1. [top three: Glitch. Risograph prints; all other Chinese Whispers. Series of 5 handmade books]

    London Based graphic designer Jamie Reid tells us a little about his past projects, creative process and that tricky move from university into the working world.

    ON HIS WORKING METHOD.

    JR: I collect lots of imagery and ‘stuff’, I also have a pretty huge (and growing!) book collection. I find it far more useful to start thinking in analogue before jumping straight on the computer or internet. I use sketchbooks or loose sheets, and really just do a lot of thinking. I try not to rush, and really think things over before taking on one concept. I jot down a lot of thoughts, and really try to research into the project I am carrying out.

    ON CHINESE WHISPERS.

    JR: It stemmed from a University project set by visiting lecturer George Hardie (a very inspirational designer!), the brief being Five books for five pounds. We were asked to question the form of a book, but other than that, the project was left very open. I am very interested in sequences and procedures, which was an important part of the outcome. I questioned the form of a book, looking into dictionary definitions taken from a range of sources. I spent a lot of time in the Library researching, and felt that my project should reflect this. The concept of budgeting the project was very exciting, and I decided to utilise the library photocopier to produce my five books. I budgeted a pound for each book, which meant twenty photocopies per book. I then photocopied twenty pages of dictionary definitions, in chronological order, to create content for the first book. These photocopies were then copied once again, though slightly distorted, to create the second book, and the same process was repeated to create the set. Hardie, when presenting his work to us, talked about the games and riddles he would use in his illustrations; I decided to name my project Chinese Whispers after the childhood game. This was the concept I was aiming to communicate visually: a message being degraded over time.

    ON GLITCH.

    JR: My glitch prints are a little less complicated. This project stemmed from a University project, though it is ongoing. I have an interest in computer graphics, and computer glitches. For a long time I had been archiving these glitches, alongside using data-mashing to create my own glitched image files. After some zooming and cropping, what I found most interesting about the imagery was the distortion of the pixels themselves. I decided to focus on these pixels rather than the whole image. I work for Ditto Press, a Risograph Printer in East London, so am familiar with the Risograph process. I felt that I could create something interesting combining these two processes. The pixels were enlarged, and separated out into CMYK channels, which I then printed as separate spot colours to create the outcomes.

    ON LIFE AFTER GRADUATION.

    JR: My transition from University to where I am at the moment was greatly helped by internships and work placements I had over the three years of my University course. I ended up doing these between each of the three years, and was lucky to experience much diversity between each of them. This kind of thing really made the transition far easier and more enjoyable, for me at least.

     

  2. [top: Oh My Head; bottom left Bright Eyes; bottom right: Woven Blue Ribbon]

    Hollywood based artist Sacha Baumann uses a very limited pool of collected materials to create structured collages that pack a punch. With a background in Industrial Design, Sacha begins each work by laying down rules and restrictions for the piece, setting parameters within which she creates something new.

    Sacha was kind enough to speak to LOC and give us a little more insight into the work:

    "I restrict myself to a pretty limited set of magazines to draw upon. Basically a half a dozen Better Homes & Gardens/Good Housekeeping from late 1950’s-60’s, a stack of the French news magazine Illustration from the 1950’s, some old porn I found on the street, and W magazine from the last 15 years. Every now and then I’ll use something else, but that is basically it." 

    Oh My Head: "The way women were portrayed in magazines marketed to them in the 1950’s and ‘60’s is much different than it is today (obviously). There is no sexuality whatsoever, instead there is a very limited set of emotions: joy, wonder, or dismay of some sort. My curiosity lies in what is making these women express themselves in this manner. The Oh My Head piece is a gag, but it is also a true expression of consternation. The woman is the cook for her family (among many other domestic roles) and this is the material she is working with, the ideas she is supplied with for preparing the meal: slices of SPAM with cheese melted in between. It’s headache inducing."

    Bright Eyes and Woven Blue Ribbon: "These pieces illustrate my attraction to and fascination with the grid. This is in part from my training as a graphic designer and tends to be the way I see 2D images. In the collages I am slicing images and rearranging the pieces in a formal manner on an X and Y axis. Also, my appropriations show repetition in the original images. I am curious about the decisions art directors make in photo selection for spreads and find myself attracted to the repetition. It is as if they became obsessed with a particular pout of the lips, color, pose, expression and could not let it go—so it was repeated. My rearrangements express the original intent, but stress the repetition and what I in turn become obsessed with."

     

  3. Filip Dujardin transforms everyday buildings into absurd architecture with his series Fictions. These digitally manipulated photographs are so well crafted, they’re a little too convincing.

    After obtaining a degree in History of Art, specialising in Architecture, Dujardin then went on to study Photography at the K.A.S.K of Ghent. It all makes sense really.

     

  4. Anyone who was in Hamburg recently will have spotted this enormous sculpture by Oliver Voss which was on display earlier this month. Die Badende (The Bather) stretched 13 foot above the surface of Lake Inner Aster and weighs more than two tons. Not everyone is a fan it seems as it has been reported that district mayor Markus Schreiber is none too pleased with the work, claiming it has “sullied the beloved lake”. 

    In any case, Markus can now relax as Miss Bather was removed by crane from her tub on August 12th.

     

  5. [Excerpts from Myth and Infrastructure by Miwa Matreyek]

    LA based Miwa Matreyek combines animation with performance and installation, creating her own unique world in which she interacts with illusion. Miwa seeks to explore:

    "how animation transforms when it is combined with body and space (and vice-versa) and takes on a more physical and present quality, while body and space take on a more fantastical quality."

    The line between the real and the imaginary is distorted and obscured, with stunning results. View Myth and Infrastructure in full here.

     

  6. Great sketchbook work from Vancouver based artist and illustrator Andrea Wan, documented on her blog Mini Journal. Andrea uses this travel journal to record ideas which may not be developed further, noting phrases and making these simple, sweet and slightly surreal sketches.

    Thanks to painter and illustrator Sam Caldwell for the tip off, whose work is also well worth a look.

     

  7. Drawer’s Block from Chloe Hannah Taylor, graphic design student at Brighton University. Chloe has created this sketchbook filled with words and imagery as an antidote to drawer’s block, the visual artists’ equivalent of writer’s block. The book is based around circles, with the pages covered in colours, patterns and collages to get the juices flowing. We’ve all been there, and there’s nothing quite so intimidating as a blank white page. Nice idea.

     

  8. Work from Edinburgh-based artist Aleksandra Zawada, who recently graduated from Edinburgh College of Art with a degree in Drawing and Painting:

    "I am seeking the universal and subjective in transient information, often reproduced multiple times and neglected. By merging art heritage with fluidity of digital data and changing the original context, I am trying to revalue the meaningless and discover what constitutes original in digital age."

    In exploring and combining these two seemingly unrelatable forms of imagery Aleksandra has created work that has great presence, her large scale paintings peering out from behind their dark veil. Loved the work at ECA’s degree show, and it has stuck in mind ever since.

     

  9. In love with fashion photographer Kristin Moolman's work. A sense of movement breathes life into these images, a drama which is juxtaposed with soft textures and elegant composition. 

     

  10. Joseph Egan and Hunter Thomson explore the relationship between typography and architecture with their installation Anamorphic Typography, inspired by the anamorphic practise of artist Felice VariniThe typography is broken in as many places as possible and spread across many planes which makes for extreme distortion when viewed from anywhere other than the one specific vantage point:

    "Our work encourages the viewer to walk into and around typography, an immersive experience considering that their usual relationship with type would normally be realised on a two dimensional surface be it printed or computerised. Being able to appreciate it physically painted onto walls of buildings which the viewers are used to interacting with every day draws attention to the beauty of typography and at same time highlighting the architectural forms that it adorns.

    Loving the phrases they have chosen, perfect.