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Month: July, 2014

Heatons Art Trail

After finding out there was an art trail happening in my area I had to attend, I was very intrigued to see the talented artist that are necessarily well known and are from my area.
What I discovered was an array of beautiful, original, hand made pieces of art ranging from photography to ceramics, I did not realise the diversity of artists that lived so close to my home.

I was overwhelmed by the amazing garden studios and how much the art was selling for! I couldn’t believe that art being made in someones comfort of their backgarden was going for hundreds of pounds.

My favourite most inspiring artist from the trail was Moira Walton, I fell INLOVE with her garden studio. It was so minimal and simplistic, it was completely up my street filled with etchings and paint markings and millions of trinkets found on her travels that she used to create imagery. it was a dream!
Now her work was even more beautiful, paint stripes and marks in neutral colours inspired by the nature and the sea. Although her paintings were very simple, they just made sense.

Pokusevski’s Deli – Avril Neagle

Kro Bar – Bev Brocklehurst

Stanley Studio – Moira Walton

Norman Studio – Liz Cooksey and Jane Dzisiewski

Egerton Studio – Rachel Cooke

Lynwood Studio – Ton Von Krogh, Dionne Swift and Jo Lavelle Jewellery







Creative Research – Illustrators

Amy Holliday


Sarah Maycock

Daniel Mackie

Peony Yip

Ola Liola

Creative Research – Photographers

Gaston Lacombe

The thing that really captured my attention in Lacombe project ‘Captive’ is the eeriness of the images, especially the monkey image. From looking at the images you can feel and see the pain and suffering the animals are going through in captivity, his images portray a real look into what it is like for animals to be taken from their natural habitat and kept captive for our personal entertainment.

Background of the project:
Gaston Lacombe – “I have been gathering pictures from zoos all around for the last three years. I like most zoos — I really do. Some zoos need to be congratulated for making great efforts at conserving endangered species, providing shelter to animals who could not otherwise survive and educating the public on ecological issues.

However, even in the best zoos, there are animals that are stuck in cement enclosures too small for their needs, or in rooms where the only vegetation they see are the plants painted on the wall. I’ve seen animals living in cages where they cannot even sit up, or have no access to daylight or clean water. At these moments, I feel guilty for supporting a system that treats animals cruelly, and at these moments, I take pictures.”

Britta Jaschinski

The dark, cold impression of these images captures the viewers emotions and by Britta deciding to use black and white imagery to photograph the animals portrays their loneliness and sadness. I can not help but admire how beautiful these images really are although the story they tell is not beautiful at all. These dark photographs are taken from Britta Jaschinski’s book ‘Zoo’.

Background of the project:
Synopsis of book – Britta Jaschinski’s exquisite photographs owe their inspiration to portraiture rather than documentation, creating an atmosphere rather than making a statement. The animals in these photographs have a shadowy, almost enigmatic presence that excites our curiosity and draws us in. Our glimpses of them tend to be partial, fragmentary — from a furry hand gripping an iron bar to dolphins floating just below the surface of a pool. Polar bears stare from a rocky stage, a zebra stands stock still and quiet. All of them have a melancholy dignity, commanding a sense of respect in the viewer which is tinged with unease. Jaschinski’s involvement and empathy is evident throughout, but she never allows it to intrude; instead she has given us an arresting series of pictures and created a hauntingly beautiful book.

Daniel Kukla

Daniel Kukla ‘Captive Landscapes’ project has to be my favourite, I don’t know what it is but theres just something about these images that I find compelling. I find it captivating how he’s captured the animals surroundings in such a way that represents the animals pain in captivity without actually photographing the animals kept there.

Background of the project:
Daniel Kukla – “We, as humans, go to great lengths to satisfy our desire for a connection with the natural world, especially in our interactions with wild and exotic animals. Zoos are the primary site for this relationship, but they often obscure the conflicts inherent in maintaining and displaying captive wild animals. In this series, I photographed the interiors of animal enclosures at 12 different zoos across the U.S and Europe. These images invite the viewer to question the role of these constructed habitats, and explore the motivations behind collecting, preserving, and controlling the natural world.”

Andrew Walmsley


Background of the project:
Andrew Walmsley – “This is a personal project that I have been working on during my travels around Indonesia, focussing on the unfortunate primates who have found themselves wound into the impossibly cruel trade for our entertainment, both on the street and as pets. I am continuously adding to this collection, and am working on an article to highlight their suffering.”

Creative Research – Activists

Ric O’Barry

Ric OBarry Photo Gallery 1

Ric O’Barry is most famously known for his contribution to the documentary film ‘The Cove’ and his on running campaign ‘The Dolphin Project’.

The Dolphin Project:

Ric O’Barry’s Dolphin Project is a campaign under the International Marine Mammal Project at the non-profit Earth Island Institute. The Dolphin Project aims to stop dolphin slaughter and exploitation around the world.  This work has been chronicled in films such as A Fall From Freedom, the Oscar-winning documentary The Cove, and in the Animal Planet mini-series Blood Dolphin$.

Campaigns for dolphin protection are currently underway in a variety of locations around the globe, including the Solomon Islands, Indonesia, Egypt, and Singapore.

Richard O’Barry has worked on both sides of the captive dolphin issue, making him an invaluable asset in the efforts to end exploitation. He worked for 10 years within the dolphin captivity industry, and has spent the past 40 working against it. He worked for 10 years within the dolphin captivity industry, and has spent the past 40 working against it.

After capturing and training dolphins Ric soon came to realise that what he was doing was wrong and shifted his participation with dolphin captivity, he has now made many altercations in the campaigns against dolphin captivity and is one of the biggest advocates for the cause.

I first discovered Ric O’Barry when I came across the film ‘The Cove’, I found the work he was doing to prevent dolphin captivity and killing very moving and inspiring as he is not bias and has seen both sides of the industry and therefor his work with the cause speaks the truth. In the near future I am looking to read both his books ‘Dolphin Smile’ and ‘To Free a Dolphin’.

O’Barry has been recognized by many national and international entities for his dedicated efforts, such as being voted Huffington Post’s 2010 Most Influential Green Game Changer, and being listed on O Magazine’s 2010 Power List – Men We Admire for his “Power of Passion.” O’Barry received an Environmental Achievement Award, presented by the United States Committee for the United Nations Environmental Program.

Jane Goodall

Jane with Uruhara pant-hooting, 1996.

Jane Goodall is one of the world’s most famous conservationists and scientists. Her pioneering study of wild chimpanzees began 50 years ago in Tanzania and revolutionised how we think about both chimpanzees and ourselves. Jane thinks of herself as an ambassador for the chimps and is highly dedicated to their cause.

As a 26-year-old in 1960, she had traveled from England to Tanzania and bravely entered the little-known world of wild chimpanzees. She was equipped with nothing more than a notebook and pair of binoculars. But with her rare degree of patience, and fortified by characteristic optimism, she won the trust of these initially shy creatures. She managed to open a window onto their sometimes strange and often familiar-seeming lives. The public was fascinated and remains so to this day.

Today Jane’s work revolves around mobilizing action on behalf of chimpanzees, who are endangered, and all wildlife species. The Jane Goodall Institute works to protect the famous chimpanzees of Gombe National Park in Tanzania, but recognizes this can’t be accomplished without a holistic approach that addresses the real needs of local people.

Jane has worked with chimpanzees for the majority of her adult life and the thing that I find most inspiring is that when she started out in Tanzania she had no idea that this beautiful relationship would form between her and the chimps as she had no real experience with them but they still grew to love her as if she was one of their own.


Cindy Lowry


Cindy Lowry is an American environmental activist and the former executive director of Greenpeace in Alaska who has dedicated more than 25 years to protect marine wildlife and the marine environment. She is also the founder of Oceans Public Trust Initiative, developed out of a concern over the rapid expansion of offshore renewable energy development, as well as oil and gas.

Cindy Lowry is an American environmental activist who has spent more than 25 years at the front lines of battles to protect marine wildlife and the marine environment. She has founded and directed environmental organizations and campaigns across the country, from Maine to California to Alaska. Lowry was the director of Greenpeace in Alaska and in 1988 played a lead role in the rescue of Gray Whales trapped in the ice off the coast of Barrow, Alaska – a role featured in the film entitled “The Big Miracle,” released by Universal Pictures in 2012.

It was during her 10 years with Greenpeace – including the Gray Whale rescue that received international attention – that Lowry developed her passion for marine wildlife and their protection. While serving on the DOI’s Oiled Wildlife Working Group, she developed a policy to ensure sea otters were included in an oil spill clean-up contingency plan which was implemented later during the Exxon Valdez oil spill disaster.

I find it inspiring that it took her one huge act of generosity and care for animals to land herself a film made around the things she works hard at, to help marine animals be safe.

Pony The Orangutan


Here is a small anecdote of how cruel and disgusting the world can be, animal cruelty in captivity happen everyday but I have never experience of read about a story as saddening and horrible as the story of Pony the Orangutan.

Pony is a female Orangutan from a small village in Borneo, this particular village in Borneo is a prostitute village. When Pony was found by the Borneo Orangutan Survival Foundation, she was completely bald from being shaved and chained to a wall lying on a dirty mattress.

The most sickening part of this story is that Pony was being used as a sex slave, if a male walked by or approached Pony she would present herself and gyrate to get there attention. She had been held captive by a sex madam and was being exploited for money which none of it got spent on Pony or was her health or well-being any of the importance to her madam.

The madam would not give up Pony easily as she brought in a lot of her income as she was thought to have been lucky and very popular with the male customers as she was seen as a novelty to many of the men.

Pony was in bad shape, her skin was very irritated from all the shaving and she was constantly bitten by insects which led to getting infected and septic causing her a lot of pain.

Eventually Pony was rescued and is now in a better place and much better shape and will no longer be exploited for money.

For more info on Pony’s rescue go to:

To keep up with Pony’s improvements go to:

I can not believe anyone would do this to a poor, selfless animal in vain of their own gain in wealth. This is a prime example of how cruel people can be towards animals that can not protect themselves, Pony was that damaged that she automatically presented herself to any male approaching as the motions had been drilled into her many times over the years.
No one has yet been punished for these unspeakable actions as there are no laws against animal captivity and cruelty in Borneo.

Creative Research Inspiration

It is about time I start piecing together bits of inspiration and ideas for my creative piece of my dissertation, at the moment I am not too sure what direction I want to go with it, all I know is I want it to involve animal captivity in the Zoo.

I wanted to start off by looking at different activist that are involved in animal rights and against animal captivity, to understand their beliefs towards animal captivity and what they are doing to try and stop it.

Activists I found inspiring:

  • Ric O’Barry
  • Jane Goodall
  • Marianna Tosca
  • Cindy Lowry

Photography and animal rights seems to go hand in hand, many campaigns supporting animal rights seem to involve photography and use it as a good tool to get across the message they want to publicly.

Photographers I found inspiring:

  • Gaston Lacombe
  • Britta Jaschinski
  • Daniel Kukla
  • Andrew Walmsley

With illustration being my main practice obviously I wanted to have some form of it in my creative piece, but I don’t know how I am going to use it to get the message across I want to portray aswell as linking it to my written piece. I struggled to find illustration being used to support animal rights but I did find some animal illustrators.

Illustrators I found inspiring:

  • Amy Holliday
  • Sarah Maycock
  • Daniel Mackie
  • Peony Yip
  • Ola Liola


COP3 Feedback

After receiving my COP3 feedback and reading through it I found that a lot of things Marianne advised me to do I have already been doing which is a good start, although there are still things that I need to do and I majorly need to get organised!

Key Points in Feedback:

  • Find theoretical texts to back up discussion and triangulate an argument.
  • Look at psychological factors of animal captivity.
  • Read and research ideas of captivity and how it has been affected by consumerism and ideologies surrounding the ‘zoo’.
  • Broaden sources of secondary research: so make sure you look for more books, critical text, journals and publications, as well as your suggested websites and documentaries. Visit exhibitions if needed.
  • Books to look at:- Reading zoos: representations of animals and captivity by Malamud, Randy, 1962.

    – Plastic animals in cages: behavioral flexibility and responses to captivity by Mason, Georgia; Burn, Charlotte C; Dallaire, Jamie Ahloy.

    – Why look at animals by John Berger.

  • Primary research should include conversations, interviews etc.
  • Concentrate on creative practice:
    – How do I intend to connect my research with an area of practice?
    – Think about how my research will directly feed into a practical piece of work.
  • Study other practitioners and critiquing their work:
    – Activist
    – Photographers
    – Illustrators
  • Need to start creative research a.s.a.p!

Learning about Print Techniques

Relief printing is a generic term used to describe the process of printing from a raised surface where the non-image areas have been cut away. Wood and linoleum are traditional matrices used for relief printing. 

  • Woodcut:
    Woodcut is one of the oldest and simplest forms of printmaking. Various implements (both hand tools and power tools) can be used to cut the image into a block of wood. Paper is placed over the inked block and rubbed by hand or passed through a press to transfer the ink from block to paper to create the image.
    Woodcut prints and illustrations were first popularized in China in the 9th century and spread to Europe in the 14th century where they became a popular medium for the mass distribution of religious and instructive imagery. The woodcut was developed to an exceptional level of artistic achievement in Japan during the 17th-18th centuries, the ukiyo-e period.

(Woodcut by Tugboat Printshop)

  • Linocut:
    The linoblock consists of a layer of linoleum, usually mounted on a block of wood. This soft material is easily carved using knives and gouges. The image is then printed as with a woodcut. Linocuts were popularized by Pablo Picasso.

(Linocut by Amanda Coville)

  • Intaglio:
    The intaglio printmaking method is characterized by an image being cut into the surface of a plate. Traditionally the matrix is copper, zinc or other metal and the cutting is made with sharp hand tools or by using acid. When ink is applied to the plate, it is held in the incised image areas and wiped from the surface, then printed on a press on dampened paper.
  • Engraving:
    For this technique, a metal plate is incised with a tool called a burin. Great skill is required to manipulate the burin as it is pushed at different angles and degrees of pressure to produce a characteristic thin to thick line. Engraving techniques were used by the Greeks, Romans and Etruscans for decorating objects but were not used for printmaking until the mid 15th century in Germany. Engraved images are comprised of a multitude of crisp, fine lines. Shading is traditionally rendered by multiple parallel lines or cross-hatching.
  • Drypoint:
    As with engraving, this is a process in which marks are made on a plate using a sharp, pointed instrument. Unlike engraving, in which small amounts of metal are completely removed as the lines are incised, drypoint is characterized by the curl of displaced metal, called the burr, which forms as the line is cut. When inked, the burr creates a distinctive velvety appearance. This technique is usually done on soft copper plates. As the edition is printed, the burr becomes flattened and less distinct.
  • Mezzotint:
    This is a very beautiful but time-consuming technique, which was most popular in the 18th and 19th centuries for portraiture and reproducing other works of art. In creating a mezzotint, first the entire metal plate is roughened by marking fine lines into the plate in all directions with a rocker (If printed at this stage, the entire paper would be black). Tones are created by burnishing or scraping into the plate, working from black back to middle values and highlights thus allowing the print to have continuous tonal range.
  • Etching:
    This process uses acid to bite an image into a metal plate that is coated with an acid-resistant ground. A sharp needle is used to scratch the image through the ground, exposing the metal. The plate is then immersed in an acid bath where the drawn marks are etched. The characteristics of the marks produced depend on the tool used to draw the image, the type of ground coating the plate and the length of time the plate is etched in the acid bath. The etching processes are the most versatile of the intaglio techniques and are often used in combinations.
  • Aquatint:
    Aquatint is an etching method introduced in the mid-17th Century to create a more subtle tonal range than could be achieved with line etching techniques. Powdered rosin is applied and heated onto a metal plate; the metal that remains exposed around the melted drops of rosin is bitten in an acid bath, creating a pitted, grainy surface. These pits hold ink and print as areas of tone. The longer the plate is left in the acid, the deeper the “bite” and darker it will print. Shapes are defined by painting on an acid-resistant “stop-out” to prevent surrounding areas from being bitten. A plate may be bitten several times for a range of tones.
  • Spitbite Aquatint:
    An intaglio method of painting strong acid directly onto the aquatint ground of an etching plate. Depending on the amount of time the acid is left on the plate, light to dark tones can be achieved. To control the acid application, saliva, or gum arabic can be used. Traditionally a clean brush was coated with saliva, dipped into acid and brushed onto the ground, hence the term “spitbite”.
  • Photogravure:
    A photographic technique used with aquatint. The metal plate is heated and dusted with a fine rosin for an aquatint ground. In a darkroom, the image is exposed from a photo positive transparency onto a sensitized gravure carbon tissue or film. This image, in turn, is transferred to the metal plate. The plate is bathed in warm water, causing the unexposed emulsion on the carbon print to be washed away, leaving the image in relief. Ferric chloride is then applied to the plate to eat away the copper in proportion to the highlights and shadows of the gelatin relief. The finished plate is printed by hand by usual intaglio methods. This process has great fidelity to the tonal range of the original photograph.
    Direct gravure is a related process where the positive transparency is hand drawn rather than using a photograph.
  • Lithography:
    The name lithography comes from the Greek words lithos meaning ‘stone’ and graphein ‘to write.’ Lithography is a chemical process invented in the late 18th century and based on the antipathy of grease and water. The image is drawn on a smooth stone or plate using greasy pencils, crayons, tusche, lacquer, or synthetic materials, or sometimes by means of a photochemical or transfer process. After the image is drawn and processed with a mild etching solution, the stone or plate is dampened and ink is applied with a roller. The greasy drawn image repels the water and holds the oily ink while the rest of the stone’s surface does the opposite. Printing is accomplished in a press similar to that used in intaglio processes.
  • Stencil:
    A process of printing through an opening in a material or a cutout design.
  • Screenprint:
    A stencil is adhered to a material (now synthetic nylon is used instead of silk) stretched tightly over a frame. The image areas are open fabric through which ink or paint is forced with a squeegee. Screenprints can be made onto almost any material.

(Screenprint by Nicola Goldie)

  • Pochoir:
    A direct method for hand coloring through a stencil. The stencil itself is usually knife-cut from thin-coated paper, paperboard, plastic, or metal. A stencil and stencil-brush may be used to make multicolor prints or to add color passages to a print.
  • Monoprint:
    The key characteristic of a monoprint or monotype is that no two prints are identical, though many of the same elements may be present. All or part of a monoprint is created from a matrix, etched plate, woodblock or such, whereas a monotype image is painted directly onto a smooth unaltered plate and then transferred to paper in a press. These prints are sometimes hand-colored after they are printed.

(Monoprint by Colleen Parker)

  • Digital Prints:
    Digital prints refer to those images generated with the aid of a computer. The computer file is sent to a digital printer, such as an Epson, and printed on paper using pigment-based archival inks. Digital files may also be used to scribe an image onto a matrix using a plotter and to cut stencils for traditional print processes.
  • Collagraph:
    A print matrix can be made from almost any assembly of materials, collaged into an image and printed either as a relief print or intaglio. Surfaces may also be textured with acrylic mediums. This technique is referred to as a Collagraph.

IdeasTap Editorial Artist Competition

Screen Shot 2014-07-08 at 12.37.49

I have once before tried to apply for this competition but at the time I was concentrating on my Live Project and did not have time to fit it in, so i’ve decided to give it another go.  I love the articles in this magazine and think it is a really good opportunity to get my artwork out there into the open and if I don’t win its an added bit of experience to go under my belt!

I am looking to create a sketch of a combination of the biggest news stories that have been in the public eye recently, rather than sticking to one story and drawing that I wanted to do something different and not in my usual style.

Ideas so far;

  • Andy Murray loosing to Grigor Dimitrov at Wimbledon/Israli and Palestians conflict
  • Tour de France/Common Wealth Games
  • Drought of antibiotics/Recent drug wars
  • Conflict between Brazilians and Fifa World Cup