UH Degree Show June 2014

There was lots of inspiring work at the Degree show this year. I know that the technique of multi- faceting an image as I do is very popular at the moment. I have had to come to terms with that. I just hope that my work has my own original meaning woven in.
In the Art therapy room there was some work that has a similar message to mine. Sarah measures had taken very delicate moths' wings, arranged them like specimens on the backing paper, then sewn them down in a row with an electric machine.

In this image, slits have been made in each wing, which has then been carefully stitched up in red thread. it reminds me of Frankenstein's monster. Perhaps the comment is on man's manipulation and adaptation of nature?

There is a sense of nature being controlled and laid out for inspection; of wings that are for flight, representing freedom and escape, firmly held in place trapped on the page. The edges of the wings are battered and frayed as if they were battering against their captor in an attempt to escape. There is a powerful message of how it feels to be trapped and have to take on life's responsibilities and give up out carefree lives. That may just be me!

In my own work I am beginning to get more personal and self-analytical by including objects that have a powerful significance to what holds me prisoner or annoys me in my life.

      Snail Plate 2014

On a white tablecloth made by my grandmother, I set out a leaf full of snails collected from the garden.
Every morning I go on snail patrol, gathering the little irritants from my plants and dumping them in the woods at the end of our road. They still manage to destroy some of my favourite plants overnight!
I like the effect of the clean white cloth, the pure white orchid, which has come to represent my positive life force, then on closer inspection the snails on a leaf they are eating through. My thumb is in the image as I was pushing a snail back on who was trying to escape.
In the same way as Sarah, I am trying to control nature and in this case what irritates me. I have not physically trapped them, but I have manipulated them into my own symmetrical design where they become aesthetically pleasing and frozen into symmetrical conformity.

I take inspiration form as many sources as possible, so the degree show with all the different creative  expressions was so useful!

Amy Brook
Is a surface pattern designer who graduates from UH this year.
Her work begins with a simple sharp photograph of tree branches against a clear sky. She then manipulates the image to produce a delicate symmetrical, multi-facetted pattern.
What Amy's work has shown me is that the original image can be a simple on with only one or two elements to it. Once the manipulation is done a new intricate pattern evolves. It seems stronger for the use of one simple clean original design.

The subtle colour changes in the sky add a beautiful backdrop to the branches. I also love the way the branches intertwine, forming a mesh, a network of fine lines.

Here the pattern created by the leaves and branches against the sky look like a detailed and delicate embroidery. I have found that what  is really important is the original section of the image that you start with. That has to be strong and interesting to create a good final effect.

Sasha Balkin

This artist is an illustrator; I found her work very inspiring. Sasha has created a set of beautiful, well observed watercolours of endangered species. Her message is subtle, but powerful. Depending on the degree of danger of extinction, Sasha has shown the skeleton more exposed. So the Rhino, and Tiger for example, is almost completely bone.

                                             Sasha Balkin(2014) Endangered

What I find inspiring is the hard hitting, stark message encapsulated in her beautiful, delicate watercolour studies. They have powerful impact.

It would be great to produce work with a lasting impact like Sasha's. That is why I need to look at simplicity and direct  impact.

Zhenyu Lim

This graphic designer made a series of pattern designs based on 'Britishness'.

The symmetry and sense of order in this work appeals to me.The central image is based on the British breakfast, with the component parts stylised and arranged into a repeat pattern. You can see the fried egg in the centre design and perhaps fried tomato and bacon too. I love the sense of humour in Zhenyu's work; it makes me smile as I recognise individual components in the pattern.
This is similar to the experience I want people to have of my work. I want there to be a slow realisation of the individual components hidden in the overall pattern. Once the eye has separated out cigarette butts, for example, the images becomes a mass of different symbols rather than a coherent whole.

On first glance you might see an attractive balanced, repeat pattern. But on closer inspection, you might pick out meat, blood a fly and some golden hair? Once these components have been isolated by the eye and brain, it is difficult to fuse them back into the amorphous whole. This is irritating and perhaps unsettling-which are the kind of responses I am aiming to evoke.

Art Psychotherapist
You have to go on tiptoes to peep in to the scene that has been created inside.
These mini dioramas create a sense of anticipation and wonder. With the use of light and perhaps a different way of presenting my images, I would like to evoke a similar sense of joy and wonder.