abbieartpdp-blog

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Submissions

Programme Cover for Mental Health Festival

Details

The     image you produce should be based around a circle. Love Arts will take the     image and add it to a cover design. You do not need to design the cover,     it is the image we want. The circle motif is used throughout the programme     and online. See the 2016 programme design for an indication of what we     mean. You can work in any medium: photography/ painting/ digital/     watercolour etc.    

The     image should reflect the theme of CONNECT. The idea behind the theme is     that our mental well-being is affected by the connections we make with     people around us. We all want a place where we feel we “belong” and making     connections is vital to us feeling we have a purpose and feel part of     something. The idea of community is also important to our well-being. The     image should be a positive, artistic take on the benefits of connecting     with others.     

It’s up to you whether you include the word CONNECT in your design.    

The     design should work on an A5 programme but also larger.        

We are     looking for design ideas at the moment. Please submit a sketch of your     idea. If you have an existing piece of work that you think would work,     please send us that.

Submission for Leads Mental Health Festival, asked to design front page of leaflet to be distributed at the event. Although I didn’t win, I have received a chance to exhibit my work at the festival. Every opportunity opens doors.

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DEGREE SHOW

I have selected these four images out of the final eight I produced – after discussions with those in my class and my tutor they proved to be the most powerful in representing my ideas and also just in the way that they strike with the deep black tones and white negative spaces – a dramatic splash of shadow with a touch of light igniting not only a facial recognition but a powerful interpretation of fashion imagery. 

I would also like to talk about how I have incorporated the use of my research on identity within the images, the further I have understood the identificatory processes of the mind, the more I realised it cannot be pinned down to one exact method or theory, it is the desire I wanted to show more in these images, the desire to want to be something that we are not - the way in which we identify with our desires. These powerful images delve into a dark world in which we place so much importance on looks, we suffer and change our faces in order to become something we are not for the sake of beauty. Through this research it enabled me further to be able to curate a dramatic display with these pieces.

In order to create something dramatic I first decided that I wanted to use the whole wall, I felt that this provides an overpowering sense that the dark inky drawings can take over your view – rather than having them in one line, I see that in order for them to stand out more and showcase against one another they had to be slightly off from one another. This is because there’s a confusion factor, whereby the images do not go up straight, almost a glitch in the perfect gallery space.

In relation to one another I knew that I didn’t want all the gaze to focus on one another, rather looking out than looking in. I wanted the audience to perhaps follow the bottom ones up so that you are aware of the overpowering nature of the higher pieces – then for the top two to become like a lid on the situation, one looking down, the other back at the audience as if the end? Or depending on how your gaze differentiates the beginning?

I also knew that I didn’t want the pieces crisp, flat or ‘perfect’ – I love the imperfections and creases in the work – one could say it represents the lack of age in fashion media, wrinkling the faces of fashion models, however I would point out that these are simple glitches that we never get to see in fashion imagery. My interpretations of fashion imagery are not perfect and the overall texture of the piece I think adds to this – therefore when pinning them up I wanted to retain this sort of imperfect flow of paper – only nailing them in the corners, allowing the middle to curve and flow into the glitch state it was once in. I feel this curatorial decision helped link the work with my theory also, demonstrating the errors and imperfections we face with both an identificatory process of fashion imagery and the way in which we gaze at it then it back.

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PDP Presentation

Reflection

My entire presentation FLOPPED... I don’t feel 100% that I did my best within the presentation. Although I was ill, I struggled to come across as more upbeat and optimistic about my future within the arts and/or teaching. I am also aware that my presentation jumped around a lot without really explaining exactly why I had chosen specific pathways over others. 

Although I found the whole thing daunting I am happy that I did it, not only from relief, but it has made me realise that if I definitely know what I am talking about whether I have to do a presentation in the future (especially for teacher training) as long as I am prepared I can be confident. 

For this presentation I was extremely unprepared and rushed around in the morning gathering paper and script last minute- I realise now where I went wrong but am able to move on from it.

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PLAN

Degree Show

Colchester Institute - Unfinished Business June 2018

Free Range - London group show July 2018

One Year

·       The next step for me will be teacher training. Although perhaps not the option I want to do the most, that being the MA in art and psychotherapy, it is one that I have considered since starting this degree.

·       There are so many reasons for me wanting to become a teacher, gaining a career rather than a job in retail/beauty therapy, the hours, holidays, especially with a 5 year old daughter. One of my main reasons to teach is because I realise the impact a good teacher can have, from both my experience of school and my daughter’s.

·       Whether I follow this route or the art therapy route in later years, I want to be able to make a difference in peoples lives. I’m aware the process may be tough, but I feel the rewards at the end will be so worth it.

·       Researching Teacher Training has been very confusing, there are a few different routes to go down. I have chosen to apply for 2 PGCE choices and one salaried route into teaching. After attending the talk and learning about my different options I will be lucky to get onto the salaried coursed as I have no work experience within a school, however the PGCE route is a more hopeful alternative.

Three Years

My aim is to be Teaching in a primary school but also thinking about applying for my MA. I wish this had been an option at the end of my degree or a year after, but at this moment in time I don’t think it’s a viable option for me to take as I feel like I’m not in a position to do so financially, affording child care costs, travel etc.

Five/Ten Years

·       I extended my five year plan to ten because I honestly have no idea how long I will be teaching for, whether I will in five years be in a position to begin my MA.

·       However, I am hoping that in ten years time I will be studying my masters in art psychotherapy, something that I have wanted to do since I started my degree.

·       My reasoning for this is, as I said in the beginning I have always regarded the link between art and psychology of great importance, believing that art can offer a healing therapy to those that need it. After volunteering at INSIDE OUT in IPSWICH over the past 2 years, I have noticed the significant role art has as a coping method for those suffering with/ overcoming mental health issues. I did already have an interest in the topic, but actually being part of the process has been an eye opener for me, those that attend find the workshops incredibly helpful and are saddened at the thought of being away for too long.

·       One final push for me wanting to do this MA is after running my own workshop at Inside Out as a paid artist. Planning the session and incorporating different ways of thinking about the way we create a piece for those with different capabilities was both challenging and enjoyable. Although I am aware there is much more to the MA than just this, it was very rewarding to receive compliments from those attending for brightening their day.

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DEGREE SHOW PROPOSAL

The project I am working on is titled ‘Identifying Beauty’, I am going to produce 8 pieces that are 1.5 metres by 1 metre – ink on fabriano paper.

I plan to display these large scale drawings that will present the crossover between what we see within fashion media and how we wish to present ourselves, exploring the identificatory process that happens when mirroring the perfection we see. The work will blend and create a visual platform of the way fashion media has implications on those whose eyes indulge in the beauty of it.

Ink splashes and splutters over the pages to form a dark representation of the ‘real’ viewed in fashion media. The darker nature of the imagery will intensify a dramatic emotional response around the work alongside the large scale that illustration is not usually seen in.

One problem I face is pinning the work into the wall and finding the correct fixings, however I have already planned to negotiate this by talking to technicians within the art school to understand what is on offer to me there and believe I have a few options to work with on the day of putting up my work.

I feel that this body of work will demonstrate my ability to involve research and practice together to a professional standard because of the way in which I have used research to fuel the making. I also know that visually the work will have an impact from its size and also the dark tones against the white background of both the gallery wall and the paper.

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Degree Show Development

Curation

Getty Images Gallery, London- The Female Gaze 2018

This exhibition really inspire me - not only because of the themes, the female gaze, ‘Over the past five years, female photographers have actively sought to redefine the manner and styles in which women are visually represented across advertising, film, and other media’, and the empowering imagery but also the way it has been displayed in such a small gallery space.

No wall was bare, the work took over the entire white space and left no moment of pause, but a dramatic insistence that you look at the work. I find this extremely interesting and love the way that the curation offered no turn away from the female gaze - the curation was able to enhance the theory behind the work.

I could adopt this idea and use it with my display, but also allowing a gap of white space for the audience to take a moment and think about their own identity in relation tom my work - a moment away from the dark dramatic work in order to think about the way in which it is displaying fashion imagery - which is also why it is important to have my personal statement explaining the work visible - gathering theory, practice and curation together to present a professional body of work.

Technical

I had an idea of using binding clips to hang the work on the wall, however after a few failed attempts of this at home I realised that the paper would be too heavy for the clips and also that I could not trust them to hold the imagery up for 15 minutes let alone a week.

I haven decided that I will use pins/tacks/nails to secure my work to the wall- I think this will be much better as this will hold the paper to the wall directly, rather than relying on grip. As long as I use rounded nails the work will be fine and will not rip through presenting a health and safety hazard falling off onto the public.

Presentational

Marlene Dumas – Images as Burden, Tate Modern, 2015

I am particularly focused on the way in which Dumas’ work is displayed in this exhibition. The way in which they are all close together and side by side, surrounded so we can’t look away from the display and wish to delve further into the work. I like the overpowering community this creates with her work, the art being the sole focus as your eyes move around each portrait. I want my work in a linear pattern like this, although mine will be rectangular, larger and fewer. However, I want them in a rough line, almost like DIY do add to the edge of the imagined, imagining a straight line there where there isn’t. I am not mainly focused on it being particular, I would rather some parts look ‘off’ adding to some sense of discomfort rather than smoothed out ‘perfect’ pieces- rather I am trying to showcase the ‘imperfect’ notions of reality.

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POST-DEGREE

Network

https://www.agora-gallery.com/advice/blog/2016/08/25/promote-your-art/

Building a robust network in the art world is one of the most effective ways to promote your art. In addition, a network can expose you to new art opportunities that you might not have otherwise known existed.

https://www.artquest.org.uk/how-to-articles/melanie-stidolph-networking-for-artists/

Networks are probably the most important part of finding an audience, getting exhibitions, learning about being an artist, hearing about opportunities that could be useful, sharing experiences about your practice and talking about your work. The art world is small, even in London, and being friendly to everyone is the best rule of thumb: with so many artists to work with, curators and collaborators will be looking for a personal as well as professional connection to make work.

My network does not extend as wide as I wish it would- I have only just really started to build a network within the art world. My previous networks revolve around College (beauty therapy) or School... I realise how important it is to create a strong network around you - improving your own presence in the art world and moving forward into a more established way of becoming a professional artist. 

HOWEVER, my aspirations are NOT to become a professional artist post-degree, although it would be nice to make some money from it in the near future. I am focused now on pursuing a career in teaching. This is something I have been thinking about since I started my degree, yet I never really looked at what was involved prior to this semester. I suppose nearing the end of my degree has shocked me somewhat - realisation that I must plan ahead. 

TEACHER TRAINING

I feel that now it is important to begin building a different network moving into teacher training. I have been researching on the UCAS website places that I can apply within the Colchester area- which limits me on subjects. I feel this is the best for my family as I do not want to enforce a move on my 5 year old daughter so early into her school life. I am able to study to become a primary school teacher either at Colchester Institute, Colchester Teacher Training or North Essex Teacher Training - all of which are local to me.

I attended a talk about getting into teacher training at Colchester Institute in order to spur on my decision. I found out that I am not able to get a bursary to train to be an Art teacher which is disheartening, however to do my training I will be able to apply for student loans/grants in order to get me by which is better news. I understand now what the course entails, and feel this has helped me write a better personal statement in regards to my UCAS application. I also realiser that I may be better off gaining experience of working in a school for a few months/year in order to perhaps enter the salaried teacher training or even just to have the experience before following this career path.

Although I realise the things I perhaps should have done - researching teacher training  more or gaining experience within schools, I feel that I want to apply for this coming academic year anyway so that I may have that opportunity to follow it sooner or later.

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MARKETING

https://www.agora-gallery.com/advice/blog/2016/08/25/promote-your-art/

Digital marketing can take several different forms:

Online galleries like ARTmine are becoming the norm and provide a great venue for promoting your art by attracting the attention of new collectors and art enthusiasts.

An art website or artist page on a popular website is also a must-have to promote your art. It provides an easy and convenient way for fans to find you online and view your latest work. Include the website’s address on your business cards, and in emails you send out to your mailing list.

Social media has become a powerful tool for both reaching new fans and staying in touch with established ones. Setting up business accounts/pages on such sites as Facebook, Instagram, Tumblr, and Pinterest is a great way to generate and maintain interest in your work as it evolves.

Oresegun Olumide, a Nigerian artist, had not been very regular with posting his works on social media. However, once the hyper realist painter did become regular, his works went viral almost immediately. In February 2016, his images on Facebook were shared over 50,000 times and he went from 800 followers on Instagram to more than 27,000. There are countless examples like this in every creative career. An internet presence can truly make a huge difference.

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WEBSITE

Setting up a website was a lot easier than I thought it would be. After much discussion in tutorials and with my peers, it seemed obvious that using wix.com would be the most suitable way to produce a website to display my work and promote myself as a professional artist. 

I have decided to stick with the name abbiexart for the title of my webpage in order to fit in with my Instagram page @abbiexart – I feel this could be beneficial in order to package my professional artwork under a defining ‘brand’ name – not to say I have already ‘sold out’, purely for marketing means. 

At the moment the only ‘professional’ photographs of my work I have are the digital pieces I created in year 2, so unfortunately at the moment the only images of my artwork are not of my current practice. This is something I wish to amend in the future however, and of course inputting some of my theory and personal statements surrounding the current work including up to date imagery. I feel this is important as I want to ensure my entire practice is visible to those who wish to see it - being able to market myself as a professional artist without any stigmas attached that define ‘professional’. 

This is more of a work in progress rather than a fully defined website - I wish to continue with this further when I have the time and ability to do so.

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INSTAGRAM

https://www.seattletimes.com/entertainment/visual-arts/art-in-the-instagram-age-how-social-media-is-shaping-art-and-how-you-experience-it/

‘The rise of social media in modern society has changed the way people experience and share many parts of their lives, from food to friendships. And art is no exception.’

‘“Social media can be an incredible tool for generating excitement about an exhibition if it captivates people’s imagination,” Manchanda said, in a way that advertising or other museum-led communications may not be able to do.’

This article highlights the importance for art galleries and institutions to use social media as a marketing tool. It would seem that the instant gratification websites such as Instagram can produce is essential within the visual arts, you can see and experience something quickly and decide if you want to delve into it further - I feel that Instagram will be a useful tool in order to not only market myself as an artist, but to also allow me to engage with others on Instagram in other parts of the country/world, something that without a wide network of people around me within the arts I would struggle to do.

https://www.artworkarchive.com/blog/why-every-artist-should-be-on-instagram

‘More collectors than ever are turning to Instagram to find new art. According to an April 2015 Artsy.net survey, 87% of surveyed art collectors look at Instagram more than twice a day and 55% check it five or more times. What’s more, 51.5% of these same collectors have bought artwork from artists they originally found via the app’

Another article states all the reasons why an artist should be using Instagram, stating it has better opportunities and is a great ‘free’ and easy tool to market yourself with - I agree with a lot of what they say, mostly things I already knew about Instagram, but it almost persuades you that it’s a fantastic idea with ample opportunities whereas I am slightly more sceptical...

… especially when I read this at the bottom of the page...

‘We are committed to the continued success of every artist and we know that exposure is key. So, we are now promoting our Discovery artists on social media, including our Instagram (@artworkarchive). You can learn more about Discovery and how to make sure your art is shown there here. Follow along, you never know who might be featured next!’

I suppose they too have used the ideas of Instagram to promote themselves - proving it a handy tool in marketing!

I too have set up my own Instagram page only for the promotion of my artwork - I decided it was best to set up a private account away from my personal one in order to keep some privacy for me and my family. I don’t like the idea of strangers viewing photos of my personal life. 

I have found Instagram to be a very useful tool in showcasing my art, reaching lots of people gaining likes on my post and followers to my page. I do feel it’s hard not to get mixed up in the world of social media however, caring about how many people follow you and gaining credit from superficial ‘likes’. Despite this, I am happy with the way my page looks and regularly get inquiries about my work through the direct message system- proving it a smart and easy way of gaining recognition in the art world and also being able to sell to an instant market.

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ART4U

Open Exhibition, Harris & Hoole, Colchester

Art4u is an artist’s platform to showcase artists within the local areas and beyond. They decided to run an open exhibition at Harris & Hoole in Colchester in order to raise much needed funds for their future work. I was excited and nervous to be part of this, excited because I’d never displayed work outside of Colchester School of Art because I lacked confidence in myself and my artwork, but nervous also because this was the first time I had ever been involved in something like this.

I had been deliberating what pieces to select for the exhibition and decided I wanted to choose my work on the basis that they were more sellable. I enlisted the help of my friend who has been able to sell work in local frame stores, I felt that he might be able to distinguish between sellable and more *artistic* pieces. In the end we went for some ink drawings I created in Year 2 of my degree course during the drawing module. I was thrilled that these appeared more sellable as I felt that these pieces really showed off my true intentions at that point in time and that I was able to easily express myself through ink as a medium.

It was extremely interesting to talk to people who were viewing my work as they assessed it just as I was a professional artist. This filled me with confidence as one artist approached me informing me that I could too work as a professional illustrator and make a career from it (something to bare in mind). Although this made me feel good, the exhibition did teach me a few lessons on things I did wrong. I was in no way prepared enough, no business cards or methods of letting people know how to contact me or find out more about my work, no prints to sell or a professional business to present to others.  

Moving forward, I will make sure I have business cards and prints prepared for any other exhibition/fare in order to sell my work and establish my art as a business rather than an education or hobby. I must also be prepared with my artist statement in mind and be able to answer questions clearly and concisely. Overall, a very rewarding experience!

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Abbie Artist Statement

Identifying Beauty

How do we identify beauty? Perfection and beauty are subjective, yet some of us are determined to live up to society’s beauty ideals. It is clear to see the pages of glossy fashion magazines adorned with gorgeous women, our mainstream culture full of imagery that seems to focus on beauty as a powerful concept. Why do we take this on board as our own ideals? I am interested in the crossover between what we see and how we wish to present ourselves, the identificatory process that happens when mirroring the perfection we see. I believe that fashion media has implications on those whose eyes indulge in the beauty of it. My work presents a dark depiction of beauty ideals and fashion imagery. The ink flows and blurs the lines between what is and isn’t seen, the shadows that lurk behind the beautiful.

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I have found writing my artist statement as a good way to clarify my own ideas and conclusions about my artwork. It has been a useful method to realise why exactly I am creating the work I am, concluding that using a combination of ink illustration and paper can be a way of presenting my ideas in a visual way. The statement clarifies the way process and concept intertwine, meeting somewhere in the middle and offering my own perspective of my work to the audience. It makes it so much more than a drawing or a creation that sits on its own, rather, that I can propose that all my pieces work together as a whole… Identifying Beauty as a series. It enables the work to make more sense not only to the audience but to me. Being able to refer to the statement when my work is up will be extremely helpful when answering questions about my degree show, or when people are interested in my work it is a clear explanation of what makes my head tick as an artist. My focuses and intentions.

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PERSONAL INFO

Artist Statement 

In order to write an ARTIST’S STATEMENT I must first understand what the f***k it is. After researching other artist statements and reading articles about writing them it is clear that it is a general introduction to my work. It should run through my own basic ideas of my artwork and provide an overview of my own perceptions and contextual understanding and how they are presented in the work. 

https://www.gyst-ink.com/artist-statement-guidelines/

https://www.gyst-ink.com/sample-artist-statements

https://www.theartleague.org/blog/2015/08/24/artist-statements-we-love/ (I read through some examples of artist statements on this page, they were much more refreshing than most I have read in books or galleries)

Artquest describes an artist’s statement as ‘a short piece of writing about your work, practice and any wider intellectual concerns’.

https://www.artquest.org.uk/how-to-articles/artist-statement/

What media do you work with? What interests you about work of this     type?

Ink – you can make the art as light or dark, detailed or simplified and it always seems to create a unique flow of creativity

Why do you work in this media? Is there a relationship between the     media and the ideas that you work with?

The adaptable nature, how it flows and intertwines redefining lines and edges constantly. This could be linked with the changing notions of idealised beauty, it could also present how the ink can flow and change into different identities, manipulating the mind and casting a shadow of a new identity in the original’s place.

What processes are involved in the work and how are they relevant     to the ideas you are dealing with?

The work is fashion illustration based, however focusing on the work for my degree show I have created it on a much larger scale. I feel the process of working in a larger scale presents a more impactful depiction of looming shadows within the illustrations.

What themes, ideas and concerns does your work uniquely consider?

Idealised beauty – how western women identify with fashion imagery and develop a warped sense of self through the identificatory process, the impact being thrust into this world of beauty has on the mind.

Are there any outside influences and ideas, perhaps from outside     the arts, which have bearing on your work?

Fashion – I have been looking at the impact the fashion industry has on mental health for a while and I feel this has definitely informed the work.

What ties your individual pieces of work together into a practice?

I have my own style that carries through the work, darkening of the eyes and using the blurred and warped edges to represent parts of the face in an individually unrecognisable manner.

Are there any particular theories, artists or schools of thought     relevant to your work?

Jacques Lacan – mirror theory

Jacques Lacan’s theory of the mirror stage offers an explanation of why we internalize fashion imagery and also how they impact those who looks at them. Lacan argues that identification begins three constitutive activities, forming the ego*, the process of recognition and the realisation of the object and the superego*, the basis for the “mirror stage” which occurs in an infant at around six months old, ‘The image seen in a  mirror, far from being purely a reflection of something that is supposedly already there in the development of the child, should rather be understood as a constitutive’ human infants go through a stage in which the external image of their body would be that as reflected in the mirror ‘its effect being productive and not merely passive: for the mirror does not mirror anything’[1]. The external image of their body is what they perceive as identity. An infant identifies with the mother as she projects her perception of self the infant rebounds the same perception of themselves establishing the id*, Lacan proposes that a person cannot form a notion of self without looking externally on an object or other; when doing so the individual develops social and linguistic relationships.

[1] Bianchi, P (2017) Jacques Lacan and Cinema. Imaginary, Gaze, Formalisation, London: H. Karnac Books Ltd, p. 7

Is there an ‘intention’ behind the work; what do you want the work     to achieve?

To make the audience think about the dark shadows that are lurking behind the beautiful.

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PERSONAL INFO

Artist Biography

Abigail Baker was born in Chelmsford, Essex and is currently studying BA (hons) Fine Art at Colchester School of Art. She works predominantly in ink and watercolour creating pieces closely linked with fashion illustration, and is now showcasing her work on a larger scale for her upcoming group exhibition at Colchester School of Art’s Summer Show 2018 ‘Unfinished Business’ and at Free Range’s graduate show in London. Baker has exhibited locally including the open exhibition ‘I Am’ at Art Exchange. Captivated by fashion media and beauty culture, the main theme of her work relates to the identities produced and internalised by women through the use of fashion imagery.

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RESEARCH

Artist Biography

‘An artist bio is a summarized, narrative version of your resume, but shorter and with more personality.  Bios are used in your professional package, as part of a catalogue at an exhibition, in publicity and printed programs, and other promotional materials.  Your artist biography should integrate portions of your resume and artist statement. In general, bios are more factual about you as an artist, whereas statements are more about the ideas, concepts and techniques behind your work.’

https://www.mica.edu/Documents/Career%20Services/ArtistStatementBio11.pdf

‘You artist bio gets put on your website, on flyers, in articles, and quoted in interviews. That’s a lot of first impressions for one little document. And in all those they’ll use your bio verbatim. Yep, even in magazine articles and such. I’ve seen my bio used with no changes lots of times.’

https://www.indieonthemove.com/blog/2014/05/how-to-write-an-effective-artist-bio-that-wont-be-ignored

‘Audience engagement researchers at museums have found that visitors lose interest in wall labels after 150 words. Our philosophy for artist bios is to leave your reader wanting more by limiting your word count to ~120 words. At most, a reader should take away one or two key points.’

https://www.artsy.net/article/elena-soboleva-what-we-learned-from-writing-7-000-artist-bios

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Although this article is a handy guide when writing bios for other artists, I have found it very useful in order to write my own artist biography. I suppose differentiating between a CV, Statement and Bio is all new to me and it explains the do’s and don’ts when it comes to professional practice.

One specific part of the articles is this:

‘Questions to consider when writing about an artist’s practice’

I have used it quite literally as a Q&A to kick start my biography writing & to understand my art practice as a whole as this has been something I have struggled with since the beginning of my third year. It has made me think about questions I would normally try to avoid, which has enabled me to reconnect with my artwork and understand myself as a creative.

Physical

·        What medium/media does the artist work in?

Ink, watercolour

·        What is his or her style like?

Illustrative, fashion illustration

·        What work or works can you talk about that will give a visual description of the above qualities?

Identifying Beauty

  Subject matter

·        What are common or characteristic themes depicted in the artist’s work?

A dark depiction of beauty ideals, fashion imagery and how it can be used to alter the beauty ideals of western women

·        What subjects drive the works or provide underlying themes?

Jacques Lacan mirror theory, identity

 Art-Historical

·        Why is this artist important?

The work tackles a relevant issue within the world, how women identity with themselves and are forced to look upon and internalise unrealistic beauty standards.

·        What other artists have impacted the artist’s practice?

Contextually - Cindy Sherman, Martha Rosler

·        How does this artist redefine a medium or media?

By using ink and creating fashion illustrative pieces, the work sits in a world between conceptual and illustration. The pieces form a deeper psychological meaning, creating a somber depiction of idealised beauty found in fashion imagery.

 Context

·        In what political or technological climate is the artist working in? I.e. what historical or political events might have influenced the work?

I believe the work is relevant to present day, where so many women suffer the influence of beauty ideals and identifying with the imagery they see that has been altered in photoshop etc. it causes their own identity to become blurred into a world of the ideal. The work highlights this popular culture of identifying with unobtainable beauty, blurring and hard to define.

 Popular Culture

·        What areas of the arts or popular culture does this artist incorporate into his or her work?

Fashion and beauty culture; fashion magazines, fashion advertisements, Instagram models

Quotes

·        Can any of the above questions be answered in a brief (1–2 sentences), engaging quotation from the artist? 

‘Fashion media has implications on those whose eyes indulge in the beauty of it.’

‘The human mind holds the power of beauty and has been used for and against culture through visual representations of idealised women’

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Artist CV

After researching CV’s I have written my own basic one. I hope to have a CV much like Astrid Vos’ on website; WATCH THIS SPACE!

This is my updated artist CV, I feel it gives all the relevant information that is needed...

Abigail Baker

30th July 1993

Lives and works in Colchester, Essex

Instagram @abbiexart            E-mail abbiexart@gmail.com

 Artist Statement

Abigail Baker is an emerging artist fascinated by the Fashion and Beauty Industry. Her work explores the ideas and ideals of beauty; the ever changing notions of body image both personal and a reflection of society.

 Education

BA Hons Fine Art, Colchester Institute 2015 – 2018

 Exhibitions

Wunderkammer, Group Exhibition, Hay Gallery, Colchester, Essex, 2015

I Am, Open Exhibition, Art Exchange, Colchester, Essex 2018

 Upcoming Exhibitions

Degree Show, Group Exhibition, Colchester Institute, Colchester, Essex, June 2018

Free Range, Group Exhibition, 91 Brick Lane, London, 4-10 July 2018

 Collections

Private Collection, Tiptree, Essex

Private Collection, Witham, Essex

Private Collection, St Neots, Cambridgeshire