Visual representation of hierarchy.
Visual representation of hierarchy.
Cruikshank’s image of the bee hive as a metaphor for society is based on an idea developed by the economist Adam Smith in the 1770s which suggested that social status and social identity were primarily determined not by social, religious or political rank, but by occupation and by an individual’s relation to the means of production. So in this print the hierarchy of British society is presented as a pyramid showing each profession’s relative importance and status. Bees are a singularly industrious species in which there are clear divisions of labour, and have been used as a metaphor for human social structures since Roman times.
The Space Where I Am exhibition at Blain/Southern gallery, which featured works by Gerhard Richter, Donald Judd, Carl Andre, and Tim Noble & Sue Webster among others.
Went to the Matisse Exhibition at Tate modern. The only photos I got at this exhibition was of Phoebe and I trying to copy the poses of two of Matisse’s blue figure pictures, so I scanned in some post cards that I bought in the shop.
This summer Emma and I have started an instagram account called @distasty4eva dedicated to distasteful discoveries, unorthodox design. This was based on an idea we had a while ago when we were designing the graphics for a food van. We wanted to make a design feature of making it look as unappealing as possible eg. curls mt, rainbow gradients, over saturated images of burgers presented at wacky angles etc. The name of the van would be Distasty. In the end, we didn’t go through with this design because it was a joke, and instead we designed Punctuate. Having said that, we had loved the idea enough to continue collecting research images in order to refine what distasty is, building up an archive of distasty memorabilia.
A place where I get inspiration - at the barbers.
Waiting to get a haircut is just one instance where I find myself getting my favourite ideas. Really, any situation which involves waiting around gives me the excuse to start drawing in my little green book in order that I use time more productively. In turn this helps me to make my thoughts more tangible. Why the other day, someone was *ahem* 1 hour late for meeting me to go to an exhibition, but deep down I was glad because I was out of the house, and I had my pencil and a book. The first image in this post is a drawing I diwhile waiting to get a haircut. The second image is of a barber shopI walked past the other day. Another thing I like about the hair dressers is the vernacular signage, home-made graphics, and the weird mood boards of conventional and elaborate hairstyles sculpted on the heads of celebrities and catalogue models. There seems to be a tradition of DIY graphics and outdated posters at independent barber shops, which gives them character.
Synesthesia directed by Terri Timely
The other day I went to the Whitechapel Gallery, and saw Saskia Olde Wolbers' 10 minute film 'Trailer'. In the film, a narrator talks over beautiful scenes of a movie theatre that looks as though it were caked in red lipstick, and a swamp dripping with translucent green ooze. The narrator, Alfgar Dalio tells the story of going to a dilapidated movie theatre that only shows old hollywood films, and while watching a trailer, he discovers that he shares his name with an extinct Amazonian moth. The moth's life was dependant on a species of flytrap, the Elmore Vella, and an ancient red back tree, the Ring Kittle – two plants named after his mother and father. It is at this point that Dalio realises that the trailer is directly addressing him, revealing the secret about his parents who long ago went missing in the jungle, where they were shooting their last film.
Each of Saskia Olde Wolbers films narrate fictional biographies, often loosely based on anecdotes, news articles, and real life stories. There is no digital editing in her films. Instead she meticulously hand makes the miniature sets. For her film ‘Placebo’, she created a set of an operating table in a hospital room, covering it in paint and submerging it in water to create a lava-lamp-like effect. A lot of her films have this quality of loosely resembling reality, but melting at the edges like a warped dream. The full versions of her films are only available to see in exhibitions, but you can get a taste of her films from the short snippets available on her website.