Three separate applications that I put in for a billboard project, all of which were rejected!
Cheering people up,
The thing that appeals to me about this project is that it is actually in the public domain. It is also “of our time”
-everyone is used to seeing billboards, it would appeal to me to have the opportunity to jog or a little loosely shake people from what they happily conceive as the norm. In a city, I also can’t think of a much bigger passing audience save for the T.V. one.
Another positive for me is that this project is non-profit based and also non-gallery. There are not the normal artistic dictates, although there is going to be a greater emphasis on health and safety.
I see my function in this project as being one of cheering people up, brightening their passing for a few moments.
The thing that appeals to me about this project is that it is actually in the public domain. It is also “of our time”
-everyone is used to seeing billboards, it would appeal to me to have the opportunity to jog or a little loosely shake people from what they happily conceive as the norm. In a city, I also can’t think of a much bigger passing audience save for the T.V. one.
Another positive for me is that this project is non-profit based and also non-gallery. There are not the normal artistic dictates, although there is going to be a greater emphasis on health and safety.
I see my function in this project as being one of cheering people up, brightening their passing for a few moments.
The School Run is a phenomenon,
It happens in many countries in many ways.
Here I am portraying a typically English setting. An idyllic representation of families coming together on their way in and out to school – all sharing similar goals and aspirations, engaged in the same topics of conversation.
Walking through a park is a lovely way to get there, it happened to me as a child, it happened to my son as a child and I see it through my window in the park outside our house today.
Maybe it is a city thing, often in the countryside I see loads of cars pulling up at primary schools as the roads are too dangerous to walk down nowadays
It happens in many countries in many ways.
Here I am portraying a typically English setting. An idyllic representation of families coming together on their way in and out to school – all sharing similar goals and aspirations, engaged in the same topics of conversation.
Walking through a park is a lovely way to get there, it happened to me as a child, it happened to my son as a child and I see it through my window in the park outside our house today.
Maybe it is a city thing, often in the countryside I see loads of cars pulling up at primary schools as the roads are too dangerous to walk down nowadays
Production of this mural,
I am quite open minded about how this particular mural is produced, (as long as I can achieve it in the time allocated). I would be happy with producing it painted on panels or blowing it up digitally. Both methods would serve the image objectives.
I would be quite comfortable fitting in with what else is happening on the project. For instance maybe every body else is producing their stuff digitally and it would be nice to employ a different means of production, or there could be other work that is hand painted and similar to my own which would work together. I am quite willing to produce them in the form most suited to the layout of the project, I see myself as being part of a general whole as oppose to a grand master strutting in and showing off his wares in the best possible venue.
I am quite open minded about how this particular mural is produced, (as long as I can achieve it in the time allocated). I would be happy with producing it painted on panels or blowing it up digitally. Both methods would serve the image objectives.
I would be quite comfortable fitting in with what else is happening on the project. For instance maybe every body else is producing their stuff digitally and it would be nice to employ a different means of production, or there could be other work that is hand painted and similar to my own which would work together. I am quite willing to produce them in the form most suited to the layout of the project, I see myself as being part of a general whole as oppose to a grand master strutting in and showing off his wares in the best possible venue.
My studio flat area (in a single complete stretch) is bigger than an actual billboard and so can be built over a few months thereby dealing with constructional problems -and compositional issues related to that scale of presentation.
The emphasis on this banner would be the “blown up” quality, the change in scale; one could see the details seemingly blown up from a concentrated ink and line paper sketch, one would know that it had been deliberately blown up. In a kind of “Lichtenstein” fashion. Only in a more painterly kind of way.
There would be an emphasis on the way the paint had worked on the surface and the various idiosyncrasies that the lines had produced.
The emphasis on this banner would be the “blown up” quality, the change in scale; one could see the details seemingly blown up from a concentrated ink and line paper sketch, one would know that it had been deliberately blown up. In a kind of “Lichtenstein” fashion. Only in a more painterly kind of way.
There would be an emphasis on the way the paint had worked on the surface and the various idiosyncrasies that the lines had produced.
The initial roughs for this particular banner will probably not look exactly like it will do when finished and presented. I see it as a journey starting with one image and slowly growing and transforming until it becomes a presentable format.
It will probably end up having more of a “toy-town” feel. Albeit a bit subtler, but it will be bright and to a certain extent cheery.
Construction note:
If painted on 8ft x 4ft panels the panels could be arranged in a jigsaw type pattern so that no edge actually went all the way from top to bottom or side to side.
In my view there are three different possible layouts:
In my view there are three different possible layouts:
I feel that documentation is a very important part of any artists practice.
I have documentation from the past of work that has long since disappeared. It is also valuable evidence of the process involved, a history of the making of the thing. It helps to explain what it is all about, gives its reasons and can also provide glimpses of ideas and images that get rejected on the way.
It would be very important to me to document this as a project.
At the end of the project,
I would like to give this billboard away.
Carving the overall image up into many smaller views, making sizable chunks that could comfortably fit into a living room or maybe a shop or communal area, like a play group or church hall.
Then placing this image on the internet with lines traced out on it and the various rectangles numbered. People could then reserve pieces of it to be sawn up and collected at the projects end.
Carving the overall image up into many smaller views, making sizable chunks that could comfortably fit into a living room or maybe a shop or communal area, like a play group or church hall.
Then placing this image on the internet with lines traced out on it and the various rectangles numbered. People could then reserve pieces of it to be sawn up and collected at the projects end.
Constructional Costs,
Sheets of Ply, £90
£50 for paint and brushes,
Large pot of varnish £25
£50 for paint and brushes,
Large pot of varnish £25
Personal Costs,
I find the costs issue quite tricky as firstly there aren’t huge fees available anyway. Secondly I’m after the billboards because I want to do them rather than get paid to do them.
If materials get covered my only basic interest is that it doesn’t cost me to carry out the project – in fact that the mechanics of production are lubricated.
If materials get covered my only basic interest is that it doesn’t cost me to carry out the project – in fact that the mechanics of production are lubricated.
The Argonauts painted in 2009
filling the downstairs window of Birmingham Central Library.
Potted C.V.Born : 22-09-51, Brought up in Shepherds Bush, London.
Dip.A.D. Epsom 1974, Shows in Wales until 1980. Time in India, S.E. Asia and Turkey.
1993, moved to Birmingham, 2001 M.A. Margaret Street, since involved in various projects and shows.
I’ve painted and made things all my life, I never stop.
I have also involved myself in events and movements: musical groups, shows, projects.
I like to fit, into what everybody else is doing from time to time, concentrate on the group effort, feel comfort in the teams company, lend a hand, get stuck in.
Dip.A.D. Epsom 1974, Shows in Wales until 1980. Time in India, S.E. Asia and Turkey.
1993, moved to Birmingham, 2001 M.A. Margaret Street, since involved in various projects and shows.
I’ve painted and made things all my life, I never stop.
I have also involved myself in events and movements: musical groups, shows, projects.
I like to fit, into what everybody else is doing from time to time, concentrate on the group effort, feel comfort in the teams company, lend a hand, get stuck in.
The Rhondda Mural Team 86
A brief respite
Aimed as a lift for tiredness, not exactly “man sheds” but somewhere where you could imagine yourself away from it all – take your pick of which lodging you would like to be in! They each will be different with various implied restful activities going on. The idea originates from Yoko Ono’s show in London where she met John Lennon. There was a large presence of white half furniture, stuck to a white wall, complete incompleteness. A universe in 2D relief.
Structurally and practically speaking I would build this piece of work with a nod toward Gaudi. With added flourishes and knobbles, various bits of colour and decoration built with bits of discarded furniture and the like. In fact the whole thing would be based on found and broken bits of furniture, bits of buildings and the like. It’s a wall of relief chalet type huts (not more than a couple of feet deep), all quite serene in their own way, almost like "man sheds" (another cultural phenomena!)
Think in terms of the matchstick tree house only bigger and a lot flatter.
Would be best in a really grubby, industrialised, polluted part of town.
It being a comment about having a rest from it all, I feel that the chalets would stand out better and look more comfortable if surrounded by something that you needed to have a break from.
It being a comment about having a rest from it all, I feel that the chalets would stand out better and look more comfortable if surrounded by something that you needed to have a break from.
The roughs for this side of the project can be quite finished, because as I move along the gathering process, I will be dictated to by what is lying about or what I have been given. This board, even though 90% reconstructed, will have the ability to change, in-situ, right up to the last minute and maybe even after it has gone up and been declared open.
If I was put in the position where I had to choose one of these billboard designs, it would be this one.
- I can paint any day, anywhere but I need this kind of opportunity to explore and expose this important side of my practice. The side that is the vessel rather than the story, allowing its audience to make up their own narrative to the one home I have constructed to do just that.
- I can paint any day, anywhere but I need this kind of opportunity to explore and expose this important side of my practice. The side that is the vessel rather than the story, allowing its audience to make up their own narrative to the one home I have constructed to do just that.
Constructional notes:
I see this as a kind of “flat pack” effort.
I would build and assemble all the various parts in my studio, exactly the same size as the billboard.
I would then de-construct it; every component would be of a size that I could lift. They would be fixed onto the billboard surface with brackets.
I would build and assemble all the various parts in my studio, exactly the same size as the billboard.
I would then de-construct it; every component would be of a size that I could lift. They would be fixed onto the billboard surface with brackets.
Constructional Costs:
I do see this particular project as coming out of skips, which as an activity is a bit of an urban sub-culture in itself. I would find most of the bulky materials. Indeed I collect materials to build structures and have quite a hoard, ready to go.
Leaving:
Screws and fixings, £25,
Jigsaw £100,
Electric Screwdriver £100.
Screws and fixings, £25,
Jigsaw £100,
Electric Screwdriver £100.
Personal Costs:
I find the costs issue quite tricky as firstly there aren’t huge fees available anyway. Secondly I’m after the billboards because I want to do them rather than get paid to do them.
If materials get covered my only basic interest is that it doesn’t cost me to carry out the project – in fact that the mechanics of production are lubricated.
If materials get covered my only basic interest is that it doesn’t cost me to carry out the project – in fact that the mechanics of production are lubricated.
Hut built at “The Edge”, Friction Arts, 2008
I was born in Shepherds Bush, London in 1951, when the area was a bit more deprived than it is now. We used to make most of our own toys. I was – of course a member of a gang and a thing we used to do a lot of was build gang huts. We used to exist from them, emerging into the light after the odd packet of fags.
We would go down to the Thames at Hammersmith and collect scrap wood that had been washed up by the tide. These huts took on many forms: underground, on stilts, multilayered, necessity is the mother of invention and we were presented with many varying challenges. These huts were a place to retreat to, a safe place, maybe it was a particularly “baby boomer” thing to do. Many of the boys I grew up with still do have their hut at the bottom of the garden where they indulge their particular passion, whether it be racing cars or racing pigeons.
We would go down to the Thames at Hammersmith and collect scrap wood that had been washed up by the tide. These huts took on many forms: underground, on stilts, multilayered, necessity is the mother of invention and we were presented with many varying challenges. These huts were a place to retreat to, a safe place, maybe it was a particularly “baby boomer” thing to do. Many of the boys I grew up with still do have their hut at the bottom of the garden where they indulge their particular passion, whether it be racing cars or racing pigeons.
The Vessel,
The thing that allows the observer to construct their own “happening”, make up personal imaginings, within a home to hold them.
The thing that allows the observer to construct their own “happening”, make up personal imaginings, within a home to hold them.
Documentation
I feel that documentation is a very important part of any artists practice.
I have documentation from the past of work that has long since disappeared. It is also valuable evidence of the process involved, a history of the making of the thing. It helps to explain what it is all about, gives its reasons and can also provide glimpses of ideas and images that get rejected on the way.
It would be very important to me to document this as a project.
I have documentation from the past of work that has long since disappeared. It is also valuable evidence of the process involved, a history of the making of the thing. It helps to explain what it is all about, gives its reasons and can also provide glimpses of ideas and images that get rejected on the way.
It would be very important to me to document this as a project.
Potted C.V.
Born : 22-09-51, Brought up in Shepherds Bush, London.
Dip.A.D. Epsom 1974, Shows in Wales until 1980. Time in India, S.E. Asia and Turkey.
1993, moved to Birmingham, 2001 M.A. Margaret Street, since involved in various projects and shows.
I’ve painted and made things all my life, I never stop.
I have also involved myself in events and movements: musical groups, shows, projects.
I like to fit, into what everybody else is doing from time to time, concentrate on the team effort, feel comfort in the teams company, lend a hand, get stuck in.
Dip.A.D. Epsom 1974, Shows in Wales until 1980. Time in India, S.E. Asia and Turkey.
1993, moved to Birmingham, 2001 M.A. Margaret Street, since involved in various projects and shows.
I’ve painted and made things all my life, I never stop.
I have also involved myself in events and movements: musical groups, shows, projects.
I like to fit, into what everybody else is doing from time to time, concentrate on the team effort, feel comfort in the teams company, lend a hand, get stuck in.
An image in banners.
I see this as a very strong image for printing and best seen from a distance. The simplest way to produce it would be to print it onto a synthetic banner, stretch it over a billboard , It is already in a format that is close to being capable of being blown up to a large size.
I see banners as a viable contemporary art form / statement.
They address the question: How can painting exist in a contemporary world of digital expression? It’s a way of blending the old with the new. Making the initial heart felt comment then presenting it in a modern day to day context. After all, banners are everywhere. Their constructed material makes them durable, colourfast and reusable. They are current, readable and universally acceptable. They can be erected and left up as long as useful, then, simply and easily taken down and safely stored for possible later use.
I suppose you could look at that as some kind of cultural phenomena!
They address the question: How can painting exist in a contemporary world of digital expression? It’s a way of blending the old with the new. Making the initial heart felt comment then presenting it in a modern day to day context. After all, banners are everywhere. Their constructed material makes them durable, colourfast and reusable. They are current, readable and universally acceptable. They can be erected and left up as long as useful, then, simply and easily taken down and safely stored for possible later use.
I suppose you could look at that as some kind of cultural phenomena!
I wonder what percentage of British people have gone out for a Chinese meal and decided to try chopsticks. Been given them in a paper packet with instructions on the side about how to hold and use them. One my first outing, it almost made me feel like I was in a foreign land, an honoured guest, that type of thing.
This idea is a kind of duality. A similar example I can think of is the “Balti” dish which originated in the Midlands, basically because it fitted that area, suited the local population – it just evolved. Nowadays you can buy a Balti dish in India itself, we’ve exported the curry back to the place where we invented the term “curry” in the first instance.
In some ways I would be quite happy if people saw this as a billboard and held doubts as to whether or not it was in fact an advertisement.
The flag of Baltistan, an imaginary country to explain where the Balti dish came from. 2008.
The card for a web site I was commissioned to produce by “Unltd” in 2008. Its specifically explored cultural issues, misconceptions, stereotypes and the like. It was meant to be funny albeit in a challenging way.
Map of Britain as we were in the process of invading Iraq – How would we feel if it was our country that was being invaded?
Another anomaly, quite a nice pint actually.
Flight Table from my show “inside” at St Martin in the Bullring 2002, connecting all the people of the world to one table containing the times that flights took to get to the various places. I didn’t put, or light the candle on the top, which actually made the statement.
Constructional costs.
The cost of the printing and possibly the price of a pot of red paint for the frame.
Personal Costs:
I find the costs issue quite tricky as firstly there aren’t huge fees available anyway. Secondly I’m after the billboards because I want to do them rather than get paid to do them.
If materials get covered my only basic interest is that it doesn’t cost me to carry out the project – in fact that the mechanics of production are lubricated.
If materials get covered my only basic interest is that it doesn’t cost me to carry out the project – in fact that the mechanics of production are lubricated.
Documentation
I feel that documentation is a very important part of any artists practice.
I have documentation from the past of work that has long since disappeared. It is also valuable evidence of the process involved, a history of the making of the thing. It helps to explain what it is all about, gives its reasons and can also provide glimpses of ideas and images that get rejected on the way.
It would be very important to me to document this as a project.
I have documentation from the past of work that has long since disappeared. It is also valuable evidence of the process involved, a history of the making of the thing. It helps to explain what it is all about, gives its reasons and can also provide glimpses of ideas and images that get rejected on the way.
It would be very important to me to document this as a project.
I add this as an extra really – it’s done and dusted, the files need strengthening and it’s ready to roll.
I see it as quite a strong but simple image that would fit comfortably in the middle of the whole project
It is however something that I view as simply being useable, my interest in this project is to actually build things for it, spend time on it and perfect ideas I have about it. These ideas are part of my practise anyway, I feel that 48 sheet is an ideal opportunity to take themes of work forward.
I see it as quite a strong but simple image that would fit comfortably in the middle of the whole project
It is however something that I view as simply being useable, my interest in this project is to actually build things for it, spend time on it and perfect ideas I have about it. These ideas are part of my practise anyway, I feel that 48 sheet is an ideal opportunity to take themes of work forward.
48-Sheet
Artists are invited to open up the concept of culture to evoke curiosity by utilising billboards within the urban landscape to peel back and reveal the culture that surrounds us. .
As a start point the definitions below have been provided to engage ideas around the origins of this theme:
Culture - In the twentieth century, "culture" emerged as a concept central to
Curiosity
anthropology, encompassing all human phenomena that are not purely results of human genetics. Specifically, the term "culture" in American anthropology had two meanings: (1) the evolved human capacity to classify and represent experiences with symbols, and to act imaginatively and creatively; and (2) the distinct ways that people living in different parts of the world classified and represented their experiences, and acted creatively.Latin curiosus "careful, diligent, curious," akin to cura "care") is an emotion related to natural inquisitive behavior such as exploration, investigation, and learning, evident by observation in human and many animal species. The term can also be used to denote the behavior itself being caused by the emotion of curiosity. As this emotion represents a drive to know new things, curiosity is the fuel of science and all other disciplines of human study.
is a unique project which will transform the city of Birmingham into an urban gallery. The overarching theme for commissions is “cultural curiosity” this can manifest itself in many ways.
is a unique project which will transform the city of Birmingham into an urban gallery. The overarching theme for commissions is “cultural curiosity” this can manifest itself in many ways.
The thing that appeals to me about this project is that it is actually in the public domain. It is also “of our time”
-everyone is used to seeing billboards, it would appeal to me to have the opportunity to jog or a little loosely shake people from what they happily conceive as the norm. In a city, I also can’t think of a much bigger passing audience save for the T.V. one.
Another positive is that this project is non-profit based and also non-gallery. There are not the normal artistic dictates, although there is going to be a greater emphasis on health and safety.
-everyone is used to seeing billboards, it would appeal to me to have the opportunity to jog or a little loosely shake people from what they happily conceive as the norm. In a city, I also can’t think of a much bigger passing audience save for the T.V. one.
Another positive is that this project is non-profit based and also non-gallery. There are not the normal artistic dictates, although there is going to be a greater emphasis on health and safety.
I am quite open minded about any particular mural is produced, (as long as I can achieve it in the time allocated). I would be happy with producing it digitally or painted on panels. I would be quite comfortable fitting in with what else is happening on the project. For instance maybe every body else is producing their stuff digitally and it would be nice to employ a different means of production, or there could be other work that is hand painted and similar to my own which would work together. I am quite willing to produce them in the form most suited to the layout of the project, I see myself as being part of a general whole as oppose to a grand master strutting in and showing off his wares in the best possible venue.
Another reason for awarding the job to me:
Ive been hovering on the outskirts of the art world for a long time.
I feel that during my stint, Ive made a reasonable contribution to events, programmes, public works of art and exhibitions.
I feel that this would be a really good and suitable opportunity for me to get my style and brand across to a large audience.
I also feel that I deserve this "crack of the whip"
Two Issues.
At present in my practice, I am grappling with two issues.
They have always been there underlying my work, but I feel recently I have defined them and seem to be making progress on how to deal with the problem.
There are two sides to my practice:
The Narrative,
Where the business is about either defining something that has gone before or relating a story about something that is.
The Vessel,
The thing that allows the observer to construct their own “happening”, make up personal imaginings, within a home to hold them.
Possibly in a greedy way I ideally would be looking for two bill boards to cover and define these two angles of expression that I seem to be covering at present.
Not what they said, but how they lived.
Another reason for awarding the job to me:
Ive been hovering on the outskirts of the art world for a long time.
I feel that during my stint, Ive made a reasonable contribution to events, programmes, public works of art and exhibitions.
I feel that this would be a really good and suitable opportunity for me to get my style and brand across to a large audience.
I also feel that I deserve this "crack of the whip"
Two Issues.
At present in my practice, I am grappling with two issues.
They have always been there underlying my work, but I feel recently I have defined them and seem to be making progress on how to deal with the problem.
There are two sides to my practice:
The Narrative,
Where the business is about either defining something that has gone before or relating a story about something that is.
The Vessel,
The thing that allows the observer to construct their own “happening”, make up personal imaginings, within a home to hold them.
Possibly in a greedy way I ideally would be looking for two bill boards to cover and define these two angles of expression that I seem to be covering at present.
Not what they said, but how they lived.
The School Run.
An image in banners.
I see banners as a viable contemporary art form / statement.
They address the question: How can painting exist in a contemporary world of digital expression? It’s a way of blending the old with the new. Making the initial heart felt comment then presenting it in a modern day to day context. After all, banners are everywhere. Their constructed material makes them durable, colourfast and reusable. They are current, readable and universally acceptable. They can be erected and left up as long as useful, then, simply and easily taken down and safely stored for possible later use. Having said that, the image is more important than the medium so its not written in stone as yet. (ho ho)
I suppose you could look at that as some kind of cultural phenomena!
They address the question: How can painting exist in a contemporary world of digital expression? It’s a way of blending the old with the new. Making the initial heart felt comment then presenting it in a modern day to day context. After all, banners are everywhere. Their constructed material makes them durable, colourfast and reusable. They are current, readable and universally acceptable. They can be erected and left up as long as useful, then, simply and easily taken down and safely stored for possible later use. Having said that, the image is more important than the medium so its not written in stone as yet. (ho ho)
I suppose you could look at that as some kind of cultural phenomena!
A picture of a picture on a billboard with people walking under it.
I would want it to exist in an area where there was a school run anyway. A dream within a dream kind of thing.
The initial roughs foe this particular banner will probably not look like it will do when finished and presented. I see it as a digital journey starting with one image and slowly growing and transforming until it becomes a printable format.
It will probably end up having more of a “toy-town” feel. Albeit a bit subtler, but it will be bright and to a certain extent cheery.
A not very good representation of how "bright" the idea is at so far.22-07-11
I would want it to exist in an area where there was a school run anyway. A dream within a dream kind of thing.
The initial roughs foe this particular banner will probably not look like it will do when finished and presented. I see it as a digital journey starting with one image and slowly growing and transforming until it becomes a printable format.
It will probably end up having more of a “toy-town” feel. Albeit a bit subtler, but it will be bright and to a certain extent cheery.
A not very good representation of how "bright" the idea is at so far.22-07-11
22-07-11. I suppose its logical - -
If 80 people go for billboards, more than half of them are going to need printing, especially if a lot of the thinking, planning and design is going to be done in the previous autumn and winter. And a whole less construction work is liable to be taken on site in the early spring
I must confess, it didn't cross my mind - following on from a previous banner. Which means that by and large they need to be pretty complete ideas before they pass the acceptance stage.
If there is a printer, ready and capable of doing all the boards, there could be a bit of a "monopoly" danger: where the boss printer dictates what the artist can and cannot do, with the possible ensuing problem of all the billboards looking the same.
Also,
because of the possible workload
and maybe following insufficient consultation and cooperation - -
some arts may find that the final image doesn't always correspond to the one they held in their mind's eye.
-There are many ways to cook an egg!
Mind I am quite open minded about any particular mural is produced, (as long as I can achieve it in the time allocated). I would be happy with producing it digitally or painted on panels. I would be quite comfortable fitting in with what else is happening on the project. For instance maybe every body else is producing their stuff digitally and it would be nice to employ a different means of production, or there could be other work that is hand painted and similar to my own which would work together. I am quite willing to produce them in the form most suited to the layout of the project, I see myself as being part of a general whole as oppose to a grand master strutting in and showing off his wares in the best possible venue.
Construction note:
If painted on 8ft x 4ft panels the panels could be arranged in a jigsaw type pattern so that no edge actually went all the way from top to bottom or side to side.
In my view there are three different possible layouts.
If painted on 8ft x 4ft panels the panels could be arranged in a jigsaw type pattern so that no edge actually went all the way from top to bottom or side to side.
In my view there are three different possible layouts.
First plan for the Xtreme Building Back Drop
The Xtreme Building Banner
This is a link to a set of work I am collecting that I actually made over ten years ago. this is a theme that has interested me, ever since I started taking my son to school!
City Chalets
A brief respite
Aimed as a lift for tiredness, not exactly “man sheds” but somewhere where you could imagine yourself away from it all – take your pick of which lodging you would like to be in! They each will be different with various implied restful activities going on. The idea originates from Yoko Ono’s show in London where she met John Lennon. There was a large presence of white half furniture, stuck to a white wall, complete incompleteness. A universe in 2D relief.
Aimed as a lift for tiredness, not exactly “man sheds” but somewhere where you could imagine yourself away from it all – take your pick of which lodging you would like to be in! They each will be different with various implied restful activities going on. The idea originates from Yoko Ono’s show in London where she met John Lennon. There was a large presence of white half furniture, stuck to a white wall, complete incompleteness. A universe in 2D relief.
Structurally and practically speaking I would build this piece of work with a nod toward Gaudi. With added flourishes and knobbles, various bits of colour and decoration built with bits of discarded furniture and the like. In fact the whole thing would be based on found and broken bits of furniture, bits of buildings and the like. Its a wall of relief chalet type huts (not more than a couple of feet deep), all quite serene in their own way, almost like "man sheds" (another cultural phenomena!)
Construction footnote
My studio flat area (in a single complete stretch) is bigger than an actual billboard and so can be built over a few months thereby dealing with constructional problems -
and compositional issues related to that scale of presentation.
Water colour of a hut interior
Think in terms of the matchstick tree house only bigger and a lot flatter.
The roughs for this side of the project can be quite finished, because as I move along the gathering process, I will be dictated to by what is lying about or what I have been given.
This board, even though 90% reconstructed, will have the ability to change, in-situ, right up to the last minute and maybe even after it has gone up and been declared open.
Costs:
The chalets are a bit indeterminate.
If I was given £110 costs - that’s how much they would be.
Its always better to spend more, it becomes more secure, quicker and easier. Although I do see this particular project as coming out of skips, which as an activity is a bit of an Urban sub-culture in itself.
This is a link to various "gang-hut"like structures that I have built since I was about seven. Maybe something I took up doing after my days of being taken to school had passed!
http://martinhumphriestreehouse.blogspot.com/p/spirits-need-homes.html
Further ideas about the possibilities of billboards.
Its run down a bit but I was in danger of having too many ideas where may it would be safe just to stick with the original two that I started with.
But I don't feel I am more than able to make four pieces by next May even more if I were physically painting one, physically building one and making the others digitally.
There is nothing to stop me adding further ideas as a kind of footnote to the Billboard page on this blog anyway.
The Trojan Horse,
The Phone Hacker,
The Whistle Blower,
EPIC MINATURES
This is a link to various "gang-hut"like structures that I have built since I was about seven. Maybe something I took up doing after my days of being taken to school had passed!
http://martinhumphriestreehouse.blogspot.com/p/spirits-need-homes.html
Further ideas about the possibilities of billboards.
Its run down a bit but I was in danger of having too many ideas where may it would be safe just to stick with the original two that I started with.
But I don't feel I am more than able to make four pieces by next May even more if I were physically painting one, physically building one and making the others digitally.
There is nothing to stop me adding further ideas as a kind of footnote to the Billboard page on this blog anyway.
At the Sign of the Spotted Dick.
A third "corner" on this page, another possible theme to cover in terms of curiously cultural billboards.
A third "corner" on this page, another possible theme to cover in terms of curiously cultural billboards.
The Ship at Sea
Ten most common pub signs:
The Crown,
The Red Lion,
The Royal Oak,
The Swan,
The White Hart,
The Railway,
The Plough,
The White Horse,
The Bell,
The New Inn.
The Crown,
The Red Lion,
The Royal Oak,
The Swan,
The White Hart,
The Railway,
The Plough,
The White Horse,
The Bell,
The New Inn.
Pub signs are a curious cultural thing, they originated with Richard 2, when he passed a statute for all pubs to have signs, further information on this, I do not have.
Then of course, Cromwell came along and people ceased to socialise in that particular fashion.
Unsurprisingly, with the restoration and Charles 2, pubs became fashionable again.
A whole load of new pub signs came out - largely to do with heraldic symbols and motifs, including older symbols like for instance: the White Horse.
Of course, as time has moved on, different symbols and designs have emerged. For instance: the Railway, the New Inn.
My feeling is that there must be scores of of possible new names for pubs to inherit which are close enough to the old ones:
Then of course, Cromwell came along and people ceased to socialise in that particular fashion.
Unsurprisingly, with the restoration and Charles 2, pubs became fashionable again.
A whole load of new pub signs came out - largely to do with heraldic symbols and motifs, including older symbols like for instance: the White Horse.
Of course, as time has moved on, different symbols and designs have emerged. For instance: the Railway, the New Inn.
My feeling is that there must be scores of of possible new names for pubs to inherit which are close enough to the old ones:
The Trojan Horse,
The Phone Hacker,
The Whistle Blower,
The Whistle Blower
The Arab Spring,
The Workers Pension,
The Cheap Flight,
A Black Swan (double dip).
The Workers Pension,
The Cheap Flight,
A Black Swan (double dip).
Black Swan (something to do with going back into recession I believe)
a group of work that I intended to carry on working with on the P.C. but was forced to stop due to the defragmatized state of the last machine!
Return from the Elders
Link to the set on Facebook
Construction of a show entitled
"At the Sign of the Spotted Dog"
"At the Sign of the Spotted Dog"
This is a linke to the image albumn I'm adding to as I go along in Face book, although I am tending to put them up as posts in Tree House.
The Lad in the Lane
