Resemblance / 2

Last week I presented two of my cone prints to my crit group; one original print and one print with more text in it. I did this in preparation for the upcoming SIA exhibition and wanted advice to which type of print to make more of for the show?

I Received positive feedback on both – told to use both in a mixture and also given more visual references to what my work resembles:


  • texture of them and the text being pushed into a surface
  • weathered gravestones – text becomes illegible to read, texture of deterioration
  • relates to the context of my prints heavily (death)
  • similar tones and textures to my prints



  • stones that come in pairs, used in mills to grind grains
  • they are placed against each other and pressure is applied to the grains fall into the indents and are then grinded
  • similar shape, pattern, tone, texture and idea of direction that is in my prints


Roman Wax Tablets

  • reusable and portable writing tablets used from 27 BC and on-wards
  • made from wood and wax originally and then developed into bronze
  • text was left indented on the tablets – an impression was made – similar to my prints
  • idea of something that was there, that made an impression


The Rosetta Stone

  • created in 196 BC and found in 1799, The Rosetta Stone is a rock stele (a monument for commemorative purposes, that is taller than it is wide) Inscribed in the stone is a decree of the Priest of Memphis issued in Egypt by King Pbolmny V
  •  it has 3 scripts that all say the same; one is Ancient Egyptian Hieroglyphics, the second is demotis script and finally Ancient Greek, all three texts were the only used at this time period
  • the stone has a similar texture to my prints and how the text is in lines and imprinted, also similar to my work

After hearing these resemblances to my work, the idea of history resonates with me and how I could possibly push the idea of a past into my work, with references to these images and objects.


Anemic Cinema by Marcel Duchamp

A Dadasit/Surrealist short, experimental film by French Artist; Marcel Duchamp, born 1887. Stills of the video can be seen above and the actual video can be seen below:

Made in 1926, this short film see’s various circular depictions, with various motifs from spirals and text, spinning in a transcendent manor, the text itself contains puns in French, which suggests a humorous context to the work. A very hypnotic short, that I think resembles my own own work, with it’s use of text, direction, spiral and way that it causes the audience to fall into a light trance. This is something I think this film does spectacularly, and I aspire to have the trance effect in my own work.

“Duchamp creates a dualism between silence and loudness through images.”

I really love the vintage illusion this film has, as though it would be a magic trick Houdini would have made to hypnotise his audience. With the black and white tones, it’s really interesting to compare this film to my own work and seeing this film has given me insight into how I can adapt my prints into other practices, or even add movement to my prints in order to create the trance effect.


Collage / Resemblance

After hearing all the references to my work and what the prints look like, I created a collage of all these images, that I an compare my work to. I cropped all the images into circles because my prints are circle and I turned them all black and white so again, they replicate my prints. Below is an image of the collage in my sketchbook:


Images from left to right:

-TOP ROW – Vintage weather radar, Beatles vinyl record, Arial photo of a hurricane, Iris of an eye

-MIDDLE ROW- Google result of near death experience, whorl fingerprint, vinyl record, 1960’s weather radar showing a hurricane

-BOTTOM ROW – Ship radar display, CT head scan, Slice of tree, light at the end of a tunnel (another result from google of near death experience)

Doing this collage, has shown me the possibilities of where i can go with my prints, and all the different contexts I can express through my prints. It’s great to see all these images together and uniform in shape and colour and i can see so many similarities in them to my prints. It is also gives me ideas to what i can do in terms of display as I can image my prints set out like they are above.

Idris Khan / Artist

Born 1978, London based artist; Idris Khan, creates large scale, stamped wall drawings, that I have used as the main subject in my dissertation and also found of incredible inspiration to my artwork. I visited his solo exhibition at The Whitworth Gallery in Manchester, to see his wall drawings in person and begin my analysis and enquiry for my work.

‘True belief belongs to real realms of knowledge’, October 2016, Wall drawing, Oil relief in on gesso ground

Khan creates these wall drawings by using letter stamps, containing sentences of his thoughts, which he repeatedly stamps to create the explosive motif we see on the wall. The undulating tonal effect was created by Khan’s thoughtful placement of each stamp.

As Khan was the main subject of my dissertation, I have already done vast research on him and analysed his work in depth. Through this I discovered that Khan’s wall drawings are a prime example of where image and text are so ‘intimately integrated’ the viewer is unsure whether the piece is an image or text artwork, something I am striving for in my own work.


The idea of ‘uncertainty’ constantly arises in Khans work, from the text or image decision, to the unsure aspect if the image is exploding out at you or rippling, and pulling you in. The illegibility of the text also adds to the treachery of Khan’s image, so overall the piece is constantly challenging you and leaves you with many questions.

The context of Khan’s work is usually his own thoughts towards a certain event, whether that being his grief towards his mothers and unborn child’s passing, or something that leads him to question god. Both of these are really pressing events to happen, I believe they are expressed through the explosive motif to suggest an overwhelming amount of thoughts.

Idris Khan is a big inspiration to me and I find his wall drawings of great importance and influence, I am in constant awe of his work, often referring back to his work and I strive to do what Khan is doing in my own work, analysing his work so closely, has brought out a lot in my own.



Other artworks and images:

Resemblance / 1

This week I presented my developed cone prints to an audience during a critique, overall my prints got positive responses and I really enjoyed seeing people find the text and I was commended on creating my own printing technique. I also  received a lot of responses as to what the circular motif resembled. At this stage, there is no strict image I am wanting to convey through the circle, and is something I am going to develop this semester, but it was really interesting to hear all the different references and how they can connect to my context of my fear of death.


  • relates to a life, and in turn death – when the eye is closed
  • daunting to think eyes are staring at you – as though they are judging or waiting
  • cones of the eye – connection to my printing tool

Vinyl Record:

  • Connection to my use and inspiration of music – can bring the lyrics back into my work
  • Music helps me find contentment – so using it in the context of death will be interesting and will help me come to terms with it possibly


  • idea of finding something or searching
  • suggestion of being lost
  • attempting to try and find answers, which I am doing

CT Head Scan:

  • the prints become a scan of my brain and the text inside the prints are my thoughts
  • similar textures and uneven pattern as a CT scan
  • similar circular shape, maybe attempt to make prints more oval?
  • Referring to image at the top of the post – I like the idea of having many prints in a grid formation, to suggest the prints are a brain scan



Its been a great exercise to find these images and compare them to my work, and I think doing this constantly throughout my process will help me decide a definite conceptual path to what my work will convey, at this point I really like the idea of the CT scan representing my brain and thoughts and also like the reference of the vinyl record, as a means to bring music back into my work. It has opened my eyes to hear what people relate my work to as the circular image is both familiar yet unidentifiable, which means an uncertainty arises.

I now need to connect my prints to a chosen idea, experimenting with colour, scale and amount of text in the prints will help me decide which route to take. I also need to ask myself what I want for my audience, and re-visit the context of my work by analysing my process and what the pieces represent to me, doing this will strengthen my work and decide where to take it.


Images from:
– Eye/Iris –
-Vinyl Record –
-Radar –
-Brain Scan –


Charles Atlas – Painting by Numbers at SIA

I took a visit to SIA in Cantor Building at Sheffield Hallam University yesterday, to view Charles Atlas’,  Painting by Numbers, 2011. This is exhibited as part of Art Sheffield 2016- up, down, top, bottom, strange and charm.

Clip of Atlas’, Painting by Numbers, 2011 – Art Sheffield 2016. Video above taken by myself
Charles Atlas is a New York Based artist and a pioneering figure of film and video for over four decades now. His 2011 video installation Painting by Numbers is described by Art Sheffield as an immersive experience, where the viewer sees ‘digital numbers, that appear in beautiful swarming patterns, like particles of matter, constellations or code, vibrating through space’


This slideshow requires JavaScript.

I was drawn to this piece from it’s use of text/numbers and as my current practice is also text based it was only natural to want to view it. I too found the work very immersive, the projection spanning 3 walls surrounds your peripheral view and the numbers become invasive. The way the numbers count down continuously and form patterns that resemble stars and DNA, to me it felt like an impending countdown. I related it to my fear of death, and counting down the possible days, months, years until that last day, so I found the piece really captivating. I liked how forceful the installation was, pushing the falling numbers in your face, it resonated with me the little amount of time we have on earth. This is a fantastic piece of work, and I related it to my own work with how it address an end, and how frequent the numbers end and start again, I love how the piece make you quite anxious in how it’s unstoppable, I feel very inspired by this piece.

Another clip of Atlas’ piece Exhibited at SIA for Art Sheffield 2016, Video taken by Myself.
Charles Atlas –


Mel Bochner / Artist

Above Image – Nothing, 2006, Oil on Velvet. Image Source.


Born 1940, Mel Bochner is an American Conceptual Artist, and a prominent figure in Text Based Art.

I have found Bochner’s text paintings really interesting how he gives attitude to the words. He’s visually give them personality, and shows how it is said through the way he paints the word. For example the first blah painting below on the left is very draining, the paint dripping and constant repetition, really gives it a very exhausting feeling. The second blah painting below on the right is very built up, the words overlap each other in a panicking manner; it looks quite obsessive, and it’s give the piece narrative of someone talking quickly and fast. This sort of narrative creating is seen in most of Bochner’s works.


It’s really interesting how the some of the pieces are very raw; like the piece below. I assume it his his handwriting, but it looks quite rushed but retains a high art quality, which I put down to the choice of words; a very important aspect to me in my work is using the correct words for the context, which I believe Mel Bochner has done. It’s really great how he’s made a self-portrait with words (below), very innovative. From seeing these works, I want to experiment with paint and text as Bochner has done it so well, It’s a really suitable material for text art and clearly produces interesting work.

Self-portrait, 2003. Image source.

Mel Bochner –