Tristan IAD

 This week we continued working on the group poster in the studio trying to find ways in which we could be cohesive whilst still having independent areas, we decided that we should all work within the area of the garden/courtyard meaning that if I wanted to do the bathrooms when id have to find a way to move these outside to work with everyone else's schemes. throughout the day there was some animosity within the group due to different methods of working however eventually these were overcome by communicating. we found out that a lot of our ideas and plans were all somehow linked to anti anti- hostile designs and the theory of making things comfortable and making people want to spend time in an area including those that may not have somewhere else to go.  people want to provide a sense of solidarity to those suffering from the growing issue and aim to call out the injustice of governmental policy surrounding homelessness.” Therefore, in many ways, the discussion around Hostile...

This week although we had no lecture my group and I spent some time in both the photography and design studios and taking a trip to Fratton in order to take some measurements and do some different types of insufficient mappings, drawings and scans, to make a start on our poster/section and take photos of our objects.  Rhythm, for Lefebvre, is something inseparable from  understandings of time, in particular repetition. It is found in the workings of our towns and cities, in urban life and movement through space. Equally, in the collision of natural biological and social timescales, the rhythms of our bodies and society, the analysis of rhythms provides a privileged insight into the question of everyday life. Lefebvre takes a number of themes – the thing, the object, life in the urban or rural environment, the role of media, political discipline and the notion of dressage, and music, among others – and rethinks them through the notion of rhythm. Lefebvre, H. (2004).  Rhyth...

During this weeks session we had to critique/analyse other peoples and our own work, some of the things that were mentioned about some peoples were that the posters needed to be more technical for example using scale but also include things such as materiality, composition and think about how we can portray our items movements. By using this feedback it has given me a good idea on where to start my poster due to not having one begun because of my operation.  I liked this poster due to how graphic and abstract the image was as although it wasn't identical to the object that was created you could tell that the poster belonged to the artefact based on the shapes and composition The hands on nature of this poster is what drew me to it as you could tell that the person who created it was very involved in the process, it reminded me of the drawing exercise we done in the beginning of this process to the extract from enduring time as it feels very fluid. Some of the posters caught my atte...

  what is an assemblage and where did it originate? I wanted to get a better understanding of the term assemblage and what it meant so spent the Time I had off to research this and then reflect back on the workshops to see how I may have changed things. The use of assemblage as an approach to making art goes back to  Pablo Picasso ’s  cubist  constructions, the three dimensional works he began to make from 1912. An early example is his  Still Life  1914  which is made from scraps of wood and a length of tablecloth fringing, glued together and painted. Picasso continued to use assemblage intermittently throughout his career. (Tate, n.d) Tate. (n.d.).  Assemblage . Tate.  https://www.tate.org.uk/art/art-terms/a/assemblage#:~:text=The%20use%20of%20assemblage%20as,fringing%2C%20glued%20together%20and%20painted To create  Guitar  Picasso made a radical leap from the sculptural tradition of modeling (carving or molding) to a new technique...