sarah.lindstrom@network.rca.ac.uk
Location: Oslo, Norway/ London, UK
Member of NBK (Norwegian Visual Artists Association) and NTK (Norwegian Textile Artists)
Showing posts with label Designer and Artists. Show all posts
Showing posts with label Designer and Artists. Show all posts
7 May 2013
Andrew Cullen
21 December 2012
The Featherstonehaughs Draw on the Sketchbooks of Egon Schiele
Images of Costumes in the Show:Jon found me some postcards about this, I would love to go and see this but it is in about a week and is 111 miles away.
A clip from the performance:
Some of Egon Schiele's work:
Illustration 21st December 2012:
I have added this artist into my illustration portfolio because I think my drawing is quite similar to his. Very scratchy and messy but you can still see what I have drawn. I also like his work because his costumes drawings was turned into a stage play.
23 March 2012
Colleen Atwood
Academy Award-winning costume designer Colleen Atwood more than excelled in her field by creating vibrant, eye-catching period costumes and appropriate low-key clothing for more character-driven films. A frequent contributor to the films of Jonathan Demme and Tim Burton, the designer showed a keen ability in constructing sometimes unforgettable but appropriate wardrobes, with a bookcase full of Academy Awards to prove her excellence.
Before beginning her career as a costumer, Atwood - who was born in Quincy, WA - worked as a fashion consultant in Seattle, moving to New York City, NY in 1980 to attend NYU's film school. She got her start in the business assisting production designer Patrizia von Brandenstein on the 1981 films "Ragtime" and "A Little Sex" and also worked for NBC's "Saturday Night Live" (1975- ). Additional small screen productions that featured her designs included the television movie "Out of the Darkness" (CBS, 1985) and the three-part "Tales from the Hollywood Hills" (PBS, 1987), set in the glamorous 1930s.
Atwood's debut solo design credit was for the casual, laid-back wardrobe in Michael Apted's "Firstborn" (1984). She next gained great acclaim for designing Sting's stage wardrobe, seen in the stylized tour documentary "Bring On the Night" (1985). This film marked Atwood's onscreen debut as well, featuring the designer - who had also worked on the touring ensembles for the notoriously flamboyant Elton John - in an artistic disagreement with the singer's famously difficult manager, Miles Copeland. Indeed, he charged that the sleek shapes in which she dressed the band were "boring." Interestingly, the designer worked on 1986's "Manhunter," and 1991's "The Silence of the Lambs," both based around novelist Thomas Harris' serial killer character, Dr. Hannibal Lecter.
Atwood stayed busy throughout the 1980s, costuming the casts of the features "Critical Condition," "Someone to Watch Over Me" and "The Pick-Up Artist" all in 1987 alone. The latter film gave Atwood the task of outfitting former "Brat Packer" Molly Ringwald, a job that she would reprise in the following year's Ringwald bombs, "For Keeps" and "Fresh Horses." While her work on these features was not particularly eye-catching, it displayed Atwood's skill in creating non-distracting garb for characters when the script called for it. Economic status, social behaviour and even the inner emotions of the players began subtly evincing through her suitable clothing choices. Tom Hanks' down-at-the-heels average guy in "Joe Versus the Volcano" (1990) was dressed much differently than the successful AIDS-stricken opera aficionado he played in Jonathan Demme's "Philadelphia" (1993) - although in both films, the designer had fun with outlandish wardrobe for the volcano ceremony in the former and the costume party in the latter.
Atwood had also received enviable opportunities to show her flair for period, character and wacky costumes. In 1988's "Married to the Mob," she began her association with Jonathan Demme, decking his Mafia wives out in sleazy, sequin-studded ensembles; not unlike the costumes for the drag queen (Harvey Fierstein) in "Torch Song Trilogy" (1988). In both films, Atwood was able to balance these overdone displays of finery with realism, incorporating other characters dressed in the manner of working-class realism. Atwood capably handled both the eerily futuristic such as with "The Handmaid's Tale" (1989), as well as the dusty Old West with "Wyatt Earp" (1994), but greater acclaim came with yet another association with an even more visionary director, Tim Burton. Her clothes for his eccentric take on suburbia in "Edward Scissorhands" (1990) - both with the title character's elaborate leather suit and the almost hallucinatory pastels of the supporting cast - were almost a character in and of themselves.
Atwood also recreated recent history accurately, mining the slick and somewhat sleazy mid-1970s styles for the detective drama "Rush" (1991), the neatly tailored Kennedy era for the romance "Love Field" (1992), the over-the-top glamour of 1950s Hollywood for Burton's odd but affectionate biopic "Ed Wood" (1994), and the slim pants and fitted jackets of a mod mid-'60s rock band for Tom Hanks' "That Thing You Do!" (1996). She earned her first Oscar nomination for her sweeping 1860s-era gowns in Gillian Armstrong's "Little Women" (1994). With the hoop skirts, swags and bodices of the March family, Atwood showed not only the breathtaking styles of the Civil War, but also the genteel poverty of a New England family long past its better days. Atwood teamed again with Tim Burton for the cartoon-like nightmare comedy "Mars Attacks!" (1996), bringing the director's patented swirly doodles to fruition, with the form-fitting spiral decorated gown worn by Lisa Marie's knockout Martian.
In 1997, Atwood worked as the costume designer for "Buddy," a fact-based film about a 1920s socialite with a fondness for monkeys. In this film, Atwood rose to the rather odd challenge of dressing a gorilla in a tuxedo. That same year, she swathed the cast of the futuristic drama "Gattaca" in sharply tailored dark suits to illustrate the cold, starkness of the future. The year 1998 saw her take a similar approach to the present-day thriller "Fallen," in which her efforts gave the film a captivatingly noirish 1940s feel. She utilized authentic fabrics and patterns for that year's adaptation of Toni Morrison's novel, "Beloved," a gripping 19th Century-set slavery drama and the designer's fifth collaboration with director Demme. While the film did not fair well critically or box office-wise, it did bring Atwood her second Oscar nod.
In 1999, she took on the vastly different tasks of dressing the modern-day small town cast of "Mumford," as well as the players in Tim Burton's 1799-set Gothic horror fable, "Sleepy Hollow." The catalog chic of her "Mumford" wardrobe was appropriately simple, hearty and high-quality, but was wrought from basic designs with clean lines and utilitarian silhouettes. Using period paintings as a research aid and as inspiration, Atwood piled magnificent clothing onto the period actors in the latter film, dressing dapper constable Johnny Depp in a beautifully lined and fitted waistcoat, with era-appropriate hand detailing. The villagers of Sleepy Hollow, necessarily behind the height of high fashion, made do by showing their wealth and style with bountiful accoutrements. A corseted shape was emphasized with frills, lace and extravagant trimmings. Her evocative costumes for "Sleepy Hollow" earned her a richly deserved third Academy Award nomination. Knowing a good collaboration when she saw it, Atwood joined forces with Burton yet again, designing wardrobes for his 2001 remake of "Planet of the Apes" and 2004's fantasy "Big Fish," dressing all manner of creatures - from ape-men to gentle giants.
Her next lucrative partnership was with director Rob Marshall. Atwood's 1920s flapper-style designs for his big screen version of the stage musical "Chicago" (2002) earned her a BAFTA nomination, as well as her first Oscar win for Best Costume Design. The fruitful partnership with Marshall continued when he chose her to create the visually stunning Asian kimono styles of his next film, "Memoirs of a Geisha" (2005). Surprising no one, Atwood once again won the Oscar for Best Costume Design at the 78th Annual Academy Awards. In a bit of an departure from the period pieces, Atwood won her first Emmy for decking out dapper Tony Bennett and guests on "Tony Bennett: An American Classic" (NBC, 2006) and remained firmly in the present-day to design costumes for the perennial Tom Cruise summer blockbuster, "Mission Impossible III" (2006).
In 2007, she again returned to the lush, dramatic folds of history, earning her seventh Academy Award nomination for memorably outfitting everyone from urchins to noblemen on Olde London's rough and tumble streets in Tim Burton's version of the Stephen Sondheim musical, "Sweeney Todd: The Demon Barber of Fleet Street" (2007). Traveling back to the 1930s, she gave both Johnny Depp and Christian Bale a distinct look for their roles in 2Public Enemies" (2009), director Michael Mann's compelling look at the life and career of notorious bank robber John Dillinger (Depp). Turning back to the musical, Atwood designed the flashy costumes for Rob Marshall's "Nine" (2009), which earned her several award nominations for Best Costume Design, including a nod at the Academy Awards. Following her work on "The Tourist" (2010), Atwood found herself in Oscar contention once again for her elaborate costumes in 2Alice in Wonderland" (2010), Tim Burton's 3-D version of Lewis Carroll's classic fantasy which earned her another nod for Best Costume Design. Atwood went on to land her third Oscar for her work on the Burton film.
This biography is a very interesting biography and I didn't realise how much she had done. Below is a paragraph from the biography and I thought it is interesting how she took inspiration from old paintings. I need to think about this when designing.
'dressing the modern-day small town cast of "Mumford," as well as the players in Tim Burton's 1799-set Gothic horror fable, "Sleepy Hollow." The catalog chic of her "Mumford" wardrobe was appropriately simple, hearty and high-quality, but was wrought from basic designs with clean lines and utilitarian silhouettes. Using period paintings as a research aid and as inspiration, Atwood piled magnificent clothing onto the period actors in the latter film, dressing dapper constable Johnny Depp in a beautifully lined and fitted waistcoat, with era-appropriate hand detailing. The villagers of Sleepy Hollow, necessarily behind the height of high fashion, made do by showing their wealth and style with bountiful accoutrements. A corseted shape was emphasized with frills, lace and extravagant trimmings. Her evocative costumes for "Sleepy Hollow" earned her a richly deserved third Academy Award nomination'
23 November 2011
Where the lost things go
While looking for some photos, on the Harley Gallery website of the bed in the 'Sleeping Beauty' I found an up coming exhibition called 'Where the lost things go' which is Tom Bell's illustration for his new book. It starts on the 7th Jnauary next year and there is also a book signing on the last day which is the 5th Febuary. I really want to go and see this. You can buy the book quite cheap on the Book Depository
16 November 2011
Pamela Schilderman
I thought I had added this artist months ago but obviously not. Anyway, I found this artists work at an exhibition at the Harley Gallery, her piece 'Punctum' was there. 'The exhibition was called Precious' and was about reclaiming art and craft. I liked Pamela's work but after looking at her website I liked it more. I really like the idea of 'Bula Matari'. She has made small salt crystals and put them in interesting shaped jars. I actually tried to make a salt crystal after looking at her work. It didn't go very well but I will upload a photo at some point anyway.
All of Pamela's work is different but then again I think it all connects because she uses small things and makes big things out of them.
Pamela Schilderman's complex body of work exhibits a critical interest in science, nature and beauty, always from the point of view of the artist. Schilderman's practice encompasses drawing, painting, photography and three-dimensional work to cross expected categorising boundaries. Although seemingly disparate, her body of work is held together by key motifs such as the circle or 'dot' as well as notions of transformation, repetition and the links between knowledge and intelligence. Schilderman's shifting, indeterminate practice is sometimes organic and often otherworldly; suggestive of familiar things but never explicit. Much about her work remains deliberately hidden from the viewer, and this elusiveness places onus on us to develop a dialogue with the work.
The artist’s desire to transform both ideas and materials is evident in one of her key works, the large scale Bula Matari. This takes the idea of growth as a point of departure, and salt as the primary material, with these two things being transformed conceptually and materially to form intricate crystals displayed en masse. Another one of Schilderman’s primary materials is paper, the use of which stems from an interest in the strength, frailty and relative modesty of the material. Some of her three-dimensional works such as Respiracao and Punctum literally use paper within their construction, whereas Miniatures 30, a group of tiny pen on paper drawings each capture one minute from a video of paper dots in movement. She frequently uses a variety of processes to move objects, materials and ideas away from their original source, and the work becomes increasingly abstracted along the way.
Schilderman finds beauty in the small variations to be found in things which might seem at first to be identical. Drawing on ideas of repetition and visual saturation, she is interested in how we select information from the world around us, and how this is reconfigured and processed by the eye and the brain. For example, in her installation Allusions, she uses thousands of polystyrene balls and paper dots to overwhelming effect. Gradually, the eye alights on subtle differences between the tiny objects that make up the work, whilst simultaneously recognising the larger whole. The idea is linked to her exploration of the connections between visual information, knowledge and intelligence, playing with occlusion and display to direct how the work is viewed and experienced.
Schilderman is interested in creating an intensively private experience when viewing her pieces, akin to that of a reader being absorbed within a novel, drawing on the natural curiosity of the viewer and the ambiguities of the work itself. She often makes site-specific work and describes this experience as like encountering small worlds which once you step into becoming larger and all-consuming. The installation of Schilderman’s work, sometimes suspended or shown en masse, is suggestive of organic or alien forms that seem to belong to, and to grow from the walls or ceilings of a given space. Despite the calmness of her work, aesthetically it hovers on the point of confusion, as both meaning and form seem to shift before your eyes. The artist deftly interweaves disparate materials and concepts, exploiting their inherent subtleties within her continually evolving practice.
written by Anneka French
Paper punched holes and invisible thread
2m x 1.80m x 1m
'Sperm'
Oil on canvas
1.80m x 2.40m
Pen on Paper
each 2.5cm x 5cm
All of Pamela's work is different but then again I think it all connects because she uses small things and makes big things out of them.
Pamela Schilderman's complex body of work exhibits a critical interest in science, nature and beauty, always from the point of view of the artist. Schilderman's practice encompasses drawing, painting, photography and three-dimensional work to cross expected categorising boundaries. Although seemingly disparate, her body of work is held together by key motifs such as the circle or 'dot' as well as notions of transformation, repetition and the links between knowledge and intelligence. Schilderman's shifting, indeterminate practice is sometimes organic and often otherworldly; suggestive of familiar things but never explicit. Much about her work remains deliberately hidden from the viewer, and this elusiveness places onus on us to develop a dialogue with the work.
The artist’s desire to transform both ideas and materials is evident in one of her key works, the large scale Bula Matari. This takes the idea of growth as a point of departure, and salt as the primary material, with these two things being transformed conceptually and materially to form intricate crystals displayed en masse. Another one of Schilderman’s primary materials is paper, the use of which stems from an interest in the strength, frailty and relative modesty of the material. Some of her three-dimensional works such as Respiracao and Punctum literally use paper within their construction, whereas Miniatures 30, a group of tiny pen on paper drawings each capture one minute from a video of paper dots in movement. She frequently uses a variety of processes to move objects, materials and ideas away from their original source, and the work becomes increasingly abstracted along the way.
Schilderman finds beauty in the small variations to be found in things which might seem at first to be identical. Drawing on ideas of repetition and visual saturation, she is interested in how we select information from the world around us, and how this is reconfigured and processed by the eye and the brain. For example, in her installation Allusions, she uses thousands of polystyrene balls and paper dots to overwhelming effect. Gradually, the eye alights on subtle differences between the tiny objects that make up the work, whilst simultaneously recognising the larger whole. The idea is linked to her exploration of the connections between visual information, knowledge and intelligence, playing with occlusion and display to direct how the work is viewed and experienced.
Schilderman is interested in creating an intensively private experience when viewing her pieces, akin to that of a reader being absorbed within a novel, drawing on the natural curiosity of the viewer and the ambiguities of the work itself. She often makes site-specific work and describes this experience as like encountering small worlds which once you step into becoming larger and all-consuming. The installation of Schilderman’s work, sometimes suspended or shown en masse, is suggestive of organic or alien forms that seem to belong to, and to grow from the walls or ceilings of a given space. Despite the calmness of her work, aesthetically it hovers on the point of confusion, as both meaning and form seem to shift before your eyes. The artist deftly interweaves disparate materials and concepts, exploiting their inherent subtleties within her continually evolving practice.
written by Anneka French
'Punctum' 2004
Paper punched holes and invisible thread
2m x 1.80m x 1m
'Bula Matari' 2007
Salt crystals and glass
36m2
'Almas' 2004
Cotton wool and Pastels
20m2
'Respiracao' 2003
Hole punched strips of paper
2.20m x 1.90m x 1.50m
'Allusions' 2003
Polystyrene balls and paper punched holes
2.40m x 2m x 2.40m
Polystyrene balls and paper punched holes
2.40m x 2m x 2.40m
Oil on canvas
1.80m x 2.40m
'Purple' 2003
Oil on canvas
each 25cm x 20cm
Oil on canvas
each 25cm x 20cm
'Miniatures 30' 2002
Pen on Paper
each 2.5cm x 5cm
Rest of my London Trip Presentation Research
Grayson Perry and the Tomb of the Unknown Craftsman TV Program
Grayson Perry: The Tomb of the Unknown Craftsman Book
Other Research
I spent most of the time in the 'Who am I?' gallery.
I thought foetuses were interesting
I also liked the bit about emotions and the bit about gender, who decides if we are either boy or girl.
A lot about identity
I could look at this again for memories and the new 3D project (heritage)
Every time we do, see or learn something new connections in the brain are made.
Some Websites I looked at
Fourth Plinth Notes:
Greyson Perry's work is very about himself and his past. I like how he has made used the theme of the unknown craftsman. I want to look at this and traditional crafts so I am going to take inspiration from Greyson Perry for looking at traditional craftsman and Yinka Shinobare for looking at both his countries history and how he makes traditional looking things that can be related to both countries and cultures.
Might take offence and then turn and see Alan measles’
Other Research
I spent most of the time in the 'Who am I?' gallery.
I thought foetuses were interesting
I also liked the bit about emotions and the bit about gender, who decides if we are either boy or girl.
A lot about identity
I could look at this again for memories and the new 3D project (heritage)
Every time we do, see or learn something new connections in the brain are made.
Some Websites I looked at
Fourth Plinth Notes:
Greyson Perry's work is very about himself and his past. I like how he has made used the theme of the unknown craftsman. I want to look at this and traditional crafts so I am going to take inspiration from Greyson Perry for looking at traditional craftsman and Yinka Shinobare for looking at both his countries history and how he makes traditional looking things that can be related to both countries and cultures.
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