Metamorphosis: Švankmajer Exhibition

    Photo is authors own (2013)

THE JAN ŠVANKMAJER COLLECTION
I recently visited Brighton University and took a look at their exhibition space where Švankmajer’s work was being shown. The first thing I noticed about his work was it’s creepy, reality detached appearance, which left me feeling slightly unsettled. However, as I looked closer, it became something more expressive, of his peculiarity and imagination. These creatures he made from physical components of differing animals are fantastical. The exhibitions exploration of his work was delightfully, creatively liberating.

Graphics: Poster of the Future

This was the outcome of the A2 poster I created, which is supposed to promote an aspired exhibition of my work at the Cartoon Museum in summer, 2033. The idea is that I am coming out of a TV screen asking passers by if they will be coming to my exhibition, much in the style of the WW2 propaganda posters. In the wooden under compartment of the TV set up is the brief, clear information that people may need to know. 

I don't feel this poster is very effective. The main issue I have with it is the fact that the character (me) coming out of the TV should have a stronger presence, hidden behind a shoulder and hair gives a standoffish feel to the image, whereas I wanted it to be more confrontational and therefore more engaging. Their presence should have consumed more of the poster. However, I do like some visual aspects of it, like the shading in the wood, the ripples in the TV screen and the use of colour and pen markings on the hand pointing out of the screen. Also, I feel it has successfully related to the kind of work going to be seen at the exhibition e.g. cartoons, animations etc.

Graphics: 'Poster of the Future' Plan

The final task of the graphic's project was to first, generate some ideas for a poster from a gallery exhibiting my work in 2033 and then produce an A2 sized version of your favourite idea. However, before jumping straight into the A2 sized version, I reworked an idea in A4 in my sketch book then enlarged the design. I enjoyed the idea generation process and I was able to integrate exercises I had used in previous tasks to produce quick, un-generic ideas for my poster. It also helped me avoid any nasty mistakes on my large piece. For example, in the second image my hand that is pointing out of the TV screen is the wrong way round (notice the thumb is on the wrong side), also I changed some colours and mediums used.  

Tate Modern, Energy and Process: Review

(Emin, Hate and Power can be a Terrible Thing, 2005. Author's own photo, 2013) 

Tracey Emin’s piece, ‘Hate and Power can be a Terrible Thing’ (2004) illuminated the room, casting the other works in shadow at the Tate Modern’s Energy and Process exhibition. Situated in the room entitled ‘Homeworkers’, curated by Ann Coxon and Valentina Ravaglia, was a series of textile-based works all produced by female artists, playing on the outdated idea of female domestic work and gender stereotypes.

Originally, Margaret Harrison’s piece, ‘Homeworker’ (1977) was supposed to be the main attraction of the room, commenting on the exploitation of female labour in resent pasts. However, Emin’s piece completely overpowered the room, grabbing everyone’s attention. What first drew me in was the ironic juxtaposition of unnerving words such as, “THERES NO ONE IN THIS ROOM WHO HAS NOT THOUGHT OF KILLING” (Emin, 2005, Hate and Power can be a terrible thing), which were stitched onto a pink quilt, an object usually used to comfort it’s user. Emin’s angered lines stitched over floral patterns, which usually stimulate tender thoughts, further employed this contrast in mood.

As viewers we can pick up on this passionate fury through error in grammar, for example, “GUESS WHAT THE WORSE I COULD DO IS BETRAYE” (Emin, 2005, Hate and Power can be a terrible thing). Here there is a lack of punctuation and a spelling mistake, “BETRAYE”, which makes it hard for us to comprehend what Emin is trying to communicate. These two points could signify that in her blind rage Emin was completely consumed by her emotions and unaware or careless of any grammatical issues.  

The heavy use of text was present in both Emin and Harrison’s work, a compelling attribute that connects visually art with other art forms, something that I am very keen to work with in my own practise. Interestingly, Harrison opted for more handwritten text, perhaps to further install the idea of hard work, harmonising well with her repeated illustrations of hands – a “hands on” approach. Alternatively, Emin stitched each letter into the quilt. You can just imaging Emin sitting there with a needle, thread and murderous look in her eyes as she stabbed wound upon wound into the quilt in an attempt to exert all of her negative energy. ‘Hate and Power can be a Terrible Thing’ certainly sparkled up a multitude of thoughts within me, especially when compared to ‘Homeworker’ as a more recent, contemporary piece. The works are similar in medium and content, as both are trying to express negative feelings towards certain injustices, but with separate moods. Whilst Harrison uses hand-scripted text, browns and reds I feel a sense of militant, political purpose, perhaps relating to feminist posters, and Emin uses softer, gentler aesthetics, producing an uncomfortable, ambiguity due to all of her piece’s clashing attributes. Perhaps, it relates to the stories that inspired the piece, posing as something safe and inviting, but when the viewer acquaints themselves with it, it becomes something monstrous; ”A mother who Reiked [sic] of Power CRAZY Hate and Fear”(Emin, 2005, Hate and Power can be a terrible thing).

Bibliography

Exhibition Visit

Emin, Tracey. Hate and Power can be a Terrible Thing, 2005, Tate Modern, Energy and Process.