Raphaël Garnier
Raphaël Garnier was suggested to me by my tutor and is someone who was previously mentioned in a Visual Language presentation. His weird and wonderful shapes and forms express narrative, perhaps thoughts of a new or alien ecosystem. Visual language of mark-making at varying frequencies is used to convey texture, surface area, pattern and material - which is quite free form and illustrative that also has a graphic design edge to it. Garnier works in textile design which can be seen in his use of pattern, mark making and simplicity - possibly informed by composing textile patterns and the properties of thread, yarn or wool?
Garnier likes to explore worlds that don't exist yet and continues experimentation with string and rope-like forms, exhausting combinations, referencing DNA - an ongoing symbol woven through many of his works. Garnier likes the process of turning an illustration into something more three-dimensional like a ceramic piece - something I am considering doing in this project. Using black and white unifies his work, identifying links between them just like the rope. In an interview I read previously, he mentioned Stereotonomy and the art of cutting down volumes for assembly. Is this what he also refers to in his work? Cross sections of natural volumes? Interesting and something to consider... I could look into cross-sections of Zaha Hadid's buildings, perhaps.
Victor Vasarely
Victor Vasarely was highly regarded as the Grandfather and leader of the Op-Art (Optical Illusion Art) movement. His work can be described as geometric abstract art using very limited forms and colours of varying spacing and frequencies, working primarily in acrylic on canvas. I first discovered Varasely and Op-Art on a PPP visit to Leeds University's open gallery and fell in love with the high contrast, simplification and grand scale of his work.
These are some of my favourite pieces of his. The first, especially, reminds me of blueprints and schematics of architectural propositions and this is something I could try to recreate in illustrator? The aesthetic of white lines of varying widths and heights against a black background is different to anything I have ever liked or attempted to make - and shows the departure of my previous thinking and responses to illustration, influenced by Visual Language and Visual Narratives. The first painting, especially, would work so well if it was incorporated somehow into my final piece. Could I overlay illustrator lines onto more organic drawings? collages? Do I want to try acrylic on paper or canvas or stick with digital for a more accurate representation?
Hannah Duncan
Hannah Duncan is a BA (Hons) Jewellery Design student who is inspired by both architecture and design. She is particularly drawn to linear patterns, geometric shapes and contrasting surfaces in the natural environment. She works with brass, copper, enamels and fragmented surfaces, creating textures, patterns and atmosphere of the coast - immersing wearers and viewers in memories and the experience of an unreachable environment. She finds inspiration in beaches and coasts, telephone pylons, shadows and distorted reflections.
I am fascinated by Hannah's responses to the natural world around us, much like Zaha Hadid did with her practice, looking to organic forms and shapes as well as fragmentation and how that can effect a surface. In particular I really like these pieces of jewellery (a necklace and an earring) using acetate, and how that can be reflected onto a wall to create shadows and different perspectives - all by interacting with an object. Her work reminds me of Zaha Hadid's use of faceted triangles. Acetate is an interesting medium to use... it works especially well with the black, printed areas. I used acetate for the front cover of my Pearly Kings and Queens picture book and was happy with the results. Is acetate something to consider for my final pieces?
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