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Will Lakey - week two - Context to my practice

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My practice consists of drawings and paintings on a variety of found surfaces, homemade surfaces, and more recently in site specific locations.

I source the images I make from the media, personal photographs, and occasionally objects or scenes. I choose images and subjects without thinking too hard about why. If something catches my eye, I think it might be fun to draw, or it marks an interesting story, I take it and work from it. I am trying to create work that contains insignificant reflections of my character/personality. They sit at the outer edge of meaning but for me mostly represent a kind of distant tide line that marks a point of contact with the world.

I work quickly and honestly (I avoid making corrections if I can). I like to keep my paint and linework simple.

The process of reproduction involves a period of intense study of the image I have chosen. This enables me to engage with the image more intensely than I would ordinarily, or might be expected depending upon the context in which I found it.

Over the last few years I have begun experimenting with methods of display, organising my pieces into panels, columns, and other arrangements by attaching them to wires strung between points. This lifts them off the wall and into space. I hope this resists a traditional 2D reading of the work and gives them more presence in space that they might lack if attached flat to a wall. It also makes it possible for the viewer to see the reverse of the surface the image is on.

Lorena: context to my studio practice.

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Through my work, I explore the idea of human intimacy, whether by forced encounters or genuine connections; I attempt to investigate our intentions for closeness, as well as our discomforts and limitations that keep us alienated. By using photography, performance art, handmade books, and installation art: I place myself in situations that demand an immediate response for intimacy.

In my Sleeping with Strangers series, I was inspired by the conversations we have in bed before we fall asleep. I was interested in exploring how much a person can open up in their bed when just meeting you. I joined each stranger late at night, sharing as much of myself, as they shared with me. I photographed them throughout the night, recorded their sleeping habits, and transcribed our conversations.

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Digital fragmentation delves into the idea of intimacy and the internet, especially within social networks. As technology progresses, our ability to stay connected 24/7 increases; The question I ask with this work is, to what extent are we being intimate? Is there such thing as intimacy without privacy? The work presents photographs and text found in social networks; by removing it from the aura of the intangible world that is the internet, I'm attempting to examine what our actual intention is for this news-feed performance. What happens when the private and public sphere become blurred? Are we being sincere with our intentions to stay connected?

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My latest series, Fabricated memories; takes my work in a different direction. The series explores the function of photography to record memory. By photographing the casual or small moments of every day life; I am attempting to force such moments to become part of my permanent long term memory. The act of photographing fabricates the memories that would had been forgotten otherwise.

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Josh: Context of Practice

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As a printmaker, extreme interest in repetition drives my process. I take patterns and objects from my surroundings and open a dialogue with art about them. My process feeds off art from the past and present. I make art about art.

Drawing Looper

Printmaker's Dentention: A Conversation

Jim Hittinger, Week 2, Context

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Context to My Studio Practice

I currently have two distinct bodies of work, which I'm in the process of merging into one. The first, which I have been working with the longest, is a body of landscape painting. I am interested in open, sparsely occupied spaces. I seek out strange weather conditions such as fog, rain, blizzards, and the like, in opposition to traditional landscapes that depict serene, ideal outdoor spaces. I like the idea of weather and lighting conditions creating abstraction in the real world. For example, if I do a painting of a rural highway before the sun is up on an exceptionally foggy morning. The image might consist of vague outlines of the road, the woods next to it, and streetlights blanketed in thick fog. At first glance, the image looks like an abstract dark color field with bright orbs of light. However, it is not meant to be abstract at all, but a rendering of an image from reality. One of the most enjoyable, rewarding parts of this process for me is gathering source material. I see gathering source material for paintings as an excuse to make aimless trips by myself. I really enjoy driving down the highway for no reason (which I can no longer do, as I sold my car before moving to Minneapolis), visiting parks, dull suburban subdivisions, and other open spaces. When I see a storm or fog in the forecast I get excited, and plan on trekking out to a prime location to watch.
My other body of work deals with photographic sources. I received hundreds of family photos from my dad, ranging from the late 1800's to present. I've been making paintings based on some of these photographs, particularly the older ones with lots of imperfections and photographic artifacts (blurriness, lens flares, poor development). I see these elements of photography as acting in a similar to way to fog and snow on the landscape. An image of "reality" lies underneath, obscured by elements that mask its most obvious, recognizable forms. The only difference is that paintings based on photos are removed one more stop from the real world then paintings based from straight observation or memory. Using photography as a source also inherently brings in elements of personal history and memory more explicitly than my landscape work. I try to build up imagery in a way that it functions as more than a personal artifact for me. If I use a photo that my dad is in from the 60's, it will of course have an extra layer of meaning for me, but my hope is that the images have universal appeal regardless of the actual people and places in them.
I've started working in a new territory that combines elements from both of these series. I didn't even realize the overlap in concept and form between these two modes of working at first. Now that I've drawn this parallel, I'm looking for ways to relate and combine photo-based imagery with first hand experience in the landscape.

Beth, Week 2, Context to My Practice

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I'm a photographer who mashes historic references with contemporary issues of land use and our experience of time. My subjects have ranged from formal gardens in England to ruins in Rome and Greece and their curious quotations in the local landscape.

My web site:

I've recently moved into approaching the same phenomenon from the other side, using digital tools to cut away at the simple photographic document.