Artists

Artists, embracing various mediums have been researched with the following being of particular interest:

Peter Fraser (born 1953)

Peter Fraser was one of the photographers invited to take part in the Valleys Project (1985) and has also exhibited at the recently held Photography in the 80s at Tate Britain. I was struck by the use of mundane everyday objects to explore hidden layers of meaning and his reference to “the intensity of vision” he experiences during his work. Both are exhibitions which I have recently seen and they are challenging, evocative and thought provoking.

Refer to images from the Valleys Project, Everyday Icons 1986, 12 Day Journey 1984.

These works and the interviews researched have very much encouraged my own self reflection on the nature of my process and how I can develop ideas through a layered approach. On recent visits to South Wales I have taken numerous photographs embracing both an element of reminiscence whilst also recognising the importance of celebrating the present.

“I was completely involved with the idea of working ‘poetically’ with a camera rather than as a documentary photographer”, Fraser says. This is something I want to progress in my own practice and I have experimented with the use of various materials; paper, card, wood, metal and in incorporating these in collage and digital print.

John Davies (born 1949)

John Davies visited Rhymney, South Wales as part of the “Valleys Project”. In the early 80s he had become interested in the significant role industry played in shaping the British landscape and the remains of the mining industry.

Photograph taken by John Davies at Penalta Rocks, Astrid Mynach, South Wales, 1984.

“When I reached the top I discovered this graffiti … Duran Duran made spectacular videos at the time that had a visual impact, and this, too, seemed quite a statement in this relatively isolated place, hidden in an industrial area. It it wasn’t for the graffiti I would have just taken a picture of the view. Instead I found this surprising conflict between the natural and the modern cultural life of the time”.

I had taken a similarly unusual photograph whilst visiting Port Talbot and the Aberavon beach on the north eastern edge of Swansea Bay shortly before starting my MA. This showed a rock with “Rest Easy David” painted thereon, a wreath and a can of cider. Whilst having attended the area to take photographs of the close proximity of the steel works I was struck by the immediacy of human loss and the way that it had been celebrated/commemorated. I reflected on the beauty of this moment. I believe that it is important for images to have an immediacy, a context, and to encourage the viewer to be engaged.

Paul Reas (born 1955)

Contemporary photographer and educator, currently Course Leader of the Documentary Photography course at the University of South Wales, Cardiff.

Another who contributed towards the “Valleys Project” (see “Daydreaming about the good times“).

“I can Help” (see photo from that project which shows Crafted with coal and two shoppers)

The images are both compelling and often humorous, with text an important factor in engaging the viewer.

Tom Wood (born 1951)

Known as the “Photie Man” in Merseyside where he recently held an exhibition at the Walker Gallery, Liverpool and Photography in the 80s at the Tate Britain. Having attended both these exhibitions there was a tangible sense of affection and integrity. His body of work had extended over 40 years and where communities had been revisited and family members and their offspring photographed over that period. It also emphasised to me the nature of trust he had forged with those communities. I believe that people associate photography as a more accessible form of art and it can therefore have an immediate and personal impact. This will be something I intend to progress and also reflect in how it could be best presented to the public outside of a gallery environment, at train stations, bus stops, supermarkets and the like.

Rene Matic (born 1997)

On seeing the work at Tate Britain there was a real sense of honesty, integrity and resilience with which I was struck. The compelling nature of the images encouraged me to research the work and I believe that this is integral to both the nature, and presentation of the work.

What makes you interested in an image, and, what makes you take the time to look at it further and even research where you are not a student?

In my practice I seek to embrace the vibrancy of colour allied to found objects as I did with the sheet of rusted corrugated steel to which I then affixed the digitally reproduced image of the miner.

Andy Warhol (1928–1987)

By Andy Warhol.

Warhol certainly knew how to engage the viewer and the timing of his practice was also perfect. One of my favourite artists whose painterly silk screening and colours I find captivating. A fascinating artist whose complexity was beautifully captured in the biography “Warhol: A Life as Art” by Blake Gopnik. There was certainly a strong element of resilience and work ethic within Warhol as the result of his background and ill health as a child. The Cow wallpaper series are amongst my favourites and along with Baldessari he recognised the importance of the strength of image association.

Gerhard Richter (born 1932)

Richters use of photography has greatly interested me. The overpainting of photographs is particularly evocative along with his use of both personal and those cut out from magazines. Works of note for me have been his “Cage Paintings” and the “Atlas“ series.

He also refers to the “chance process and chance effects” and of their mimetic aspect. Through my practice, and before joining the course I re worked/ a number of photographs from my youth with the use of pastels, Posca pens and charcoal. The experimental aspect of photography and collage/decollage is something I intend to progress along with the inclusion of text.

I have thoroughly enjoyed researching Richter and in particular the interviews and studio visits. His abstract paintings have an incredibly moving effect when viewed in person. I would like to see such works displayed more openly and where they invite and challenge contemplation.

Richard Deacon (born 1949)

Deacon emphasises the importance of experimentation in his process, and I particularly enjoy his titles which are often drawn from popular culture.

Photograph by Richard Deacon.

Also see: “This is Not a Story”, “Home & Away 12,6”, “As If 13”.

The photographic element of my process is something I will continue to undertake and research.

Derek Jarman (1942–1994)

A multi talented artist whose work was both brave and poignant in dealing with AIDS from which he sadly died. A person of integrity and of significant resilience who completed the beautifully written book “Chroma : A Book of Colour” shortly before his death. The book has a poetic, mellifluous quality and I particularly enjoyed the chapter on Blue which has become relevant to my practice.

In the pandemonium of image I present you with the universal blue. Blue as an open door to soul, an infinite possibility becoming tangible.

I have recently taken some photographs where the colour blue has featured strongly, from both rural Wales and the built up estates of London.

See “Dead Man’s Eyes 1987

Robert Rauschenberg (1925–2008)

Rauschenberg believed strongly in social change and was proactive in his setting up of various projects. Very much a creative artist who embraced all mediums

“That’s why I like dance, music, theatre and that’s why I like printmaking, because none of these things can exist as solo endeavours.Also, the best way to know people is to work with them, and that’s a very sensitive form of intimacy”. (Artnews, February 1977).

The intention of my practice will be to address similar relevant issues and to engage disadvantaged elements such as Youth Offending through recognition of the importance of identity, self worth and resilience.

John Baldessari (1931–2020)

Artist and educator who incorporated text and photography into his work, along with collage. Baldessari again reinforces the creative nature of experimentation. His work has a playful and engaging quality; by incorporating known images/photographs he gains the attention of the viewer through recognition and association. Interviews reveal his energy and passion for creativity. Along with Ed Ruscha and Rauschenberg they produced work of a multi layered nature. As documented in the Events section I found this manipulating of an image very rewarding, in working and reworking an image through different mediums. I found the process itself, the unintentional mark making and combination of hitherto untried materials productive. The freedom to create without a stringent objective in mind was the catalyst for some of my best work to date.

Ed Ruscha (born 1937)

Ruschas graphic style, use of imagery and text pioneered Pop art. He has an extraordinary body of work and his influence continues to this day through both advertising and street art. The way he engages the public consciousness is extremely relevant and something I want to bring in to my practice. I have started to experiment with a cut out style of presentation with images overlain with comic book cut outs with the imagery in a cut up form. This served in creating a story book presentation.

Jay Bernard (born 1968)

I came across the artists work recently whilst visiting Tate Britain and was immediately taken by the poster style of “You are invited back to the land”. A multi disciplinary artist whose work is charged with integrity.

Victor Burgin (born 1941)

The importance of image and text and to how they influence and resonate with the public consciousness.

Richard Mosse (born 1980)

I found the work of Richard Mosse incredibly powerful and his interviews on his practice very inspiring. He reflects on the importance of his work and the responsibility he has as an artist. Listening to him speak there was a real sense of integrity. He speaks of the importance of “making people feel something” through watching his work. His work has several qualities in order to achieve this: aesthetic, scientific, forensic, and indexical. On reflecting on these pieces I identified the necessity for being experimental, creative, and brave in my own practice. His use of multi-spectral cameras and thermal technology elevates his work through an activated, often aggravated prism where the viewer is challenged on a different level.

I found the piece “Incoming” 2017 on the issue refugees and trafficking extremely powerful. There was a sensitivity to the piece which I want to bring to my own work.

Above all he stressed the importance of being able to address issues in a different way and of being able to actively engage people. His own of colour is again very effective.

See:

Katrina Palmer

See Critical Reflections.