Intervention: Animation Idea

An animation idea. I have photographed and recorded the changing faces of the post tops for many years and, I admit, I am struggling to find a suitable way of presenting these portraits to illustrate their change over time.  So, as well as presenting collected images of individual post tops (shown here) I am now working on an animated series of images.

I start with a view of the sea splashing against the groyne (and my boots). It will be interesting to see where this goes, but, at the moment, I am enjoying exploring the process.



Responsive Line: #portraitNovember

#portraitNovember on Twitter, and I share a series of faceless portraits and ask what is a portrait? Does the face have to be included to produce a portrait of a person? Or can collections of objects present an aspect of likeness? 

The objective was to achieve the likeness of a person, a sense not of what a person looks like but a sense of who the person is, using objects that form part of their everyday lives. As such it is also an exploration of metaphor as each object is a descriptive metaphor for an aspect of the individual’s life.

It is useful to consider four categories of metaphor:

Universal metaphor is in principle understandable by any other person, regardless of culture. These tend to be things that have clear, body related, functions.

Cultural metaphors make up the majority but require the audience is of the same culture, or has understanding of that culture, to communicate.

Sub-cultural often relates to specific skills related groups and interestingly can sometimes cross cultural boundaries.

Personal metaphors are those meanings we attach to objects on the basis of personal experience.

A true sense of a person, an informative likeness, is created by the selection of appropriate objects as metaphors. The effectiveness of the metaphor depends upon which category they are in, and the degree to which the audience are part of that category.

My personal view is that the face is like a product brand and only represents us in as much as it allows others to associate particular skills, qualities and attributes with that particular brand (face).

Inside looking out
I collect, make, do and see.
My face is not me.


My faceless portraits form part of:

Alternative Viewpoints, Towner Gallery, Eastbourne
Saturday 3 December at 4.00pm. Free.

Blue Monkey Network artists Cliff Crawford and Jan Turner respond to the `One Day Something Happens’ exhibition at the Towner Gallery, Eastbourne. The session will take place in the gallery space and offers a participatory experience in a fast-paced workshop exploring ideas and thoughts relating to the exhibition. What creates the likeness of a person in a portrait? Consider the objects that dress the image: faceless portraits.


The Obliterated Crow

The Obliterated Crow is my first solo exhibition at Murmurations Gallery, Bexhill,  from Tuesday 17th May until Sunday 29th May 2016.  The gallery is open from 10.30am to 4.30 pm (closed Mondays). Further details below…

Gallery View of Exhibition

Having both a degree in Fine Art and a Masters in IT, I experience the tension and synchronicity of these divergent disciplines. Using physical and digital media in isolation, in combination and iteratively, I produce sets and series of images to explore real and perceptual change.

We are physically and conceptually defined by the tools we use and understand. We anchor ourselves to the spotlights of our competencies, nodes in networks of change surrounded by shadow. I represent perceptual change by exploiting different tools; applying physical and digital media creates many perspectives but simultaneously hints at a singularity.

A piece of work hides as much as it reveals. Obliteration is inherent to the act of recording; this is true of both art and IT. Obliterated Crow presents a series of visual conversations between a crow, the air and the media used. My conversation began with the crow on Galley Hill. She tilted her head and made eye contact; I drew her. “Think that’s interesting?” she asked, as she skipped into the air and played with the wind.

On Saturday 21st May and Saturday 28th May there is a `Technical Walk Through‘ where I will discuss the processes used to combine the physical and digital media to produce the Obliterated Crow series.

On Sunday 22nd May and Sunday 29th May there is a `Concept Walk Through‘ where I discuss the ideas that drive my practice and those specifically related to the Obliterated Crow series.