Magazine Research

Burgoyne, P., 2010. Hi-Res. Creative Review, 30 (6) pp.20-21.

'American artist Kate D Macdowell hand scultps her works out of porcelain, building them petal by petal, branch by branch... http://www.katemacdowell.com/

Burgoyne, P., 2010. Joining Forces. Creative Review, 30 (6) p.44
"I've been imagining moving my work into a three-dimensional form for some time now and for this project I wanted to try and transform my 2D shapes into 3D sculptures in a gallery environment... The tricky part was to translate the illustrations into a sculptural form yet retain the look and charectaristics of my drawings, so as to still be recognisable as my work. I talked through the ideas with John Fox at Candy Lab and sketched out a few ideas highlighting what these sculptures would be made of, the finishes I wanted on them and the composition of the objects within the space. Candylab created a completely new imagined space from scratch. Everything from the floor to the light fittings was digitally constructed. http://www.one-fine-day.co.uk/"

Roberts, C., 2010. Runners-Up, Grafik Design Awards. Graphic, 86, p.46

http://www.damienpoulain.com/ 'Totem 49' is a project consisting of a series of 49 hand-painted totems made of recycled wood, inspired by ancestral sculptures and religious fetishes.

Wales, H. 2010. Holly Wales [online] Available at: http://eatjapanesefood.co.uk/ [Accessed 23 June 2010]

Alex Simpson

Also from the Brighton show. 3D and drawings worked together.
www.alex-simpson.co.uk

Kaye Blegvad

Yesterday I went to the Brighton degree show. This illustrator's work really inspired me. She really created an atmosphere through her drawings. The books in particular had a very eerie and intriguing tone. And I liked the way she had 3D objects which worked alongside her pictures, which is something I want to do too. However, it was a bit too gory and grim for me, and on her blog I found a piece which is much more what I want to do- dark subject matter but colourful and exciting aesthetic...I love the narrative structure and the compositions, and it's just a fantasticly told dark story, like Dahl's. It really reminds me of all the Paula Rego reading I was doing for the last essay- in her 'Girl and Dog' series, a girl grooms and pampers her dog as a ritual for murder.

www.kayeblegvad.com

Book Covers

Covers for Dahl's short stories. Some are much better than others. The top one is my favourite, it's very atmospheric. I like the black ones with the icon of an eye or a mouth as well, simple but effective. There are some really awful ones too though...

 

Allison Schulnik

http://www.youtube.com/watch?v=Puph1hejMQE

I need to find a way to make my 2-D and 3-D work look the same because at the moment the 3-D work I have done is quite graphicsy.
Schulnik, who has a 'painterly' 2-D style, makes her 3-D work look painterly in this amazing animation.
I'm buying some plastiscine asap.

Paula Rego's Studio

"The mannequins are my props. I make them with my assistant, Lila, from plastic skeletons used by medical students, covered with cotton wool and stockings. I set up the scene and then try to draw it."

"Because I am telling a story, one picture comes after the other, so it is very helpful to see them all hanging together. This room is where I make the big pictures. I'm always changing it around, making scenes and setting it up to tell different stories."

Quotes from the novel

"We are a group that rarely changes, and when occasionaly a new face appears on the platform it causes a certain disclamatory, protestant ripple, like a new bird in a cage of canaries." 84

"It was something like being inside the cage with a tame tiger." 103

"I had the feeling someone was blowing up a huge balloon and I could see it was going to burst but I couldn't look away." 141

"I couldn't take my eyes away. I had to look. It was like seeing a dangerous little ballet in minature from a great distance, and you know the dancers and the music but not the end of the story, not the choreography, nor what they were going to next, and you were fascinated, and you had to look." 170

"After that it was like the awful moment when you see a child running out into the road and a car is coming and all you can do is shut your eyes tight and wait until the noise tells you it has happenned. The moment of waiting becomes a long lucid period of time with yellow and red spots dancing on a black field, and even if you open your eyes again and find that nobody has been killed or hurt, it makes no difference because so far as you and your stomach are concerned you saw it all." 175

Gina Osterloh

I like the way Osterloh combines vibrant, bizarre, playful imagery with odd and disturbing subject matter in this sequence of images of a girl being sick.