7/2 When I was told that I could do anything I want, a project that came down to my mind was Christmas one; Colour in Landscape. Long, long project where I was able to be completely free. I shoved my favorite colour, films, and music into the work. At the developing stage, I made lots of collages with newspaper, and personaly I think those are successful. Creating a collage is quite hard as it can be done easily. Cut pictures, combine, and create one image. That's all. Seems like surrealistic. However, that cannot be art work. That doesn't have dignity if not supported with certain concept. Then, what should I do? Thinking about how to create a collage smartly and effectively would be crucial. To achieve that, I have not only to research into srtists, but also concentrate my conciousness at composition my eyesight catch. In this meaning, watching some films would play a central role in my research. Well calculated screen would give me important inspiration. What I am afraid of is beeing strongly influenced by artists too much. To avoid that, inventing my own style is required.
10/2 Today, I researched into John Stezaker. He is a conceptual artist who was born in UK. The reason why I like his work is its simplicity. There is no cheap trick at all. In some interview he says he used found photographs for collaging. It sounds really casual but turn out, takes days, months, and even years. There are as many combinations as pictures so in fact making collage takes incredibly long time.As I mentioned before, the reason why making collage is difficult is it seems complicated and interesting if only it is surrealistic. Such a meaningless collage, however, doesn't get deep. In this meaning, his natural and careful image shows hardness of the process. In termes of the series of "Mask", he got idea from an accident where he injured his face. He may have astrong connection between himself and his pieces and that's whyhe could generate internal art work.
11/2 One of good things I entered CSM: I could know an artist, Julie Cockburn. If I had stayed in Japan, I couldn't have known her that early. I researched her pieces on Christmas Project as well. At this time, I found her works are echibitited in Flowers Gallery, so I went to Shoreditch. Even though there was only one piece of her works, still it has an impact that I can not put into proper words. The one exhibited in Flowers Gallery was absolutely mysterious and seemed a hole leads me into white world. Why her works are always nostalgic? It's because she used found old pictures. It's because she used light colour. However, the biggest reason is that she is concious of the depth of the picture and let us into the story withthree-dimentional look embroydery. She said her idea is usually generated by her routine like taking a walkwith her dog. she sublimes her daily life into a piece of art work.
13/2 When I first saw Mari Mahr's collage, I couldn't say even a single word, being surprised. How bold, and at the same timesensitive they are! Fortunately, In Photographer's gallery, her print sale is currently held so I visited there. I hadn't imagined her pieces are that big. As I walked into a room, a collage of the little girl with flower head came straight in my eyes. In a hundred percent adore this simplicity. There is no intent to make it look whatever. It's just pure. How cleanly she put the flower! I feel entire innocence of the image and was overwhelmed with bitter sweet feeling like whern I looked back old album. She's crossed out the identity and let it back to the audience. She is absolutely good at shoving memory into one piece. If only one material lacked, image she creates would not haeve looked that familiar.
15/2 As a summary of what I have done this week, research went through bery well. The ideas for my project are colour, atmosphere and combination. In this meaning, John Stezaker has strongly inspired me.His works are all about communication between two or more images. It was lucky experience that I could see actual works by Julie Cockburn and Mari Mahr. Since I used whole one week for research into three artists, I could talk to myself deeply. At first it was not easy to do that because I heve never been into the core of my feelings about artists' pieces. What I percieve, what I think, and how I communicate got clear through this research. During reading week, I will get even deeper into three artists and see the background oe their works I've researched. From the 20th to 24th I will visit Copenhagen and possibly take photographs there.
17/2 I have never borrowed books from other campus in projects before. At this project, it is worthwhile that I have enough time to do that. Books reference to John Stezaker and Mari Mahr were easily found. It was great gain that I touched not only the background meaning behind John's works, but also the theme flows underneath the concept. He takes things which aren't usually taken serious very serious ans that enables him to create his own world. Hence, his collages become self-enclosed and make me feel saddness caused by their isolation. To communicate with this research, I made some collages. I cut materials selectively from the bunch of newspaper I stocked and carefully imitated his technique. The fact that just copying his pieces doesn't mean I am communicating complicated this project.To overcome this block, I may change subject next time. Looking at not only person but also landscape and inorganic things would possibly work to get identity.
18/2 I visited LCF campus to borrow a book written by Mari Mahr. In the book, how her works has been changed as her carrer accumulated and it would be helpful in termes of writing English when I document project going on. For first carrer, she was supposed to take documentary photographs that don't have her identity at the agency. By the early 1980s, she found work mates with whom she can be true to herself. In the interview, she doesn't alter the nature of things. She just sees how they appear and works with them beore thinking something complicated. This is the biggest reason why her pictures look pure and innocent. From experience she moved to England and started photographing. How she grew up strongly influencced her pictures. She was said that her photographs have a foreign acccent and realised that is one of her self-expression. As John Stezaker, she also uses found pictures. Black and white images are somehow mysterious and scale is interesting. For my work, I would do smooth collage with amusing composition and scale. To achieve that, I have to get into my world. As she did, realising my identity influenced by my life is crucial. Before I start actual working, I will set the day for thinking about myself.
20-24/2 Photo-shoot in Copenhagen was not really successful. First, lovely houses we usually see on a guide book doesn't exist anywhere but only alongside the canal. Plus, the landscape didn't look good in a picture because of weather. Moreover, ironically, it was hard to take mysterious pictures as the big city is beautifully maintained. However, I succeeded in capturering a landscape 'I' was seeing through a filter of my camera and outcome got quite distinctive.It is obvious that my photographs are strongly influenced by the nostalgic atmosphere of the artists' works As it was trip with my friends, the biggest aim was sightseeing but non shooting. Therefore, I couldn't take so many pictures. It is bit dissapointing that shooting ended just as a kind of development. At this stage, I need to start collaging with clear direction, not playing on picture like I did for Christmas project.
25/2 SInce my project is based on 'Colour in Landscape', what I want to watch was black and white film. How creators impressed the audiences' sight when they couln't express certain atmosphere with colour? Un Chien Andalou was created by Luis Bunuel and Salvador Dali, picturing their dream. FOr this reason, it doesn't make sense in realistic way. What I found while I was dreawing this film was that it took advantage of black and white film. Weird and gratesque scene's unplesantness are cut off by monotonous colour and funniness and mysteriousness are even multiplied. I don't think it could be that reductive if it had been made fith full colour. There is colour which matches concept. I have to be careful about every signle details. Otherwise, a piece would be meaningless. Though I've been thinking of just making a collage, it would be interesting to make a series of pieces has a story. It's not about 'narrative', but I want to create something talks to the audience under the concept of film I've watched.
27/2 When I watched 'Amelie' for the first time-- I think I was 10 years old or something-- I could not understand this film at all. A screen filled with red and green, a prosaic narration, and comical Grand Hotel theme. The only thing I could do was just confused. The next time I watched this was almost five years ago, when I was high school student. In those days, I, like most teen-agers, had a strange and dirty feeling in my mind. It swelled, swelled, and can't be helped.That's why 'Amelie' attracted me so deeply. I suddenly realised something. Understanding this story is not really important. It is, rather, ultimate continuous pictures which pursued usual beauty.The piece doesn't expect the audience to appreciate the story. It doesn't neccesarilly want academic review. It's just something for fun. In this meaning, this film casualy and naturaly affected my life. I watchied 'Amelie' again for the research on Colour in Landscape. At that time, I watched it as one of an art student and I was intoxicated with this film. It made me realise how haighly calculated this world on the screen was. I face so delicate image every single second that my heart feels eve heavy. Here are countless number of the films in this world. However, how many more films which canbe the basis of life will I encounter?
28/2 Now I know haw to enjoy Jean-pierre Jeunet's film. A peculiar visual space he creates is so beautiful that I breath a sigh. Even though the premise could directs horror movie, 'Delicatessen' still remains as acomedy one. I fuess this balanced atmosphere comes from his sense of beauty. Habitante live in bit shabby flat are kind of fashionable with chic taste. If they had been in other film, they would have been just crazy people. That visual unification makes me feel high sense of colour composition. Old telly image and interior have pathos. Those things finished off this world as a nostalgic space. My favorite scene is where Louison tried to sulmerge the flat. In strong contrast to dark impression so far, he created bright image with progress of love betweenLouise and Marie. Jean-pierre Jeunet's strength is that he can shove his favorite things with his sense into his work and convey them to the audience without any complicated trick.
29/2 On reflection, I think I succeeded in drawing of Un chien andalou. It was the first experience I could not stop my brush working.
'composition' and 'story' came down to my project as a factor. Even though Delicatessen inspired me, I didn't feel like drawing whole movie since too much information is on the screen and clearly would take time. Rather, I want to try many things and techniques. In this meaning, researching into fashion illustrators made new wind blow in my mind. On my project proposal, I wrote that I would present a series of collage . Now, on the other hand, I found I really love film which take me to other world and enjoyed drawing them. When I drew them, I could connect with creators and get a hint what they were thinking and aiming. It was absolutely heart-beating experience and want to do more. However, if I keep it going, it would break project proposal and action plan in the end. I have to ask tutors whether it is fine or not. If yes, I would make experimental collage alongside practicing drawing skill.
4/3 Today I had a progress tutorial with Tim. What he said was; I'm writing good so keep it going. Even though I haven't done much work, drawing of Un Chien Andalou is quite successful. If I print and project them with different scale, that would be interesting. You don't need to cling on your proposal or action plan. If the change of your mind is documented on reflective journal, that's tortally fine. I can combine my drawings and collages together, but still my work is notenough. If you are not photograph person, you don't need to do that.
After talking to him, I felt lighter because I can edid action plan. I'm interested in his advice that I should print and project my drawings because it would be in between Fine art and graphic and possibly generate chemistry. Before I change my project to direction of drawings, I have to try making collage first. If it is successful, I would find the way of combine them togather. I understand about work as 'My Favorite Things' like the same name song. Films which have inspired me are all about private world and that's exactly I'm trying to create. Hence, it was delightful that Tim described my drawings 'mysterious'. I guess I didn't manage time very well so far. I could have much more collages and drawings. This week, from the night of 6th to the morning of 9th FCP is going to Brussels and Antwerp. I hope I could get some materials for collaging.
5/3 This is my first time to visit Whitechapel Gallery. Since I saw a poster of Hanna Hock I have wanted to visit but been missing chance. I like her early works as she made simple but delicate images.When they face you, you would find that the up side down legs, crazy scaled rips , and mysterious landscape seem to be on the right place as they have been there from the beginning of history. Those collages are full of insights to life, death, pains, sacredness and every factors has a equal volume.Then, how the audience responded?Some of them spontaneously gazed at pieces and were willing to see what is happening while others were just smiling awkwardly. No one rushed. Gallery space was just like a cafe. Talking each other about her works. I heard some people laughing and breathing a sigh. Here she surely succeeded in creating her world. On the other hand, I felt I may not be influenced by her works. Most of them are collages of several human body parts. However, I'm rather interested in ones of the combination of organic and inorganic things.
6/3 Today I did collaging. I didn't know creating collage is that difficult. When I look back Christmas Project, I was thinking about nothing at all, just making funny images. Somethimes it would be good, but for Unit 7, I want to make something meaningful. At this time, I mobilised every information I've gained so far and began working.First, i carefully chose pictures which atracted me on the newspaper. Then, looked at the for a while to hear what they are saying. As Mari Mahr said, I believe remaining nature of pictures would get collages distinctive. I stroked outline of subjects many time and think how I could make one image smartly. It shoud be something people feel like ' Oh it's... Interesting!'. Therefore, it took long time to combine twe or three pictures. Because of this, excitment I feel when I found amusing composition is especial. However, I found I didn't really enjoy it compared to film drawing. Since I was strongly influenced by artist research, I clinged to technique itself and couldn't interpret my world. In other perspective, my collages are just imitation with cheap trick. During trip to Belgium, I will think how I would change project. For next week, I will go back to artist research and re-start working.
10/3 I talked to Jo and got some advice; Put more writing on my sketchbook so everyone can see what you're thinking and hou you're reflecting on your work. Visit white chapel gallery and see Hanna Hock's work. It would give you some idea. If you make more collages, it would be better writing says where the image came from(e.g. Metro 24/3/2014). You should do more experimental. Even if sketchbook get not beautiful page, it's absolutely fine. Rather, you should show it. DO NOT LEAVE BLANK PAGE. You will never go back again. Also, one of students reccomended me to research Richard Hamilton.
As I have decided last week, I did drawings of 'Delicatessen'. At this time, I tried in different ways. It's been long since I had done continuous line drawing last time. Though I was investigating the film, in other words, exactly what I'm seeing, tried to show how my filter captured it. I really liked interpreting film since I can add my style in drawings. Drawing of Marie I've done with simple water-colour line and pink rips is my favorite.
13-14/3 I had a high fever. Feel too bad to work.
15-16/3 Since I liked drawings I've done on11th, I kept this style. I captured attractive Amelie moment from 'Amelie' and drew with water colour. I 've been learning skill how to draw in my way, not beeing obsessed with drawing precisely. The most helpful way was that drawing as I 'felt' not 'saw'. So, I could express the charm of the scene. Drawing the favorite thing from favorite piece is always enjoyable and has motivated me. Throughout this process, I felt again that I'm changing my project to illustration. The problem is that I'm not doing work in termes of 'Fashion' even though my sketchbook covers the definition of 'communication' well. Then, I watched 'Amelie' again to look for fashion at this time. It was amazingly good expeerience to pass through. Extracting her clothings enables me to see how to use colour effectively in the landscape. Now my project contains 'delicate' as a keyword. The most dissapoint thing I have to cope with is that I don't have anything more to write about today's drawing. To overcome this probllem, I watched black and white film, 'PSYCHO' because I remembered exciting drawing of Un Chien Andalou. Turn out, my attack was right on target. Mysterious non-colour screen has motivated me. Since I have to find character, furniture and environment without colour, just copying the scene doesn't work. Appreciating the line between matters is required. That's why I enjoyed and even didn't want to stop. What I have to think about is how I would present my work for exhibition. Time flies.