Cover of Anna Blume 1919 |
His art and literary texts became a Dadaist institution in Hanover, which he called "Merz", a fragment of the word "Commerzbank". "Anna Blume", a collection of poems and prosaic texts published in 1919, made him famous far beyond Hanover's boundaries. He got in contact with Herwarth Walden, Hans Arp and Tristan Tzara and took part in the "Sturm"-exhibitions in New York and Zurich.
From 1923 on he worked as a commercial artist, graphic designer and typographer for several companies from Hanover and beyond. Apart from this professional work, he continued the collages and material pictures of the "Merz"-series.
In the mid-30's he was successful on an international level for the first time; in 1937 he emigrated to Norway. His exile in Norway was followed by his escape from the German troops to England.
In 1941 he became involved with the London art scene and his work began to engage with British society and culture, shaped by the use of new source materials for his collages and poems.
His work began to be shaped by the material culture of the wartime city. The fragments of paper and found objects that he collected from London’s streets were incorporated into his collages and assemblages. As his work was made from discarded everyday items, it reflected the environment in which it was made. The materials he used included sweet wrappers, bus tickets, metal toys, pieces of linoleum and a scrubbing brush.
This form of recycling materials into art is something that captures my interest. I think where possible it is kind to the environment to use and re-use naterials again and again. It's also more inspiring for me to deal with less prescious "scraps" rather than clean paper.
Schwitters also explored the transformation of ready-made images, using photographic reproductions of nineteenth-century paintings as a starting point for collages. He was fascinated by English words and typography, and incorporated fragmentary phrases which make references to contemporary popular culture and politics, and also seems to comment on the process of adapting to making his work in a new environment. Words, as disscussed previously are a massive influenece of mine, to take this forward I would like to find some poetry with the of sealife and/or mermaids.
For Kate- 1947
Kurt Schwitters died in 1948. It is only after his death that his life's work is appreciated internationally. Schwitters was far ahead of his time and strongly influenced the art of assemblage of the neo-dadaist artists.
Das Undbild - 1919
Photos combined with text and textured papers.
1923- Aphorism
http://www.tate.org.uk/whats-on/tate-britain/exhibition/schwitters-britain/
http://www.schwitters-kurt.com/
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