Taylor uses light and figure in the form of photography. Using a longer shutter speed and the moment of the human body the whole figure is depicted with the use of light. This makes a change as usually the figure is hit by light waves which is what create the picture where as here the figure is emitting light waves. It is an unusual method of photography, however, I feel it works very well as the ability to capture movement with the trails of light creates a very real and human feeling. I think that his use of photoshop is high in standard with no obvious use that can bee seen across all the pictures, this is something that I want to show in my own work and is something that I want to work on to improve. The images where Taylor has wrapped lights around a mannequin I feel do not work as well as those that have lights wrapped around a person. This is because the image is very static and unnatural. The clear plastic mannequins can also be seen reflecting the lights which are laid upon them. I have learnt from looking at these works that it is important to consider the subject of the photograph as it may change the style and techniques that you use. I hope that I can create the same natural movement that Taylor creates in his photographs of the people.
The use of reflection in Taylor's work is very sporadic but very effective. It highlights the natural symmetry in the body and adds some substance to his very dark pictures. It also alters the shape of the body slightly. I think that I could use this technique to highlight the symmetry that can be seen on the inside of the heart. I will reflect one side to the other and create a whole heart.
Darren Pearson
Again by looking and studying the style of photographs that Pearson uses in his work I can take his technique and learn from the very stylised method. By getting people to draw with 'light wands and photographing the scenes created with a long shutter speed he literally captures a moment in time. A reflection of the thoughts behind his photographs. I enjoy the style of the images and find it fascinating how the illustrative drawings can add so much to an image. I also like and want to take on board the idea that he has drawn an idea or a memory in real-life. Taking something intangible and making it real. I am inspired by his work as this is something that I also hope to achieve in my project. I will, therefore, explore these processes looking into ways in which I can make this happen.
By looking at Munro's work I can see the nerve cells in our tissues as the scattered lights are bunched and dispersed across the landscape. The artists use of colour and space is very considered and is how I envisage my representation of electricity in the body. I really like the open structure of his work, which allows you to move between the lights distributes across fields in an interconnected web. I think that this produces a very dynamic piece which has an intimate relationship with the viewer. It is especially satisfying to see the graduating flow of colour wich seems to add to the depth of the piece making the top surface, even more, three-dimensional. For the scale of the work, Munro's has managed to complete it to a very high standard. Each light is placed very specifically and in most works evenly distributed to an exact location. This piece has reinforced my thoughts on how colour - especially tone - affects the shape of an object either adding or detracting depth in key areas.
The burnt aspect of this work has really enlightened me as to how techniques can enhance a piece.I particularly like the change in gradient as it allows the mind to compare and contrast the before and after aspect of the wooden trunks as they flow in a liquid-like a manner towards the centre of the 'sink hole'. I can also see how meticulously this was planned. The drawings are incredibly detailed with such accuracy, seen from every angle. This means that while making the piece he had a constant reference to look back too. This also shows the very high standard of work as each detail is throughout leaving very little room for error. This has shown me the importance of thorough planning while also given me visions of adding in an aspect of contrast to my work. Whether this is a before and after aspect or a simple colour change, it will add a new dimension to my work, hopefully making it more intricate.
Chris Dury also takes very sharp detailed pictures of his installations, there is normally at least one image of each angle that he drew from when planning and then several shots of the close-up detail. This has shown me the importance of documentation. These installations can only be seen at that location so to allow other people to see them a photograph is necessary. To show the piece in its true light they must be high quality and large prints.
Jim Lambie
I find Lambie's use of the colourful electrical tape as a representation of sound and electricity inspiring. The neatness and control used to lay the tape takes practice and patients but produces a spectacular optical finish. I particularly like the link between the piece and its meaning. Lambie talks about speakers and sound having surrounded him his whole life, which gives each piece a personal touch, even when in such large public spaces. I also love the use of colour, it's eye-popping, which is very effective in showing the shapes of the building/room that the piece is placed in. Most of his works are placed in very old traditional buildings and the bright modern 'electrical' floor shows the shapes we might not otherwise notice. For example, the curve of a pillar against a straight wall or the detail placed on the edge of a stone step. This has convinced me of how important shape and colour are to an image or sculpture. Both go hand in hand when deciphering form and is an aspect that I will include in my work.
Some people believe that Lambie's electrical tape pieces are like paintings - applying colour, to create shapes on a flat surface. However, I take the view that these works are in fact sculptures. As he lays the tape he redefines the contours of the building and accentuates three-dimensional shapes with his use of line. This may even alter the way in which we see an object - changing its shape in our eyes. Lambie uses the interior of a building like a clay model sculpting every surface until he forms a perfect shape that fulfils the vision he has.