Spitalfields Brief.

During this particular brief, we were asked to create a final piece that illustrated an essence of the following themes: arrivals, departures, consumption, regeneration or pleasure seeking. 

Upon researching the deeply historical site of Spitalfields, and observing the space in real time. I was able to gather visual information that represented the areas change through the years. The idea of regeneration really began to resonate with me.

Whilst dreaming up ideas for my final piece, I began to refer back to historical facts regarding the area. From that point, I began to see an almost story-like unfolding of events. Finally leading to my chosen format: A Chapbook. 

As you can see, my final piece is unlike a typical Chapbook. It roars a sense of evolution, which is an idea I wanted to collaborate with my chosen theme of regeneration. Whilst envisaging my final outcome, I became fascinated by various Matisse cutouts. I love the idea of simplicity in shape and how dynamic several images can be in one composition. Matisse, in my opinion, was always ahead of his time, with a clear sense of evolution and regeneration of artistic practise playing strongly. 

Whilst forming my pages, I wanted to start by telling the history of Spitalfields. Firstly by illustrating past links with the Arts and Crafts movement. Fuelled by the influx of French and Flemish settlers escaping religious persecution in their homeland.

The settlers were able to integrate their knowledge and skill of weaving into English industry. Soon enough, the area began to form a reputation of being the epicentre of weaving, a fine craftsmanship that commanded a wealth of desire at the time. 
I felt it was very important to open the Chapbook with an illustrated representation of this time in history, as it has created a foundation for the market today. 

Leading into the second page, I have created a spread that includes King Charles II. Charles was an extremely fundamental figure in the birth of Spitalfields market, as he allowed 'Flesh, Fowl and Roots' trade to commence in the area. He is complimented in composition, by a modern representation of a Fruit and Veg market vendor. 

The third page begins to illustrate how entrenched in community Spitalfields was. During the war, copious amounts of market stall holders clubbed together and purchased a plane to help aid the war efforts on the home front. They named the plane 'Fruitation'.

Approaching the 4th and 5th pages, there is an obvious shift in imagery. Imagery that is focused on the idea of consuming products other than fruit and veg. 
Since Spitalfields has undergone such a huge regeneration in recent years, the ideals of the market have also changed. No longer is it solely committed to selling food staples. The market now caters to the people that have helped to regenerate the area, an influx of the wealthy middle-class has progressed the idea of materialism and consuming products that are not entirely essential to our everyday lives. 

Whilst observing the market in its real time appearance, you cant help but notice the clean cut steal lines of the markets structures, serving a purpose to house the abundance of items for sale, enticing each passer by. 

In summary. My final piece serves as a bite-size historical overview of the area, creating links with its former and present identity. I hope I have achieved a sense of how regeneration comes into play, when an area slowly begins to develop in favour of attracting consumers rather than community. 

Tate Modern 'The World Goes Pop' Part Three.

Tate Modern 'The World Goes Pop' Part Two.

Tate Modern 'The World Goes Pop' Part One.

Findings @ Spitalfields Market Part 5.

Findings @ Spitalfields Market Part 4.

Findings at Spitalfields Antique Market Part 3.

Finds @ Spitalfields Antique Market Part 2.

Walking around the market, there was a wide array of interesting sights. It was only when I looked at what I had captured throughout the day, did I notice the comic titled 'Crypt of Dawn'. Instantly reminding me of the Crypt below the grounds of Spitalfields. Life imitating art? Art imitating Life? 

Findings @ Spitalfields Antique Market

Commuting Back Home.

Reflections. An element I would like to explore further. 

Granary Square.

Granary Square - Construction

Kings Cross is awash with construction work. The regeneration of London is very apparent from all corners of the City. 

Alice Anderson @ The Wellcome Collection.

Alice Anderson specialises in mummifying objects in copper wire. 

Kings Cross.

A construction worker visible through the natural foliage. Old and new clash. 

Behind Kings Cross Station

Reflections! 

Kings Cross - Commuter.

Colour is key.

Granary Square Puddle.

New reflections in natural forms.

British Library.

Textures are key.

Kings Cross Gate Keepers.

British Library

Colour palette of my dreams.

Granary Square.

A pattern created by natural causes, a breath of fresh air. 

British Library

I got distracted whilst taking a picture but the abstraction looks interesting. I would like to explore this accident in further detail. 

Granary Sq

The Wellcome Collection - Euston Road

British Library - "Purcogitoresque"

Upon arrival at the British Library, we were greeted by a curious installation, scrolled with surrealist illustrations depicting worlds beyond perception. The image above in particular really appealed to me with its obvious connection to the Catholic belief of 'Purgatory'.

Purgatory denotes to the intermediate state after physical death, where a purification phase is undergone by those awaiting entrance into Heaven. I love how the artist (David Normal) has situated this illustrated theological scene in the heart of Kings Cross, an area that has recently undergone huge waves of regeneration in order to remove itself from its former reputation, awash with sordid and desolate memories.

Kings X

Kings X

View From Granary Square

Kings Cross - Development

Kings Cross - Granary Square

Kings Cross - Granary Square

Joe Cruz - British Illustrator, Part Three.

Joe Cruz
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Joe Cruz is a British Illustrator. He experiments with minimal playfulness in his work, and to some degree, he is revisiting the pop art movement with his vibrant and re-worked imagery. 

His work also reminds me of the Zine movement that was in heavy demand during the mid 1980's - 1990's, as he presents an aesthetic that is based around recycling to re-invent. I really identify with this movement, as working with material from the past to create something new and current, gives work a great sense of dynamism. 

Contrast is also another feature in Joe's work, he is able to juxtapose harsh black and white photography with vibrant colour palettes. 

Similarly to the other artist's I have chosen to highlight, Joe presents a childlike approach to his work. It shows that he is not afraid of experimentation or making mistakes. Which I think is very key in any artistic process. 

Ryan Humphreys - British Illustrators, Part Two.

Ryan Humphrey's - Recent Pages.
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Ryan Humphrey's is a British Illustrator. His work portrays people and celebrities in a slightly off kilter fashion. 

Wit plays a big role in Ryann's work, which I find very relevant to British Art. He reminds me of a modern day Roald Dahl, depicting the norm but in a way that is expressive and not to serious. 

Ryan's use of obvious brushstrokes are of great interest to me, as I love the idea of experimenting and not seeking out complete perfection, with clean cut lines and perfectly shaded areas. 

David Rappeneau - British Illustrators, Part One.

David Rappeneau
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David Rappeneau has virtually no Internet footprint. I am not 100% sure if he is British, but after inspecting each piece of his work. He gives clues away such as illustrating brutalised environments that could be part of a London setting. 

The characters he illustrates are typical of 90's British youth, clad in brands such as Kappa, Adidas and Fila. All of which were associated with English subcultures at a certain time. 

What I find so interesting about Davids work, is his technique and overall his depictions of life for the disenfranchised youth. Another pattern I have noticed in Davids work, is how powerful he makes the female form. He illustrates them with super human stature and rippling muscles. I find this very interesting as women are often depicted as soft and unassuming in art. David has completely thrown this typical idea of how women are portrayed, and has created female warriors.

Peter Judson - British Designers, Part Three.

Peter Judson - Purple Stairs.
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Peter Judson is a London based designer and illustrator. He graduated from Kingston University with a BA in Illustration and Animation in 2013. 

Peters work bares resemblance to the Memphis Group founded in 1981. Highly intertwined with post-modernism. However, I feel through his illustrated pieces of heavenly interiors he has given the 1980s aesthetic, a whole new lease of life. 

Judson's work plays into my nostalgia, as the colours and intricate proportions of each element within the setting, remind me of old computer games I grew up playing with such as; Habbo Hotel. 

Mathangi Maya Arulpragasam - British Designers, Part Two.

Mathangi Maya Arulpragasam 
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Mathangi Maya Arulpragasam, most commonly known as musician M.I.A. graduated from Central Saint Martins with a degree in Fine Arts.

She creates artwork through multidisciplinary formats, transferring emphasis on her cultural heritage and upbringing. Keeping in touch with her Asian roots, there is a sense of old and new in her artwork. She represents the 'past' India through older artistic processes, such a silkscreen which is contrasted with newer methods of artistry, such as holographic printing, which is commonly used for printing credit cards. 

I love how there are layers to Mayas work. She allows contrast to take place without putting to much emphasis on it. You are instantly able to tell of her multi-cultural upbringing as she creates an artistic pick'n'mix of symbols, colours and textures. 

Maya is extremely relevant to me, as she reminds me of the importance of art with meaning. But also, she reminds me of where I am from. London, and all its enriching diversity. 

Michael Willis - British Designers, Part One.

Michael Willis 
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Michael Willis is a designer and visual artist, hailing from London. His main medium focuses in the area of trans-media. Allowing him to immerse his craft in various formats such as; books, fashion, art direction and design. Working in digital and non-digital realms, Michael is able to explore with experimentation in two worlds; on-line and offline. 

Michael's work really appeals to me visually, as it is consistently nonsensical and abstract. I enjoy getting lost in colours and patterns, rather than the deep meaning. I also appreciate how Willis, is somewhat deconstructing the norms of design, and in a sense, reinventing a new norm within composition rules. 

Gilbert and George - British Artist, Part Three.

Gilbert and George

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Gilbert and George are a collaborative duo, living and working in London's East End. The pair met at Central Saint Martins and ever since, have remained at each others side. Famed for their highly distinctive formal appearance that is somewhat juxtaposed by their hugely vibrant works, they employ social message and humour into each piece. Creating a sense of dialogue between serious issues and the ludicrously bizarre. 

There appears to be no in-between with Gilbert and George. In-fact, they have been noted for standing by the philosophy of 'Art For All', praising socialism at times. Whilst, putting Margaret Thatcher on a pedestal of glory. I feel a sense of contradiction is very relevant to the British identity and even more so for any young aspiring artist, as your mind is always changing and can never settle in one school of thought.

Gilbert and George create an environment that is humorous and uncomfortable, similar to   a bad film you cant look away from. I adore this, as I think its so unique to British culture. 

David Hockey - British Artist, Part Two.

David Hockney - Three Chairs With A Section Of A Picasso Mural, 1970. 
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David Hockney was born in Bradford, 1937. Hockney, has been a long standing contributor to British art for many decades, so much so that he has been hailed one of the most influential British artist of the 20th Century. 

Identifying with elements of expressionism and pop-art. Through these key artistic movements, Hockney has established an instantly recognisable and world-renowned aesthetic. 

I find the work of Hockney to be very interesting, as he remixes fine artistry with a sense of abstract expressionism. Somehow, collaborating these elements together works in such harmony. David is very relevant to me, as he employs old craftsmanship with sharp ripples of contemporary expression. 

Duggie Fields - British Artist, Part One.

Duggie Fields - 1980.
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Duggie was born in Wiltshire, 1945. As a child, it was established at an early age, that art was his calling. With this, he found himself enrolling at Chelsea School Of Art in 1964. Exploring many creative pathways such as; minimalism and conceptualism. Fields, finally settled in the realm of post modernism. Fields main influences drew from the likes of; Jackson Pollock, Mondrian and Stand Lee, all of which are evident idols of the artist in each piece of his work. 

I believe Duggie is relevant to the U.K as he delivers work that is sharp and witty. Elements, I feel set the foundation of Britain. 

Fields, is mostly relevant to me, as throughout his creative journey, he has never taken art to seriously. Personally,  keeping art fun and less immersed in deep connotative structures allows for something far more interesting to take form.

What I also find interesting about Duggie, is how experimental his approach to art can be. I thoroughly identify with this method, as I like to see this particular process as a way of finding happy mistakes through trial and error. In Fields biography, he mentions experimenting with painting outside and allowing the wind to change the direction of the paint on the canvas. 

I feel Duggie is as fundamental to Myself and British Art, as Candy Floss is to Zippos Circus. 

Image Ten.

I love this image simply as the only elements tying it together, are the complimentary colours. I also feel there is something quite humorous about the items having no relation or significance to each other. 

Image Nine.

The colours, textures and context of this image really stand out to me. Viviane Sassen is one of my favourite photographers, as she has the ability to apply a sense of abstract beauty to photography. 

Image Eight.

There is a sense of serendipity to the image above, simply down to the element of the unplanned.

Image Seven.

This image has always been hugely interesting to me, simply down to the nature of its message. 

I feel this image is very relevant in many contexts, in particular the times we are in now, where we have come so far in terms of social injustices. However, it is evident that there is still work to be done in creating complete social equality. 

Additionally, for a seemingly 'controversial' statement. I find it very interesting that it boasts a setting used to house thousands of people (presumably a sports stadium)

Image Six.

I find it very interesting when an image is able to challenge our perception of beauty. 

The image above in particular, intrigues me as there is an air of vulgarity about it. The props featured in this piece, remind me of found objects typically found in any high street pound shop.

However, the glossy sharpness and colours used throughout, juxtapose the initial feeling felt at first glance. 
Overall, I find this image very visually stimulating as together, each element forms the idea of a repulsive beauty. Creating an almost tangible contrast, so much so that you could almost taste and feel the textures used. 

Image Five.

I took this image whilst walking around my local neighbourhood a few weeks ago.

Instantly drawn to the colours of these cars. I was compelled by the garish exterior of the motors, as I have seen nothing like it in my neighbourhood before. 

I think what makes this image of most interest to me, is simply the general setting of my neighbourhood, its prone to following a conforming middle-class code, where no extravagance is exhibited as its seen as a sign of being 'tasteless'.  I find the social clash and juxtaposition of this image very fascinating. In fact, I would even consider conducting a photo series of similar images and contrasts. 

Image Four.

The image above is aesthetically interesting to me, simply down to how the physical background is mimicked in the artwork itself. 

The idea of curating physical items in an almost 'still life' fashion intrigues me, as a new visual representation is able to take form in a slightly contemporary setting.