Solvent Transfer

Skirt and Dash images, solvent transfer on paper, 2013, H F M Jones

Yet another side project has spawned throughout this spring term. I've become rather hooked on this process of taking a magazine image - manipulate image - photocopy image - then solvent transfer the image onto cartridge paper etc. Authenticity still in mind, I am removing the image from it's original source and working into it again and again with the result (above)of a faded, un-glossy, yet still pleasant image. Because I have 'removed' the images in multiple ways away from the magazine, does it now make the images mine?

'selpooK ehT', solvent transfer on paper, 2013 H F M Jones

The prints have an ephemeral, past look to them - it looks great, but this could be a misguiding factor. I do find photographs from the past fascinating and they do inspire my work, but I am not aiming to create a nostalgia currently. It could be another offshoot to work on a bit later - the present will be the past, what we see will ultimately be ancient... etc. etc.

Couple/Girl, solvent transfer on paper, 2013, H F M Jones

Faint image on wall - solvent transfer on wall.
 

Mash up of images on fabriano paper - prep. for cutting up (March 2013) H F M Jones

I thought it might be interesting to just transfer as many images onto/overlapping on paper to then cut up and manipulate again. The disappointing factor was that the wall surface was not even so not all of the prints were as good quality as they could've been. There was no great plan of composition etc. due to the intention to cut up etc. so it isn't really a 'piece'.

Photographs

For a while I had considered recreating/ styling my own photographs of fashion and glamour magazines to work from - I wondered whether my work was authentically my own due to the source of the material etc. As a collaboration with my uni friend CC, we finally achieved this mini project. Here are a few examples of the photographs;


L - H F M Jones 2013

 

E - H F M Jones 2013

H - H F M Jones 2013

The aim is to, naturally, collage the photos - separately and perhaps with magazine images too. I doubt knowing the people I have photographed will affect the process of my work - brings about more questions really - is the source of the photos original because we took them? Are they original at all if we consider outside influences e.g. poses, clothes, styles of different origins? etc.

2013 / Term 2 Jan/Feb-

This new term has just been a continuation of this strange investigation of 'beauty'. Over Christmas I made a few more animations of the 3D figures and recorded the strange shadows cast from them. I have decided that I'm going to focus more upon my collage work for the rest of the term; hopefully bringing in hints of the 'puppetry' I am interested in.

Larry + Clown, 2012, H F M Jones



Stella, Oil on Board, 2013, H F M Jones

I considered painting from the figures and using images of them to keep a continuation of the 3D work in some form - it is still not a clear link between the two work forms for viewers. The example painting above of 'Stella'  was just a small study painting - visually it looks 'nice', but unless it was to be a realistic representation, the painting has no impact compared to the original object.

Why I must try out painting, films etc. within my practice is to create/feel an authenticity of the work. I source my material from photography, magazines - objects/materials which essentially have been created by someone else. I find myself questioning the work I make as to who has made it - myself ? Or the photographer, publishers etc. who have provided the image? Then there is the collective perception/view to consider; the images I select are 'beautiful' - how have we got to this conclusion of what is and isn't 'beautiful' ? To Be Continued...

Translating my 2D and 3D work into paint has not proved successful (again). The paintings lack the meticulous effort that was put into creating the orginals and lack the same quality. This could be down to poor technique or suitability.

Untitled (muddled collage), oil on paper, 2013, H F M Jones

When I buy a magazine, it always ends up something like this.

H F M Jones (2012)

 

I've recently been 'collecting' silhouettes from magazines to use as templates ^^ I'm currently developing a way to portray 'the double'.

 

Found baking paper extremely handy to copy outlines from the magazines; I couldn't resist pinning the long roll of paper across my studio space - looked really interesting overlapping images etc. little happenings like this tend to inform further projects...

H F M Jones 2012

H F M Jones 2012

A few of the 'outlines' finished! Still a lot to consider and develop etc. Overall, generally pleased with the outcome so far.

 

figures and background play - H F M Jones (2012)

 

Tony Photoshoot - workshops of 3D and 2D photography of our work... I was more intrigued by the shadows I was able to create and capture!

 

I'm incredibly conscious of the fact that I have let my drawing skills slide over the past couple of years - I've been drawing Tony  on fabriano paper. Interesting outcomes, more work to do.

H F M Jones (2012)

 

H F M Jones (2012)

H F M Jones (2012)

H F M Jones (2012)

 

Solvent transfer - really like the quality of the transfer made, will continue with this too hopefully...

Studio - Autumn 2012

Time and image warp play - Manipulated Magazine Image (A4), H F M Jones 2012.

 

I wanted to find a way to combine the collage and 3D work I've been making the past year, but so far this still hasn't quite gone together. Here are some images of the work that to me has been particularly significant within my practice.

Mama June + warped wall 'Still', H F M Jones 2012.

 

The basic image above of Mama June is part of my ideas to create collaged back drops (with more detail etc. to be added later) for the 3D figures which could have narratives feeding from one to the other. The above setting is very simple; the wall showing movement of time passing/passed as many people walk past it day by day. Instead of seeing the aging of the bricks, the the physical time has been visually represented by the rotation of a ticking clock. Mama June could be seen as a comparison, with the pregnancy being a visual representation of time through physical changes to her form etc. which is a timed process... I'm not sure, it's ideas I've been playing with anyway!

 

Manipulated Image Series - (A4) H F M Jones, 2012.

 

Manipulated Image Series - (A4) 2012.

Manipulated Image Series - (A4) H F M Jones, 2012.

 

The series of manipulated images that I've posted examples of were purposefully 'prepared' let's say, for 2D figure ideas I've been developing to coincide with the montage back drops plan... this type of work is enjoyable and safe for me, I adore altering images in this manner but must push the work forward and experiment with regular collage techniques to freshen up the work.

Large scale figure experiment - studio clothes, H F M Jones, 2012

 

 

Large scale figure + background experiment - studio clothes + collage, H F M Jones, 2012

Must go large scale with the work at some point! The above 2 images were to just see the potential scale. I would like to incorporate many layers to this 'combination plan' that seems to be forming. This idea of using my own clothes in particular ways could be an interesting route to start exploring my interest in doppelgangers etc. TBC. 

Clown, Tony + Teddy against collage background, H F M Jones, 2012.

'Olive Relaxing' - mixed media photograph, H F M Jones, 2012.

 

Apart from trying to force the two main studio works together, the main concern with the 3D figures is how to present them, find the context etc. I've been making stop-motion animations of them - only moving about so far. My previous post is of one of the animations I've made - they are fun, not sure what I want from these films just yet.

I was lucky to take part in a group exhibition here in Cardiff - 'Birth to Death and the Here After' Organised by The Modern Alchemists. (http://modernalchemists.blogspot.co.uk/) I applied to exhibit five of the 'Collaged Figures' - It was a great opportunity to try out a narrative based display. Overall the show was fantastic and I was pleased to be apart of it!

2012 exhibition images 'Birth to Death and the Here After'.

 

Narrative play on puppet strings + figures. The seated couple are happy/oblivious to the way they live. Stella (white dress) is found discarding her 'face' mask. The two figures above Stella are cutting their puppet strings. The strings could represent belief/society etc. Whatever dictates the way people live - whether it is choice or how they were born/ raised.

Video clips for Uni module

 

The first stopmotion animation made of the figures - Tony.

Harold Lloyd Distress 2

Continuing from 'collage a day', here is an example of a 'project distraction' from the figures and 'one a day' plan.

'"Harold Lloyd In Distress" Version Two' Photocopy Image 2012 H F M Jones

I find the process of cut and rotate sometimes far more interesting than the outcome. I love the little sections you come across as you're working on the image. Currently considering filming the process; not sure how interesting that will be, but could play with projecting the film of process over the outcome image... hmm.