BP6: The Brunettes

When I think back to my group art project, I smile and laugh. It was an enjoyable experience and a great opportunity for me to get to know my group partners and new friends—Rachel and Juliana. I would say that we all have similar style and taste and as a result there was little conflict when making decisions as a group. After discussing a few ideas, we decided to make a stop-motion video in the form of a commercial. Juliana and Rachel are both studying Communications and I have a digital camera and take pictures. After we decided our roles in the process, we decided on our overall concept.

We wanted to highlight the idea that none of us were originally from California. We spoke about our mutual experience of giving up somewhat of our backgrounds to adapt to the culture here in L.A. A big adaptation to this environment is through trend, especially through outerwear. We decided to focus on one of the biggest trends of our generation that has exploded from its iconicity – Ray Ban wayfarer sunglasses. I do not know much of the history except for their presence in cinema and fashion. However the past cannot merely compare to the variations that are available now. Needless to say, we had easy access to our prop.

A day designated to taking photographs throughout the city was the “fun part” because when we finally had the images uploaded, we discovered our mutual lack of computer skills. It was definitely a new experience for the whole group and our unique process is apparent in the completed work. I think we were able to create a culture for Los Angeles, which never seems quite apparent. When planning the project, we wanted to make sure to incorporate people wearing the same sunglasses, and they were not hard to find. All in all, L.A. is connected through trend and welcomes anyone willing to embrace it.

Love This

I am always finding inspiration and ideas from other artists. I really enjoy seeing the work of others and understanding their ideas/motives. I am always genuinely excited and interested in people that are passionate about what they do. I discovered the photography of Mark Borthwick the other day and felt that the aesthetic I try to achieve in my own work really corresponded to many of the things he has already done. It is sharp and simple, which is what I enjoy the most.

BP5: Artist Statement

Cracks in the sidewalk, vintage black and white photographs, distressed floral patterned wallpaper. I am greatly inspired by elements of daily life that are generally overlooked. I attempt to find beauty in ordinary places like crystals inside of a geode. I have an innate desire to hunt for what is hidden, and discover beauty in what is considered dull. My photographs are the evidence of my daily discoveries. However, there is a harsh tone to my work that cannot be ignored. In order to see the inside of the rock, it must be shattered open. My work can appear sharp, especially when utilizing the camera as a tool of investigation. I meticulously seek the mysteries that dwell inside the designs created by nature and culture. I define design as the physical placement of figures within a setting. As a photographer, I take advantage of this ambiguity and focus on what I feel is conceptually valid as well as visually appealing. I find a balance between introducing the mystery and revealing a message. I strive to establish a connection with the viewer to inspire a greater interest in cultures beyond our own. Elements of design that exist in terms of decoration, fashion and even nature, can be highly representational. I exhibit my anthropological studies and establish representations through my photographs to highlight beauty formed by simplicity.

BP3: Paper Party

Yesterday, at my internship, I received an assignment from my boss to print out a bunch of designer lookbooks. Told to work at a quick pace, I printed about 15 files; one right after the other. I figured it would take a while to print, so I decided to wait a few minutes. In the meantime, I scanned the latest disco-inspired looks for Marc Jacob’s spring collection. All of the sudden, my boss stormed in the room frantically demanding the new prints. I calmly told her that they were currently printing and that I was just about to head down to the copy room to check the status. As soon as she left, I became frantic myself. I ran to the copy room only to see a red light flashing from the printer screen, indicating a paper jam. Apparently, you can only print one document at a time. Not fifteen. I opened all sorts of compartments until I found the source of the problem. I pulled out a piece of paper now resembling one of those oriental hand fans. I cooled myself down as the printer started to warm up again. I stuffed the crumpled deterrent into the trash, but a few minutes later, I pulled it out, realizing its visual appeal.

The jammed paper reminded me of an exhibit I saw last Spring Break at MOMA in New York City. The exhibit was named Paper: Pressed, Stained, Slashed, Folded. The works displayed were simple, yet visually compelling. I was specifically drawn to a series by Dorthea Rockburne called Locus. The series consists of five large pieces of paper, all in a row. Rockburne’s decision to display the papers like this is an important aesthetic choice. It leads the viewer to first see the five pieces as a collection and then move closer to the piece. Looking up close, I found that the paper was folded multiple times, some folds lighter than the others. The intricate folds are compositionally balanced creating a unique design within each piece. The folds intersect at one point on each sheet, hence the title. The folds in the paper also create shapes and shadows within the canvas. Although this work is a simple concept and does not exaggerate artistic skill or craftsmanship, I feel that Rockburne is expressing an important idea. There is a quiet complexity to her work. Manipulating a basic canvas to make shapes and figures transforms the canvas into a medium itself. Rockburne’s work has inspired me to find beauty in simplicity, especially in these economic times, when art-making can become expensive.

BP1: Appropriation

Recently, I have been introduced to appropriation as an art technique in several of my art classes. Appropriation is the copying or using of found or readymade images or objects and calling it one’s own work. A clear example of this practice is Andy Warhol’s renditions of Campbell’s Soup cans. Throughout art history, many artists have adopted this method. I’d like to introduce Richard Prince, a contemporary artist, who has a new take on appropriation.

Prince has become well known for his appropriation of Marlboro Man advertisements. He strips the ad of its text and graphic elements, then digitally completes the image, leaving a pure photograph. He then, re-photographs the image and claims it as his own piece.

Upon first viewing the piece, I had no knowledge of Prince’s intentions. I saw a fuzzy photograph of a cowboy riding his horse in a desert. I recognized that the clouds descended beyond the horizon line making the photograph look staged and unrealistic. Even with this information, it was difficult to form an opinion about his work. Later, I read an interview in which Prince states, “There’s a delayed density. The only thing that should be immediate is that when you first look atthem you’re not exactly sure what hit you.”

Prince’s words described exactly how I had felt about his photograph. His artwork has opened my mind to the idea that a response does not always have to be immediate. I think I was attracted to it because it is so opposite of my work. As a graphic designer, my work entails quickly appealing to an audience with legible information and specific color palettes. Prince is physically stripping an art piece of design. For Prince as well as for many other artists, appropriation seems to be a method used commonly to criticize mass media. These artists are asking the viewer to slow down and respond to culture more critically. When used in this context, I believe a reproduction can be beneficial for the viewer because it is advocating imaginative thought and creativity.

Richard Prince and Peter Halley, 'Richard Prince interview by Peter Halley',ZG, no. 10 (Spring 1984) 5-6.