DIAGNOSTIC ARTISTS

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ILLUSTRATION/PRINTMAKING:

Christoph Neimman

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Christoph Niemann is an illustrator, graphic designer, and children's book author. His process involves picking " a random object, and then just staring at it. I look at it from different angles, playing with the light. iHe tries to " open [his] mind as wide as possible, to see if a peculiar angle reminds [him] of a familar shape.”

i feel like i see things in a very similar way to cristoph which is why i found the task is enjoyable.

I appreciate his use of everyday recognisable objects, and turning them into simple designs that captivate the eye and make you think, 'wow, this guy is a genius!’

His pieces don't appear to ever contain more than 3 colours, which is effective as it gives a “wholeness” to the image; as he is combining physical objects with his piece, it using a limited palette joins everything together to appear as “one” as possible, really emphasising his vision. He also uses clear and bold lines that blend well with the real life images as it seems effortless and draws light to the beautiful detail of the object he has chosen, to make you look at it in a different way. I particularly like how playful his work is, it's lighthearted and the kind of thing to make u smile on a bad day, but extremely clever.

Noma Bar

His work has appeared in many media publications including: Time Out London, BBC, Random House, The Observer, The Economist and Wallpaper'

“ I am after the maximum communication with minimum elements” - Noma Bar

Noma bar’s work flows so swiftly, like visions in a mind when one is being told a clear story. I find the work very useful alongside a non fictional audio as it helps someone visual like me keep track and pay attention, and understand a matter/issue, much better. The use of shapes is very inspiring as it teaches me how to simplify, another perspective of looking at things.

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PAINTING

John Stezaker

This piece is actually [one] of my favorite pieces of art, since before being introduced to this pathway.

"AT NIGHT YOU GET TIME AND YOU LOOSE CONTROL" .

As much as I appreciate my sleep, I understand this quote from him. The busyness of life means creating art during the day has boundaries, limitations, and barriers that schedules, and time belittle you to. once it reaches the night you are truly free to just go on and on, uninterrupted until ... well, you drop. For me, I need what I call a "warm up", when I start working, the first things I produce are okay, then I carry on, I get into the groove , and I can just flow. This is what I believe Stezaker is talking about. You start to delve into your own world, "loose control", and I relate to him in that respect.

"Our culture has an obsession of images. embedded in our culture, is a mythology that we are somehow unconscious of - and we are made unconscious through an obsession/bombardment of images."

He makes "Collage work trying to make visible what is blind."

I think there is an apparent link, to my love of Stezaker and Neimman's work. They both create images, seeing into the image. They make work that has uncovered something, in something else. And as mentioned in the text about Neimman, this is very mind blowing, genius and somewhat comforting, to me. That other people are creating really profound and clean images of something I daydream into.; seeing faces/objects in other things.

Idris Khan

“I used 70 to 100 images for each picture. I wouldn’t necessarily take the whole image, but fragments of images, and bring them together on the computer. I would try to choose something that really stands out in the photograph. / What I quite like about the whole process is that these landmarks are photographed a million times a day, but you can create more than just a document — a feeling of stretched time. I try to capture the essence of the building — something that’s been permanently imprinted in someone’s mind, like a memory.”

I absolutely love the use of layering in his work, as soon as I saw it I instantly had the feeling of how this was such a good way to portray memory, and then I read a little interview, where he said this was his exact intention. I adore the gothic themes of his artwork, its very grungy, as if multiple photos have been stacked up, compressed and certain parts scraped away, to create one image. It is very nostalgic and, living in central London my whole life, just 20 minutes away from the location of his artwork, I feel so proud in how he has depicted it, and the meaning behind it. It does get tiresome, the heavy amount of touristic photos, all glamorizing the same buildings. But he has taken a different approach, still showing major appreciation, but turning it into this slightly dark, mystical atmosphere, almost frightening to approach. I like the colour palette of the work a lot, also reminding me of old newspapers. As done the work of Stezaker, above. Both their color palettes I really like. The use of lines in Khans work make the image appear really raw, as if the process was etching or printmaking rather than digital. It gives it a very inky texture, as if its been scraped. I really enjoy this as it creates depth and illusion within the work, it is one that you have to get up close and personal to, to truly understand and see the outlines and shapes. Unlike Stezakers work above, where I believe is best looked at from afar, to blend everything together.

Lesley Oldaker

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TEXTILES:

Yinka Ilori

"Our parents always told us stories about things like jealousy, love and respect," the designer explained. "These were, for me, really important in my growth and upbringing. I always wanted to try to share their stories in my objects."

"Yes, I can use colour but I don't just do that," he added. "I'm a designer, I design objects and spaces. Colour isn't the first thing I think of, it works together with a design."

"Design for me personally is about trying to evoke a feeling and create a memory of something, so it lives and you can pass it on,"

I really appreciate Yinka Iloris pedestrian walk as I love seeing colour in the roads. Often it can get quite monotonous, walking down a grey street, grey buildings, grey pathways, left right and centre. And if not, the colour is coming from shops for consummerist purposes, often trying gto draw you in like an insect to the light. This type can get quite distracting and overwhelming, like a bombardment to the senses. They demand your attention. But Iloris work is exactly the type of colour and light I like to see in the streets. Its lighthearted and comes from love. It also fits in very well, as if its permanently meant to be there which i think is very smart of him and the way he has designed it (it isnt just a design for a period of time, or event). It is also very practical and serves purpose as it brings more attention to the "LOOK BOTH WAYS" sign, which may have been dismissed previously, as disguised within the dull road.

Takashi Murakami

“People accused me of stealing Japanese culture. But when I look at Warhol, it’s the same thing. That’s why, when Warhol was alive, American people hated him. For them it was packaging. In the art world, people have to package what’s going on. When I was getting a negative reaction in Japan, it made me very depressed. I had 25 years of this pressure.”

"Takashi Murakami's art successfully blurs the art lines between high and low culture. Takashi has successfully collaborated and used his art on products produced by many major brands. Today you can see the Murakami flowers on fine art, pop culture, fashion, to commercial products."

"His work draws inspiration from the Japanese subculture of otaku, which is replete with strange perversions of cuteness and innocence, as well as incredible violence. Through this, Murakami crafts a subtle critique of Japan's contemporary culture as well as the West's intruding influence upon it."

"He seamlessly blends commercial imagery, anime, manga, and traditional Japanese styles and subjects, revealing themes that connect past and present, East and West, technology and fantasy. Murakami fills his paintings, sculptures, and films with thematically repeating imagery along with characters of his own creation."

He is not a textile artist so to speak, however I believe some of his work can fall under the category. He has the genius to create images and patterns, that can be turned into anything, a fabric, furniture, painting, wallpaper, whilst looking like that was its main purpose and intention. i believe that this versatility is part of being a textile artist. It is very descriptive, visually and through what it tells us, but in such a simple, distinctive and iconic way. I adore the colours and the content Murakami express, finding myself wanting to be surrounded by it.

MOREMurakami

"Kicking off the official opening of Art Basel Switzerland, Pharrell Williams was on hand to showcase his collaboration project alongside superflat master Takashi Murakami. Entitled “The Simple Things”, the installation featured some of the essentials in Pharrell everyday life, completely iced out in true Skateboard P style. Emmanuel Perrotin was also on hand to witness the unveiling, which sold out in less than half an hour."

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GRAPHIC DESIGN:

Gordon Young, Blackpool Comedy Carpet

At the heart of all young’s work is language – words that entice, fascinate and on the comedy carpet, amuse. The comedy carpet has created a giant ‘giggle map’ immortalising the UK’s favourite comedians and comic writers from the hey day of music hall to 21st century stand up. This work caught my attention as I thought it was an amazing way to capture a culture, like a "new-age" monument (moving away from marble statues and such). This piece is another outdoor wonderland that just fits right into the city. Due to this piece being right by the sea (originally commissioned to protect the seafront whilst bringing light to blackpools history), the "newspaper" type look on the ground reminds me of the way you can find traditional fish and chips in that newspaper cone, unravelling perhaps unintentional intricacies of further british seaside culture. I also really like how vast this piece is, feeling very playful and surreal as the marble is so clear and solid. Naturally, we may have tendancies to look at the ground, to watch where we are going, so this is a very brilliant placement as when we see words - our mind reads them! So this carpet is just feeding you infomation about the culture, whether you process it at that moment or not. Our eyes absorb the vibrant typography styles (part one of the culture), then go on to uncode the letters into language in our minds (teaching us about jokes, songs and catchphrases dating from the early days of variety to the present.) And these words are vital to blackpool as it tells you about the social history, what people were like and what is valuable to this area. I like how it isnt super serious, reminding us to take life easy, and just have a laugh soemtimes.

Tami Aftab

“Both in the subject of Dad’s illness but also in the new memories we’re creating together – almost as though we are piecing together our own special kind of family album."

“Whilst my mum and sister aren’t in front of the camera, they are frequently there throughout the image making process.”

"The Dog’s in the Car demonstrates her use of documentary-style photography with light-hearted, staged scenes, all of which highlight his short-term memory loss caused by hydrocephalus. “The topic is quite serious but we wanted to turn that narrative around and leave room for comic relief,” explains Tami."

Once again I appreciate the light hearted approach to her work. I dislike how in this day and age everyone is so sensitive, though.

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JFFA:

GCDS WEAR

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"Cartoon prints, bright colors, candies, donuts and flowers are all fundamental ingredients for the made in Italy brand directed by Giuliano Calza, not necessarily in the new “Trip daily” campaign."

"For the collection, Creative Director Giuliano Calza included a series of nostalgic features from our favorite characters like Hello Kitty and Looney Tunes. Baggy jeans are decked out in sketches of Porky Pig and Daffy while word "Porky" splays across the crotch of the denim piece adding eccentric graphic touches. "

"Bridgeland used icy pastels, intense highlights, and a sprinkling of neons to visualize a trippy world that compliments the collection. In terms of accessories, an array of ornamental jewelry, structured lingerie-inspired pieces, and furry hats and bags all made a vibrant appearance. In the hallucinogenic scape of "Trip Daily", nothing is off limits and everything works. "

'COZY CHAOS'

I love the futuristic style, mixed with cute and streetwear. Their FW22 collection is all about vice and escape, themes i try top encorporate into my own work too. I like to reimagine what we can consider to be the norm, and transform others' minds into thinking that this is the new "cool". I think GCDS does a very good job at that

DANIEL BAILEY FOR TEKASHI

"My concept was inspired by Takashi's Dobtopus sculptures each of the tentacle's were incorporated into the sneakers fastenening system, with the cord wrapping around the ankle/knitted bootie, weaving through the removable cover and being closed off by a toggle, adorned with one of Takashi's infamous Jelly Fish eyes. "

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Daniel Bailey inspired by “The Simple Things” as shown in TEXTILES (up.)

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SCULPTURE

AOIBLUEVI

I really like that this piece has a clear narrative beside it, it inspires me to create more mini stories/worlds of my own. I also really enjoy how unqiue, playful and almost creepy this piece is. The texture of the piece is very interesting to me as it is stringy like chewing gum, adding to the playfulness i mentioned earlier.

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MISCELLANEOUS

Damien Roach

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"Artefacts 3"

A machine learning model is a file that has been trained to recognize certain types of patterns. You train a model over a set of data, providing it an algorithm that it can use to reason over and learn from those data. I found this pieece very interesting as even though it is not inheritly "art" created by a person so to speak, as soon as I saw this I instantly thought simpsons, even without knowing the context of the image. Learning more about ti, i realised it was actually a machine learning model trained on the simpsons (processed as an archival pigment print on cotton rag mounted to aluminium). But that initial connection that I made to the piece blew my mind, it is just colours and squiggles after all, in familair places, however within less than a second i realised what it was depicting. Perhaps creating overlays of the same image/different motions i could create soemthing similar. Something that is familiar/recognisable to the viewer but bastract in nature.

Research

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