Alberto Giacometti

'Thats the terrible thing, the more one works on a picture, the more impossible it is to finish' Giacometti

I wanted to experiment more with texture and so I explored Giacometti's techniques of layering and veiling etc. As he uses the many different angles to build up his work, this is because he is a sculptor.

• Firstly, I stretched a piece of thick A1 cartridge paper onto a board.
• I then laid a basic mixed media surface over the paper, I kept the colour scheme white and added plasterer's scrim and tissue paper with PVA.
• The subject matter I chose was some of my life drawings from different angles.
• My concept behind this piece was to focus on the word vulnerability.
• I used a range of media such as fine line, biro, graphite, charcoal and ink and stick. These mediums enabled me to work quickly and fluidly. 
• By overlapping and veiling my drawing, it gives a multi dimensional element to my piece 

Camilla Engman's illustrations

Engman lives and works in Sweden as an illustrator. She uses simplistic forms - line with minimal tone. She uses emulsion to veil and simplify the drawings further.

I also tried to simplify my images of the secrets, using mdf covered in emulsion and transferring my image with cellulose thinner.

I then emulsioned out the background colours except skin tone. Graphited outline. Although my new image was a mirror image so writing the wrong way round.

Then used charcoal to emphasise the ghost of colour and shadows and depth.

Finally i rewrote the secret to reiterate the message. Also smudged the charcoal for depth.

Video installation by Sedira

After her boyfriend split up with her, Zineb Sedira produced the video 'Don't do to her what you did to me' of 8 minutes in 1998- 2000. In which she ripped up her diary, soaked it into water (see the still below) and ate it.

In response, I ripped up my old diary aswell, but instead of consuming it, I recycled it and made a new diary.

I didn't completely blitz the paper, as the little snippets of words give the audience clues and a sense of mystery.

Textual Weave

I combined my images of the secret postcards in a weave which I then worked into. Raising sections on cardboard.

Whitewashed background

Enlarged section onto a canvas.

Postsecret.com

www.postsecret.com is where anonymous people send postcards with their secrets on. These are really revealing about the stranger and can show their identity.

This method of sharing secrets, is also present in music videos, such as Every Avenue: Tell me I'm a Wreck.

All-American Rejects: Dirty little secret.

I created a postbox and left empty postcards on top to let people write their secrets anonymously, just like the website postsecret and music videos. I left it in a public area so there is minimal pressure. I then chose subjects and photographed them holding the revealing secrets infront of their face.

'Babies and small children scare me'

'I'm a wizard'

Gillian Wearing

Wearing's juxtaposition of the well dressed businessman and the very vulnerable statement carries a heavy impact. I'm desperate 1992/3

Very honest and brave statement. 'I have been certified as midly insane' 1992/3

I used Walsh's white-out method:

Walsh inspired Photography

I used emulsion to white out the background and paint in the hair and top using acrylic, giving the image a cartoon feel. The end product is very striking and the scribbled out face is a obviously a very quick mad mark, perhaps out of anger or jealousy. That is for the viewer to interpret.

  

Again I chose another solitary figure to concentrate on, I repeated the white-out technique to focus on the scribbled out head of the figure and I thought that it worked out well here, the red leggings give a real anger and passion that may reflect the artists emotions.

                                                 

Finally I chose a male figure sitting on the stairs, this lonely pose shows a possible rejection or bitterness. The viewer can conjure their own scenario and I like how this person's identity is a mystery.

Moving on from Walsh's childish scribble, I markered out the main figures eyes. By white washing the other figures, all attention is focused on the central female. Her thumbs up and tight smile is very posed and by singling her out, it shows the artist's anger and disgust at her falseness.

I took the same scenario and swapped the figure's heads, almost mocking their relationship and the viewer may wonder what the subject's relationship may be and why the artist is making fun of them.

Walsh's Photographs

Carolyn Walsh, Silkies, 2007.
I like the method of whitewashing out the background and the way Walsh has obscured the face, concealing the woman's identity in such a violent scribble.

Wall covering inspired by Kendall and Gormley

After researching Kendall and Gormley's works, I asked some peers and tutors to draw a simple flower. I chose that subject matter because it was easy. I then arranged the pictures in an overlapping and interesting way and sewed vertical lines to attach the pieces. I also raised the edges as Kendall did in her 'Hidden White Room'

Gormley's Field for the British Isles

Focusing on the idea of identity, I looked at Gormley's large scale works, whereby he got the public to mould a piece of clay, the size of their hand, into a basic figure. Approx. 35000 figurines made, varied from 8 -26cm high. Reflect the variation of society and the individuals within. Very imposing exhibition.