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Pam Glew

Born in 1978, Pam Glew is a contemporary artist who is best known for her unique bleaching technique on national flags. She uses dye and bleach to deconstruct and distress vintage materials in her own breed of painting.

Heavily inspired by film, her strong cinematic paintings often reference contemporary culture with portraits of contemporary faces and the artist herself. By painting directly onto vintage textiles with bleach and dye, the artist plays with our notion of culture of heritage, a sense of belonging, or estrangement from our countries. Personal experience is referenced in the works, including motherhood in the edition series ‘Out of the Water’.

Vintage flags, brocade and antique American quilts provide a unique surface to paint on. By dyeing the fabric black and painting freehand with bleach, the portrait slowly develops in the painting process. The fabric is bleached many times to create contrast and the material is washed each time to remove the chemicals. The result is a ghostly timeless image, which emerges from the cloth.

Glew has exhibited in numerous urban, traditional and site-specific exhibitions, alongside such artists as Damien Hirst, Tracy Emin and Peter Blake. As a British artist she has shown widely in the UK and showcased in Paris, Amsterdam, LA, Korea, Cologne, Dallas and Sydney in 100 group exhibitions and 6 major solo shows. Previous solo exhibitions include Beautiful & Damned London, 2011, Circus London, 2010 and Luminaries Sydney, 2010. Her work continues to be collected by art buyers worldwide and commissioned by large brands and individuals.

Pam continues to exhibit in numerous charity exhibitions and supports causes including Teenage Cancer Trust, Big Issue and MTV Staying Alive Foundation. She has produced commissions for brands including Armani, Ralph Lauren and Mitsubishi Bank. Collaborations include Terry O’Neill and Bill Wyman’s documentary photography of the Rolling Stones.

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Posted by on December 15, 2013 in Uncategorized

 

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Katarzyna Gajewska’s portraits

I came across a collection of portraits by Katarzyna Gajewska. I find them incredibly mesmerizing, chaotic and beautiful.

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Here is her artist statement where she describes her process:

‘My painting process is something between my dreams and documentation. My art is situated in the middle;  not in the realistic and not in the abstract, in popular meaning. I am looking for human simplicity and complexity in the same way. I am trying to catch the casual feelings, naked and defenceless in their realism, and then with understanding and patience I start to build portraits.

My portraits are like multilayered cocoons, profoundly intimate, sexual or innocent. Psychological topography; still glances, crucial in their expression are uncovered in layers of my paint. Bold, rich and dramatic faces are like language; pulsing and inspiring. My portraits are my form of communication. For me no subject is sacred. The role of provocative feelings, persuasion, as well as the human impulse to beautify compels my works of art.

I don’t use any tools besides my hands – to be closer. I could say that my art is a first hand emotion – and that’s why I am painting only with my hands. It allows me to make close ups much deeper than they really are. I love using extreme zooming in – in life and in my paintings. My inspirations are deeply rooted in myself. I’m trying to search for inspiration every day: To reach for the deep feelings hidden below the surface of appearances, to pull them out from behind the window pane. It is a permanent record of fleeting sensations. This release from naturalism is a real struggle between the forces of creation and destruction.’

 
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Posted by on December 15, 2013 in Uncategorized

 

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point Perspective

Hello everyone, once again so sorry that I have not been around on here lately (busy bee constantly buzzing!)

There are a few things I would like to share with you, firstly I am currently teaching myself how to use perspective all over again (school was so long ago) and well lets face it Youtube is the best I could possibly find to provide me with the simplest of techniques for my confused brain!

Sooooooo anyway here they are listed below, I certainly found these select few helpful, more so for beginners and refreshing the mind.

Now the other thing that I would to share with you is this page http://littlemissartyfarty.tumblr.com/ ……..this is not me in any way shape or form apart from the name of which they have taken without asking! It came to my attention after friends and clients were constantly asking about my Tumblr, with me obviously replying with ‘but I do not have a Tumblr page’. However if anyone knows me and the work I create they will know that the content on said page is not me :)

Also I thought it was about time to do some reviews on the arts and crafts of the world that are an inspiration to me and my work (I have a beautiful list of people to talk about!)

Bye bye for now and once again I apologize for the lack of blogging action, now I have to plan how on earth to get four paintings completed by Friday (yikes)

 

xxxxxxx

 
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Posted by on February 19, 2013 in Uncategorized

 

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Developmental Drawing Project part 1

Just a tiny post to fill you all in with what I am currently undertaking at the moment.

I have started a developmental drawing project where I will use a range of different surfaces and drawing mediums to eventually create a final piece. For this I have to use four objects which can be in a complete contrast to one another; so eventually I had decided to use the following:-

organic – shell

contemporary – a voodoo statue

historical – an owl engraved pocket watch

manufactured – well I’m still undecided about this unfortunately.

Now to start off obviously I wanted to create a range of sketches where i explore what mediums work best together and also work best on different types of surfaces. I decided to use my first object for these little experiments – the shell – and created a nifty fifty sketches.

Not all of them are my best quality but I suppose they were an experiment worth researching and now I know myself to not use some of them ideas again! I have created a slideshow of these and to view a more in depth explanation about each one you can always view my facebook page at https://www.facebook.com/media/set/?set=a.439914156044070.90452.209288559106632&type=1

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Posted by on October 13, 2012 in Uncategorized

 

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20 tips for entering art competitions

HELLO I am terribly sorry for being quiet for the past 2 months as I have been terribly busy finishing finals as well as taking a holiday. Now like every summer I enjoy entering art competitions and I came across these very useful tips courtesy of http://makingamark.blogspot.co.uk

20 tips for entering art competitions

What do you need to know when thinking about entering an art competition.
Here’s twenty tips – what are yours?
  1. Aim for a good fit between your work and the competition. It’s a complete waste of time, effort and entry fees to submit to competitions which are not a good fit with your artwork. It’s wise to do some research before you start to create an entry. If possible, I always try and see an open exhibition first before submitting work – partly to see what sort of work gets hung but also to decide whether my work is, or could be, a good fit. Another goord reason for researching the competition is to understand its purpose and to see whether again it’s something that you’d want to be associated with
  2. Be yourself. Genuinely innovative work or work which provides a ‘new look’ and a different way of creating art is like a breath of fresh air. ‘Being yourself’ AND ‘being different’ can often get your work noticed. This may sound as if it contradicts the first point. However there’s a lot of difference between being aware of what a competition is about and the sort of work it attracts and copying what seems to be popular. Do not do the latter – make your work your own.
  3. Research the chances of getting selected. Undoubtedly it’s a terrific boost for your artist’s CV if you can get selected for a major competition. Even better if you win. However many people act on this notion and as a result some competitions attract a huge number of entries while only hanging a relatively small proportion. Numbers are often mentioned in calls for entries (or on this blog!) and it’s often possible to work out what are the chances of getting picked. The bad news – if you submit to some competitions you have a 97% chance of being rejected. The good news – you’ll be in very good company if you are and be able to boast big time if you do get selected.
    • In 2007, 3.21% of entries were selected. In 2009, the percentage has dropped to 2.95%
    • In very broad terms, the chances of being selected are 3 in 100.
  1. Only submit eligible artwork by an eligible artist. This means you MUST Read the terms and conditions of the ‘call for entries’ at the beginning very carefully. Then read it again. Read once more just before you submit to make sure you got it right. You’d be surprised how many people make very simple mistakes – such as framing work and then realising that it exceeds the size limits! Given the trend towards internationalisation, it’s wise to check whether a competition is genunely open to all or whether entry is limited (eg to artists who live and work in the UK).
  2. Check the copyright arrangements. It has been known for some art competitions(naming no names but they know who they are!) to equate entry to the competition with the release of ownership and copyright of that image by the artist. The organisations that do this very often keep this fact in the small print and don’t make it obvious. This is just plain WRONG on all sorts of counts. Frankly from my perspective this sort of arrangement ranks pretty close to exploitation (and I do name and shame when I come across examples). It certainly is when the competition is effectively disguising a cost-cutting measure (ie avoiding making a fee payment to an artist in the normal way). Any use of an image outside an exhibition should ALWAYS be the subject of an appropriate payment. There is also no legitimate reason whatsoever to give up copyright at all as licensing arrangements can release works for specific purposes. For example illustrators rarely give up copyright even when working on commission.
  3. Check the security/insurance arrangements. If you are submitting highly valued/priced work you will probably want to be confident it’s not going to walk out the door. Competitions vary as to the insurance cover they provide while it is in an exhibition. An annual insurance policy which covers artwork in exhibitions can be a real asset should anything untoward actually happen. Is it clear from the terms and conditions of entry, who carries the liability and responsibility for an exhibition. Is it the gallery or the organisation?
  4. Work out what’s the time and cost involved in submitting your work. If it’s a national competition, shipping or travel costs associated with submission might be very expensive. However also be aware that quite a few national art society compeititons have regional pick-up points and this can make a big difference to the costs of submission.
  5. Create a timetable for getting the work submitted - and don’t forget to include some contingency time for things going wrong.
  6. Make sure you can get your work framed correctly. Book your framer well in advance. Do not assume that they can turn around your frames in the time you’ve allowed. Remember that framers do have holidays! I’ll never forget the August that I couldn’t find a framer who could do my framing in time for exhibition deadlines! Some competitions are very specific as to the type of framing they will allow. There are also ‘styles’ of framing which can get you excluded from selection – and I’ve seen it happen. However styles vary from place to place. In London, neutral and minimal impact framing is the current favoured format – with the emphasis on seeing the artwork rather than being distracted by the frame.
  7. Make sure you submit top notch digital images. Organisations running art competitions are often criticised for the expenses involved relative to the chances of a successful submission. One of the ways they can cut costs is to ask for initial submissions by digital image. The importance of good scanning/photography, colour balance and cropping images accurately is often highlighted when you get a chance to see entries online. It’s a good idea to either employ a photographer or get better at taking photographs and then preparing/presenting them for submission
  8. Check out the jurors. Is your work likely to be a good fit with the art they appear to like? For example, if you paint traditional realism and they appear to like cutting edge contemporary there may well be a problem!
  9. Remember selection is personal! By which I mean that not getting selected does NOT mean your art is no good. It just means that it just didn’t appeal to this particular juror or panel in this particular year. I’ve seen artwork rejected from one competition win top awards in the next competition it gets submitted to. Ask Jeff George CPSA - one of his pieces weas submitted to the CPSA Open in 2008 and was not selected but he resubmitted it the next year and it won the major prize at CPSA 2009!
    1. Think about what gets artwork noticed. Bear in mind that selection processes tend to be a lot faster than most artists realise. You have a few seconds to make an impression – and that is generally going to be from a distance rather than up close to the image in question. The design of an artwork and the contrast it employs makes a huge difference when artwork is viewed as a digital image or very quickly during a juried selection process. Size also may play a part – see my post Juried art competitions – does size matter?
    • Exhibitions are often held in rooms a great deal bigger than the ones we produce our work in. Pictures which ‘carry’ across a distance have impact.
    • Larger paintings often have more impact – they’re much more difficult to ignore
    • Artists want to make a statement and have an impact in a juried competition – so produce work which is larger and more significant than maybe the size they usually use
    • Some might suggest producing bigger work is a shortcut to getting noticed – take a look at this BBC item about larger works of art Arts gets bigger and bigger
    • Larger paintings tend to have a higher value. On the the basis of “high value=good painting” that presumably makes bigger paintings better.(I’m not saying this is true – just that it may well be an implicit assumption in some people’s minds)
    • If a juror is also the gallery owner collecting the commission if the piece sells, one might hesitate to think there could also be some incentive to awarding prizes to larger pieces – but it’s got to be a possibility!
    1. Only submit your best work. It sounds obvious – however to know which is your best work you need to have some feedback from people who are equipped to comment and people you can trust. If submitting more than one work submit a body of strong and consistent work. think about the added benefit of a series or a group of works which relate well in terms of topic and palette and the overall calibre of the work. The chances of getting your work are enhanced if you demonstrate that you’re not just a ‘one trick pony’. Remember though that one weak work can harm the chances of the other work submitted and one standout piece of work can also do the same – for different reasons!
    2. Check out the location of the exhibition (gallery / website / journal). The issue here is about whether your work is actually going to get seen. For example try finding out the answers to these questions.
      • Is this a reputable gallery? Does it generate a good attendance at the Private View
      • Is it in a good location? Does it get a good footfall (number of passersby?). How accessible is it? Are there problems with parking?
      • Is there an online version of the exhibition? An exhibition doesn’t have to be in a B&M gallery to be seen. (One of the other advantages of online exhibitions is that you can also check out the work in last year’s exhibition!)
    3. Research prices and consider price points. There’s nothing worse than having your pricing completely pitched wrong for the area, the gallery and the calibre of the company you are keeping if you get selected. It’s very helpful if you can get hold of catalogues for previous exhibitions to see what the range of prices look like. This is again where a visit to an exhibition in an advance of entering a compeition can be such a good idea.
    4. Don’t expect to make any money. Treat any profit after costs as a nice windfall. Do not expect to sell your work (and not all competitions handle sales in any case). Do not expect to make a profit (after you’ve paid out for exhibition framing; entry fee; shipping costs, commission on sale etc.). Very many artists look on art competitions are a marketing exercise and charge up the costs to their marketing budget.
    5. Keep a list of things to remember to do next time! Every time I’m getting ready for an exhibition, something prompts the thought “must remember that for next time”. I didn’t think it possible – but it is!
    6. Keep a box of exhibition essentials. Mine contains: brown sticky tape for taping down frames, a jar oif different sized D rings and associated screws, my foam core cutter and a jumbo pack of spare blades for my Logan mat cutter. I’ve also got a store of spare foam core, full sheets of neutral mountboard and a can of comnpressed air to clean frame and work prior to sealing into the frame
    7. Attend exhibitions associated with juried entry and major art competitions. It’s a wonderful way of learning what is possible!
 
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Posted by on July 4, 2012 in Uncategorized

 

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the final 6 – digital media

please enjoy the slideshow of the final 6 images i selected from my digital media sketchbook. i hope you have enjoyed following my progress.

 

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Posted by on May 28, 2012 in Uncategorized

 

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Digital media development LO2 part 19

here is the final part of the digital media development sketchbook. i hope you have enjoyed looking into my digital sketchbook.

 

a short slideshow will be used for this post with a selection of small projects for this where i just developed one single image without the use of creating filters.

a whole manner of techniques has been used for these images (too long to list) but they are all taken from the photo filter, gradient mapping, HDR toning, the layers selections and also the filter gallery within Photoshop CS5

here is one last technique i used which is the HDR toning. this can be accessed via image>adjustments>HDR toning. an example is shown below:

   

and now here is the slideshow

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Posted by on May 28, 2012 in Uncategorized

 

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Digital media development LO2 part 17

part 17 of the digital media sketchbook

    

for this post i have decided to use another self portrait and also a mixed media piece of a train tunnel

 in my usual style the ‘difference’ tool has been used from the layers selection. the image would have been successful if the the face had not been completely hidden away especially as the effects of the background have worked nicely into the rest of the portrait.

from the difference image i then went on to use the gradient map as usual but the red completely overpowers the whole image resulting in both the background and the portrait a difficulty to make out.

 therefore here i chose a different angle for the gradient map on the ‘difference’ image by using the orange and purple tones. once again unfortunately the yellow tint added around the hair seems to take the image over and i am unable to make out the portrait.

 

sadly this part 17 experiment was a failed attempt.

 
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Posted by on May 28, 2012 in Uncategorized

 

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Digital media development LO2 part 16

here is part 16 of the sketchbook work for my digital media class. almost finished with three more posts to go.

     

here i have chosen two very dark images to use together. the core of a pomegranate for the background and an abstract self portrait.

  here i used the difference tool (as usual) from the layers list. the portrait is not recognisable on this and i actually find myself trying to figure out what parts go where and i already know what the image is seeing as it is my art work. the pomegranate clearly takes over and disguises the portrait.

  i then decided to change the layer option to ‘lighten’ of which brings the portrait to the front and becomes a very clear with the pomegranate adding a nice texture to the left side of the face almost replicating a leopard tattoo. much more successful than the above image.

 from the above lighten image i then used the gradient map (once again ‘as usual’) and a lovely tint of different shades of brown have been added to the piece. the portrait really stands out and the pomegranate ‘leopard’ print is very prominent but adds a lovely touch.

 i attempted the ‘lighten’ in a different gradient map tone this time with the orange and blue. very abstract and stands to attention but once again i feel the pomegranate is taking over the face and not in a subtle way which dampens my expectations for this project.

 
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Posted by on May 28, 2012 in Uncategorized

 

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My previous work to use within the digital media project

Here are the chosen pieces of my own art work to use within the digital media project. As my project is on portraiture there is a selection of my painted and sketched portraits (faces and nudes) with the backgrounds to be around other works displayed below.

To followers you will have seen a large amount of these images before but i have uploaded them again as well as some new additions so you can view an initial preview of what to expect next

 
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Posted by on March 21, 2012 in Uncategorized

 

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