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Work by the creative duo jiggery pokery, a project inspired by South American coming of age parties where it is said that girls often dress to match their cake. A collaboration with Sarah Fotheringham.
This work appealed to me as it is similar to the type of aestheic i am trying to create with my work. Very detailed and fun installation. Quite lo-fi and quirky. lots to look and fun! thats what i want my work to be!
Kjeld is a Danish designer that encourages clients to create their own wallpaper designs to decorate their home in a more individual way. The collection consists of 8 patterns, including 4 hybrids. By means of transition wallpaper, so called hybrids, it is possible to combine 2 different repeat patterns therefore creating different atmospheres. The patterns are unique and they can be combined. This combination creates decorative soft transitions. But more than being an elegant decoration the collection can be used functional to make space within space. This gives the possibility to create a more personal decoration.
The work focuses on way wallpaper defines a space and designs morph into each other from roses, to lace, to leaves. The use of layered patterning gives a historical sensibility 'shabby-chic', decollaged aesthetic and use of pastel palette.
Looking at Kjeld's work I see how it is possible to successfully combine different patterns and elements and how wallpaper can really change the feeling of a space. I admire the interchanging qualitites. With my own design I will try and keep the sense of playfullness and fun creating a space people will enjoy being in. I want the designs to be incredibly detailed so that the viewer looks at a different part everytime they view the work seeing it as a real celebration of vintage ephemera.
Described as a 'pioneering digital designer/artist' Christopher Pearson's work explores the space between the virtual world of digital technology and the tangible tradition of craft. Pearson focuses on the potential of how things could be, as opposed to what they are. Working on bespoke projects he explores the lost art of craft. His work shows how far wallpaper has advanced in the past decade. Practioners in this area are really pushing the boundaries of what is considered 'wallpaper', none more so than Pearson. Like Verhoeven, his work adds a whole other dimension challenging the stereotypes between art and technology and our cliched views of wallpaper.
'Wallpaper became my own outlet for working with pattern, it also embodied my interests in traditional design and gave me a structure in which I could explore and find out what wallpaper could be, rather than what people think it is.'
'The problem with wallpaper is people think its just for walls; it should be an excuse to cover anything and everything.'
I agree with the quotes above from Pearson - and have tried when producing the work for this project to be open to ideas about what wallcovering is actually all about and means. I have been daunted by the scale of finished work i want to complete but I think i have to be positive and not daunted by it, anything is possible!
www.lookatyourwalls.com
Have just watched the film 'beautiful losers' about a group of artists that came together and inadvertently created a new genre of art. The film really helped give me another perspective on my own practice.
The greatest cultural accomplishments in history have never been the result of the brainstorms of marketing men, corporate focus groups, or any homogenized methods; they have always happened organically. More often than not, these manifestations have been the result of a few like-minded people coming together to create something new and original for no other purpose than a common love of doing it. In the 1990s, a loose-knit group of American artists and creators, many just out of their teens, began their careers in just such a way. Influenced by the popular underground youth subcultures of the day, such as skateboarding, graffiti, street fashion and independent music, artists like Shepard Fairey, Mark Gonzales, Spike Jonze, Margaret Kilgallen, Mike Mills, Barry McGee, Phil Frost, Chris Johanson, Harmony Korine, and Ed Templeton began to create art that reflected the lifestyles they led. Many had no formal training and almost no conception of the inner workings of the art world. They learned their crafts through practice, trial and error, and good old-fashioned innovation. Not since the Beat Generation have we seen a group of creative individuals with such a unified aesthetic sense and varied cultural facets. The world of art has been greatly affected by their accomplishments as have the worlds of fashion, music, literature, film, and, ironically, athletics. Over the years, the group has matured, and many have become more establishment-oriented; but no matter, their independent spirit has remained steadfast. The story of the Beautiful Losers will be a retrospective celebration of this spirit.
Saw this stencil near bricklane in London which contains a repeat pattern that is prevalent in traditonal wallpaper design. It got me thinking about displaying my work in a public space or photographing the final outcome and then displaying that.
http://www.jenblazina.com
I came across Blazina's work when researching on the printeresting website. Her work revolves predominantly around found objects so naturally I was intrigued as my project has this theme. The following is an interview I found with her.
Her piece, titled Refused, consists cast hydrocal frames with lithographic images printed on satin. The work is made up of thousands of variations of these little tromp l’oeil victorian mementos. The show consists of strong examples of contemporary craft and art. All the work seems to trouble the definition of the term craft: deconstructing the function of furniture and ornament, slip-casting crazy ceramic multiples, taxidermy gone artsy, and generally all kinds of great objects.
Can you say a few words about your studio practice?
While searching for discarded objects from thrift stores, on the street, and ones passed down to me from my family, these become personal keepsakes, icons of the past which otherwise would be overlooked or regarded as something useless. Based on this experience, collections represent a sense of holding onto a place in time. By re-creating these objects through casting and re-fabrication, I have used the history of the objects in my own current tense.
My installations examine commonplace objects and subtle images, which evoke a haunting and ephemeral sense of a familiarity with the past. The photographs and selected objects become iconic themselves and allude to the tangible evidence of the invisible portal to a moment and the temperamental narratives, evoked by both the image, and memory.
I can really relate to what she is saying about her work and feel that I am trying to achieve similar objectives in my own practice. I am examining and using found imagery and re-contextualising it to evoke in the audience a sense of nostalgia and re-appreciation. - connecting people with objects.
Work by the creative duo jiggery pokery, a project inspired by South American coming of age parties where it is said that girls often dress to match their cake. A collaboration with Sarah Fotheringham.
