Steve Rood - Photography then, now and what it will be

The Lecturer of the week is Steve Rood. I have never had a chance to meet Steve prior to the class, so i was excited to hear from an artist that i haven't talked to before. It was extremely handy that Steve had given the class his website which had the lecture content.

http://www.rood.co.nz/talk/


I really like Steve's good sense of humor and it shows through in some his art practice. Generally i find photography difficult, however i actually really enjoy the works from Steve, as they have a very soft illustrative and narrative effect which i personally see similar to a painting. So i found Steve's photographic works very interesting and fun.



Steve began the class by showing us the first photo he took when he was kid, which was a black and white photo of a pile of compost. Sometime later on the same day after he took the photo, the compost caught on fire and had to be put out by the fire department. This inspired Steve to continue down the path as a photographer as he was fascinated at the thought of capturing images of objects and what will happen to it next. I like how he used a mini fire extinguisher as his catalogue' for this photo, which had the story behind the work on the back. I find this idea humorously symbolic of the burnt compost and also somewhat in a way very practical, (great sense of irony right there.)


Steve continued by showing us a list of great influences that helped him in his practices, the list was shown as a red square with names flashing very fast. I had fun trying to capture some of the names. It interested me to see that the name Diane Arbus poped up, because Steve's photos are


very beautiful as well as formal, while Diane Arbus was known for her photo taking of 'freaks'. The subject of her works are often described as 'deviants' or 'marginal'. However i do see a similar photographic lighting style with Steve's earliest compost photo. I would assume it would probably because of the same use of natural lighting. Which i see as a very strong element in Arbus's works, as it suggests a harsh sense of reality. It also reminds me of the series of friend portraits from Steve, as the images are harshly lighted, but in a very selective way, especailly the eyes.



I also thought it was very nice of Steve mentioning 'mum' in the list of inspirations.






As the compost incident introduced Steve into a life-long dedication of photography, Steve first started taking on photography career in London as a documentary photographer. I think most of Steve's works have the traditional formality quality that reminds me of documentary photographs. The first series of works Steve showed us was from when he worked for fashion industries. This series of images by Steve as he explained was over exposed and out of focus, reducing the subjects to a point of hardly nothing and it's most sensual form.
Steve also explained that it's also how he picture clients, which i could relate to, as during my study of fashion at AUT i learnt to see models as simple structures. I was really fond of the picture of the plastic bag. At first i thought it was a flowing silk garment, it's only after Steve told us it's actually a plastic bag i realised how beautiful a piece of rubbish can be captured in art. This idea reminded me of Francis Hansen, who made artworks out of old and unwanted baskets. Immediately the audience would start seeing the object in a new light.
Later Steve moved back to NZ worked with food photography for cook books. I thought the nik-name 'pouring guy' was quite funny. The pouring works have the same style of lighting like his fashion shots. The white background with high color contrast that accentuate the objects. Steve's photos are visually pleasing for me, as the lighting of Steve's works are quite feminine and soft. which is mostly shown in the skincare photos.

The next series of works is of lamp light structures that projects light from the light bulb inside the structures. Steve explains that lighting in photography is always being shined upon, so he want to reverse that and explore the light comming towards the camera instead, so the light cast shadows of the form of the lamps.









Uptill now Steve's practices have been very traditional photography. Steve decided to further his career with his photographic talent by doing a master degree at AUT. And at AUT he made a digital media portraits, called 'project George'. Project George is a collection of fond images that was in an interactive and narrative manner. I like how the little postcards moves around an image and by random they come to contact and the image change. I think it's indeed just like how Steve described it, 'narrative postcards'.
I think at this point Steve's practice is moving into a more modern phase. He began working for website designs, he also mentioned websites like CPRW Fisher and Rita Studio which were infact architecture websites. Because of the close relation between architecture and photography, as they both need each other, Steve with the help from his group of designers and photographers worked for websites to provide them some extra earnings to supports their photography passion. Which is something i wish i can do for myself, like Allie from class who's printing t-shirts for a source of extra money, i would love to do what i love and earn an extra income from it, at the same time, getting my name out there.

Steve ended the session by showing us the history of photography. It began with sketching in 1400, a mirrored device was used to reflect the image onto paper. This technique lasted till around 1838. Which reminded me the pantograph my class made for Deborah Crowe's class. I think it's very clever for people back in the days to invent tools that did what modern technologies are able to do. Then classic painting became the closest thing to photographs as traditional oil paintings are so realistically detailed. Then finally the invention of camera came in around the 1800s and photography replaced oil paintings at that time, and it was heavily debated wether if photography is art. I liked the series of still shots by Edward Maybridge who too photos of a horse running, and proved that when a horse runs at one poin all four of it's legs are all completely off the ground. Steve then pointed out something i have not thought much about before, which is a moving image is a sequence of stills. Lastly Steve ended by showing the lastest way to share photos, websites like flikr and Glastonbury's glastotag, where you can tag names of youself or friends that attended the event.

Steve's lecture was very inspiring, as im currently on the moving image rotation with Rebecca Hobbs. So i thought this talk was very helpful indeed. Steve also opened my eyes to the history progression of photography, and how it has changed through out history. I personally think his own practice is very much like the changing process of photography, as he began his career doing very traditional and formal photographic shooting, then slowly moved to constructing website deisgns which he take advantage of his photographic skills and then lastly Project George was a very fun story like slide show that engages the audience. I wish to follow up on more works from Steve in the future and see how he will do for the next phase of photography.

Fran Allison - Collabration vs collective

1. Define collaboration and how it differs from a collective.


2. How have these terms influenced Fran's practice.


3. Give an example of collaborative art practice.



This week we had Fran to host the lecture for the class. I don't have Fran for class this year, so i am curious what field of art she specialises in. Prior to the lecture i know that Fran work with jewellery along with Mary Curtis, so i am intrigued to compare the two jewellers. Also this is another opportunity for me to understand the process of constructing 3D artworks better, as i am still quite a stranger when it come to translating my idea into something 3D.


Fran is a member of a group of artists called 'Weeds', along with Andrea Daly, Shelley Norton and Lisa Walker. Despite they have made many collaborative works, Fran explains that 'Weeds' is still a collective of artists. Fran went on by explaining the difference between a collaboration and a collective. Although both involves having a group of participating members, the two terms are actually very different. As Fran states, a collaborative group is having all members working together to construct a piece of work together, each person might get assigned to do a particular job to do, yet most of the time the aim is to help each other. And in the end the work is put together by the entire group.


Where as a collective is having each member making a piece of artwork individually that contributes to the group as a whole. Therefore the participants are recognized as a group of artists, however at the same time the group doesn't necessarily agree with each other's ideas on art and each member make their own separate artworks.




Fran told us that 'Weeds' was formed after a visit to the show of Bone.Stone.Shell. As Bone.Stone.Shell is well known internationally, it is how the world knows of jewellery of NZ.


Fran and the other NZ jewellers felt angry at the fact the change in progress of NZ's society along with it's contemporary art still not being noticed. And with this common goal, 'Weeds' was born. I liked the joke they shared, as they said Bone.Stone.Shell sounds like tramping jewellery.



http://www.fingers.co.nz/exhibitors/Weeds_05.htm



Fran started the lecture by showing us a series of collaborative and collective groups. The first group which is also my favourite of all is 1234 Lab.

1234 Lab is a collaborative group that attended the Royal collage of Art together. Although they went to the same school, they all specialise in different aspects. As Fran explains a collaborative group is having the group working as one, the group would not be successful if a member is missing as everyone have one thing they specialise in. They make jewelleries by speaking words and translating them into 3D sound map. The necklace in the picture is actually a quote from a French actress, 'age does not protect you from love, but love somewhat protect you from age.'

Another group Fran mentioned was Workshop 6, which is a collective group which includes Areta Wilkinson, Lisa Walker, Helen O'Connor and Anna Wallis. I like how they manage their work area, as Fran explained workshop 6 allows jewellers to come work at the studio benches and also they give jewellery classes to help with the rent. Additionally i really like the way

Unnatural/naturally share ideas by sharing a sketchbook. I think this idea is fun and unique and would love to try this method with some friends myself.

Fran continued by going through her years of artmaking with the class. She started off with a design course along with metal work and jewellery. She began working as a metal smith making design domestic objects. It is then Susan Con a jeweller Fran is friend with, inspired her to work into small scale works like jewellery. Fran explained that she like to explore the 'accidents' in art-making. She enjoy the idea of not knowing what will happen and the lack of control. I see a close connection to her domestic theme with Francis Hansen's artworks. Both artists's work carries a 'domestic house-wife' motif, that is inspired by what is found around the house and everyday life. Such works like the rings Fran made out of her son's toys, and the 'Wife' ring (which was my personal favourite because of the sense of humor) which was a ring that is made out of precious material just like a wedding ring, however with words such as 'cooking,cleaning,f--king...ect' carved on it, also suggests what's happening in her life that inspired her to make the works. And just like Francis Hansen and Mary Curtis, Fran make works by recycling the materials she use, like she said 'objects carry stories just like a person, by reusing an object it's like carrying on with the story, layering story upon a story, like meaning upon meaning.'

Like the work 'How to make a necklace from a frock' The neck is made out of the cut out circles of the dress. With one material two artworks was constructed.

http://www.objectspace.org.nz/programme/works.php?documentCode=676

I think Fran's art making is a form of collaboration itself. She have merged all the different skills in different fields together through out her working experience and 'collaboratively' produce works. I really like how she also brings the skills she have from food model making into her works as well, it sounds like fun making metal works that look like chocolate.

Additionally i think her works also need to the collaboration of the audience. Like the work 'Soap', which is a ring inside a rose scented soap, washing is required to gain the ring. So to me the piece is most successful as the work start to progressively change toward the final product when there is interaction between the work and the viewer. Such interaction with the audience is very similar to Dion Hitchen, who often involves the audience into interaction with the artwork.

An collaborative group that i really like is Rise industries http://riseindustries.org/

This work is an installation of a 'handmade-magazine' that was set up in the public space and passing by audience can leave their own messeges too. I really like this collaborative art as it also involves the audience collaboration as well. Which is very similar to Fran Allison as well as Dion Hitchen's involvement with the viewers.








I really enjoyed Fran's lecture and i also really like her works, which are very cute and feminine. I am also very keen to make more interactive artworks with some classmates as well, as the collaborative work my group made for my sculpture paper was very fun.
I am interested to see more works from Fran.

Deborah Crowe - texitle and art

Blog Qn: What is Deborah Crowe's 'one idea' made up from and how does it keep recycling in various works?

This week we have lecturer Deborah Crowe to give us the lecture on her practice. I have been interested in learning what field Deborah explores in her artworks, as i have not had any classes with her yet. I was also intrigued in seeing how she would construct her works, since i have heard she deals with both 2D and 3D aspects of art. I feel like this would help me greatly in understanding and relating myself more into the fields of 3D art works.

Deborah stated that she construct drawings by using collage techniques, however she also uses the atmosphere as a tool, such as light, mood, sound and voices. She majored in textile and design along with having a passion for art. It's very inspirational to see her combining skills from the two elements into art making, i had too taken fashion, I wish i can learn to incorporate textile techniques into the works i make.

Deborah is known as a strict teacher as i heard from classmates that had been in her class previously, it's a quality she explores in her art as well. She explains that she have great fascination in the sense of being restrained and contained within a space, she plays with the idea of discipline and boundaries in her works, like she said 'i like to see where the edge happens.'

It is very interesting to learn that Deborah have a favourite place to draw, unlike lecturers before who showed photographs of their studio at home, Deborah told us that the Forth Railway Bridge, (a bridge in Scotland) is where she always travel to and sit under to draw. To her, it is a closed in place that lets her generate ideas, as it is an overhead structure therefore it gives a sense of the body being contained.

Her exploration of how the human body being placed in a space reminded me of Steve's study of one's placement in the world. Both artist deals with the relationship between the space and the body.

There's no definite idea for Deborah's practices, her works consists many ideas that constantly shifts. However there are some focal elements that i picked out from her slides of works. Some of the main ideas are based around containment, weaving, bridge froms and wolven like architectures. Even she admits that 'documentation of some work become the material for the next to come'.

Deborah's fascination with bridge architectural forms make me feel strongly of the ideas about being contained by woven like construction. As i can identify a relationship between the weaving of the threads of a fabric and the structure of a bridge.

One artist Deborah was greatly influenced by was Caroline Broadhead.

Broadhead explores the light and shadow which represent the present and the absence of the body. I can see similarities in Deborah's earlier works as they are very fashion orientated.

I like Deborah's work 'Adina', which means containing the body in Latin. The work shows a rather feminist connotation of the society's pressure on women, resulting the distortion of female bodies, almost in the form of torture.

This containment torture continued into the next series of works, which was the neck pieces displayed at 'fingers' gallery. But this time targeting the male body. The neck pieces are like shirt collars which was weaved of mesh, Which look extremely uncomfortable to wear. The idea of making the neck pieces out of mesh came from a joke of shirt collars being hard enough to cut into flesh. I found this series of works interesting, i like the way she deliberately made the pieces in the form of a fashion decoration that distort the body.

This lead to the collaborative work with Kim Fraser - Dual Outlook.

This piece had the same idea of containing the body in a woven form, however this time it was about creating a safe space for the body to hide in, a place away from technology. This is my favourite work by Deborah as although the piece seem very hard, it is actually very wearable. Which is almost like the reverse effect of the mesh collar pieces, Dual Outlook is apparently quite functional.

This reminds me of another artist that Deborah mentioned - Toyo Ito.

Ito's designs look like the interlocking of the threads in fabrics, which Deborah love.

Deborah explained his work as being 'concept and functional architecture', which contains at the same time being interactive.

Which is interesting to me, as i have yet to make art can be beneficial physically, it is something i want to work towards to, especially when it comes to 3D art.

I like how Deborah can combine so many ideas into one work to convey her message to the audience, but i think it is very effective. The one idea that i found being repeated in many of her works in the containment of the human body, which is always accompanied by a form that is woven. I find it hard to seperate these two as i feel that she seem to use the two ideas as one idea. I personally like this use of ideas, as i often struggle with relating one idea to another.

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After the lecture we went to visit the gallery show 'manu toi'.

I was excited to see the works by Dion, his works are distinctive and seeing it person i really feel the interaction between the work and the audience, as i can go up close to it and walk around it. Which is important especially for a 3D artwork. I feel priviledged to be taught by a well respected art practician.

Also it reminded me that i need to start doing my sculpture homeworks..