Julie freeman: data/art

https://www.a-n.co.uk/news/a-qa-with-julie-freeman-artist-technologist?platform=hootsuite

Mono-print from photograph

Mono-print drawing into ink blend on lino plate taking colours and forms from a photograph taken on a train from London to Northampton.  

Movement Drawing

Up, Down & Around

Photo Etching of photograph of silk screen being cleaned. Capturing a frozen moment of action. Ghost image visible and manipulated on photoshop, overlaid with annotations.  Drawing attention to authorial agency. 

First proof

Life through a grid

"You have to  play with reality as you  play  with a grid" Karel Martens

Perceiving reality through 'the grid'. Pursue a series of drawings/prints on graph paper
(What  was  my initial  reason for  using graph paper?)

Relevance of the grid:
-within the everyday
-organisation of space
-in other artist's work eg. Rachel Whiteread, John cage, karel  Martens

Relevant texts
-Grids, Rosalind krauss
-Rachel Whiteread drawings

Screen printing fabric monotypes

Works from the print room on Thursday 5 November.  Placing fabric on exposure unit directly.  This was exposed at 30 units (the lowest you can go and still fix emulsion).

Next step directing the space: drawing connections between forms and highlighting the illusion of 3D space. 

Watch this...space!

Drawing

Rachel whiteread, Study (Blue) for ‘Floor’ (1992), 420 x 595 mm
Correction fluid, ink and watercolour on paper



Richard Tuttle, Type L (2004), 33 x 33cm
Colour aquatint with tarlatan chine collie, printed from two plates

Scordatura: Recital, Liz Miller at Bearspace Gallery

http://www.bearspace.co.uk/exhibitions/scordatura-recital

http://www.bearspace.co.uk/exhibitions/scortadura-liz-k-miller

Research trip to Krakow: International Print Triennial

Stanislaw Lewkowicz

Fragmentary Memories of a Winter Trip, Plastic Christmas Tree (2013)
Photography / lithography, dibond / epoxy

http://www.flatlandgallery.com/artists/stanislaw-lewkowicz/ 

Neil Malone

 
Sometimes It Rains No.7 (2014)
Woodcut

Regina Costa

The Map Is Not The Territory Series (2015)
Digital Print

Satomi Tanaka 
Dim - Plastic Memory 028 (2014)
Digital Print, Screen Print, Intaglio  

Too subtle to show an image - introducing texture to the digital image. One way in which to imbue it with the physicality and experience of touch that seems to be lost in digital processes.  

Adam Maria Panasiewicz
Between Series (2012)
D-Print UV 

Reminds me of Helena Almeida with the use of the frame and attempting to organise the photographic space/ placing the body within the frame of the photograph. Sense of touch
(Scan image from catalogue)


 Wojciech Tylbor-Kubrakiewicz

  














Reflection (2014)
Linocut, D-Print UV

Admir Mujkic

Ribolik Series (2015)
Etching


Different modes of display: 

FRAME. LINE. SUSPENSION. TRADITION. SHAPE
 

Soft Ground Etching, Netted Fabric

Ideas to pursue following tutorial with Jo

Series of monoprints
Screen print- ways to bring in texture/ sculptural quality to prints – using multiple printmaking
processes for one print
take rubbings of paving stones/ other every day textured things/ wood grain and then print grids
over the top of them. Then take sections of the rubbing and incorporate this into a larger print
somehow . continually layered process.

Hover

The Global Community as an exercise in the organisation of space (& hypocrisy)

Why are we allowed to pick and choose when we are a part of a global community and when we are not? 

The internet has given us a sense of boundless access to knowledge and limitless communication, yet in crisis we revert to our physical borders; box ourselves in and others out. 

Even the open range of the wild west could not sustain the wanderlust. The invention of barbed wire put an end to the right to roam. We constantly implement systems by which is organise, structure and remove space; placing it within a concept of 'ownership'.

Why do we feel the need to structure society/our daily lives in this way? To create a uniformity that doesn't allow for individualism, understanding or creativity.

Little boxes on the hillside,

Little boxes made of ticky-tacky,

Little boxes on the hillside,

Little boxes, all the same.

There's a green one and a pink one

And a blue one and a yellow one

They're all made out of ticky-tacky,

And they all look just the same.

The media response to the refugee crisis is removed digitally from the very physical experience of the people who's story it actually is. Does this say something on a broader level about our removal from physical experience through the digital medium? It also brings us back to the paradox of acceptance of the global community in its digital capacity but our avoidance and steadfast adherence to physical borders when the global community becomes a (problematic) physical entity. 

A repetitive ritual that can be explored within printmaking

Digital Sketch

What ideas am I thinking about here?

'Free forms' (nature)

imagined spaces: caves, alcoves, gaps - the landscape of Poland (photograph is from Ojcow National Park near Krakow) is my idealised landscape

Mapping: grids, structure, control

Colour...

What is the next step?

Printing directly onto graph paper /

How else to create 'free forms' & ways in which to control them / 

Getting into the 3D workshop - cutting up the plate, physically re-ordering the space
(As in 'Re-Constructed' but instead of cutting up print- cut up the plate - a sort of mono-printing perhaps?)

The present as a site of negotiation

First MA Print!

The Future: Past and Present

Past. Present. Future.

Present. Future. Past.

Future. Past. Present

Past + Future = Present

Without acknowledgement of the past the present could not exist.

Without an idea of the future the present could not exist.

The present is a collective idea of the past in a particular moment which projects an image of the future in its wake.

Our current idea is of a Utopian past; blind to the irony of the notion of 'Oh what a lovely war'; preoccupied with kantian notions of the sublime; desperate to return to 'nature'. This desperation is epitomised by the craze of 'the festival'; a retreat into nature serenaded by music, surrounded by craft, sleeping under the stars and drinking ambrosia. Yet these weekend escapes are underlined by capitalist ideals; people are sold the dream; mobile phone charging units are available at £5 an hour and people queue, slavish to their consumerist command for contact with 'the outside world'- the very world they purchased an expensive ticket to escape.