Engage Artist

Sam Plagerson

Year:
2012-13
Project summary:

 

The circulation of images and how companies/brands carefully insert this material into our everyday lives is a constant theme throughout the work.  Attempting to draw upon the signs, codes and gestures so carefully embedded in publicity material, the work mines images from advertisements/fashion. Through the translation of these images into sculptures, traces of the images are left, emphasizing meanings that were contained but less apparent in the original imagery.

Deploying ceramic as a conceptual parallel to the sheen of glossy publications the objects aim to evoke the airbrushed hues of luxury marketing. Following the logic of the cropped image through to a three dimensional object creates a piece however, which sits between two polarities: the shine of the glaze/glamour of the source material versus the absent/incomplete presence of the object. Through removing the usual frames around the images, the viewer can focus on information not normally registered: how an image is cropped for our consumption.

 On the Artists Access to Art Colleges scheme I envisage continuing my exploration of this subject. I am particularly interested in how turning this material into objects reveals the propaganda function of the images. How as sculptures they seem to encapsulate kitsch and classical references, much like totalitarian statues. I envisage developing a body of work that addresses the mythical content of these images, that as a group will highlight the ideology of this consumer language.

 

 

 

 

 

 

 

The circulation of images and how companies/brands carefully insert this material into our everyday lives is a constant theme throughout the work.  Attempting to draw upon the signs, codes and gestures so carefully embedded in publicity material, the work mines images from advertisements/fashion. Through the translation of these images into sculptures, traces of the images are left, emphasizing meanings that were contained but less apparent in the original imagery.

Deploying ceramic as a conceptual parallel to the sheen of glossy publications the objects aim to evoke the airbrushed hues of luxury marketing. Following the logic of the cropped image through to a three dimensional object creates a piece however, which sits between two polarities: the shine of the glaze/glamour of the source material versus the absent/incomplete presence of the object. Through removing the usual frames around the images, the viewer can focus on information not normally registered: how an image is cropped for our consumption.

 On the Artists Access to Art Colleges scheme I envisage continuing my exploration of this subject. I am particularly interested in how turning this material into objects reveals the propaganda function of the images. How as sculptures they seem to encapsulate kitsch and classical references, much like totalitarian statues. I envisage developing a body of work that addresses the mythical content of these images, that as a group will highlight the ideology of this consumer language.

 

 

 

 

 

 

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