Page History

Lily Vernon

My two artworks explore the themes of identity through fashion in a personal context. My artworks represent the person we curate and present to the outside world, and how that face protects us. The heart is a visual representation of this as it is a copy of an anatomical heart, but ultimately a flattened, and unreal copy. This exploration was drawn from the widely used frame “heart of my sleeve.” My inspirations are mainly Katerina Marchenko, Teuta Matoshi, and Jean Paul Gaultier. To make the artwork I used embroidery thread, drill, flat back beads, and zip ties along with a pattern I created

Allie Currie 

‘Still Life Moving’

Digital photograph

“Still life reminds us of the magic of everyday life” (Henri Matisse). The ideas, themes and techniques I explored for my self-directed folio is the manipulation and distortion of traditional still life photography. Still Life is a genre of art that focuses on inanimate subjects without movement. Usually, the subjects are commonplace objects. These can include both manmade objects (such as vases, items of clothing, and consumer products) and natural objects (like plants, food, rocks, and shells). My conceptual idea explores the nonconventional functionality of everyday objects inviting viewers to learn, unlearn and relearn the true beauty of basic household necessities. By challenging thinking, objects were highlighted for not what they physically are, but for what they could potentially become.

Inspired by Matisse and contemporary photographer Daniel Gordon, I played with the distinctions between a painting and a photograph. In images one and three, I replaced solid still life objects for paper copies items found online. Once the items were chosen, I printed them out and stuck a backing behind each one to keep upright. In doing this handmade construction, I was following the processes one would take when sculpting or painting, broadening the boundaries and limitations of digital photography. This allowed me to experiment with height and perspective, manipulating realistic sizing of the objects to suit my envisioned scene. Manual settings on my camera were used to control shutter speed, aperture and ISO, working together to control how bright or dark my images turned out. A sense of movement was gained by exercising the element of light and rhythm. Light was achieved by utilising a high aperture and slow shutter speed, allowing for brightness into the lens, creating unfixed, illuminated images. Intense colour hues were also the main driving force behind these works, experimenting with dynamic, intense pigmentation juxtaposed more ethereal and naturalistic tones. Rhythm was also employed using my free hand to hold down the focus button on my camera and physically distort the frame by vigorously knocking or shaking the lens. The creations of these compositions relied mainly on physical distortion of the camera at the shooting stage and Photoshop was only used in the finishing process to crop, brighten and to improve lighting levels. This generated emphasis, bleeding of colours, distortion and motion into still life.