Good luck!

The shortlist of entrants will be hung for sale at a week-long exhibition at the Mall Galleries, London from June 27 - July 2, providing the perfect opportunity to buy beautiful, original art that contributes to wildlife conservation. Entry is from now until 15 February and is open to anyone 17 years old and over.

In Frame Visual Arts

For full details, including rules of entry and helpful hints please see: Alexander Calder in his Roxbury studio, Photo credit: They started collaborating in summer , with their collective desire to create art together leading them to photography. Recurring themes run through their work; nature, dreams, space, changing seasons, the.

Their photographs appear as fragments; moments in time without all of the details filled in, allowing the viewer to piece together the story and fill in the blanks. Your collaboration process seems very organic, even from the way you met and just wanted to make art together; do you think this ease of working together has an effect on the aesthetics of your images? We spend a lot of time talking about art and making up artistic theories, watching movies and listening to music. Always in an active way we are creating somehow, so it had to happen: Before wanting to devote to photography, even before knowing how to use the camera, we had created something: A way to understand art.

Since then, the rest was very intuitive, really. Looking through your images it appears you work in two separate styles; you have the images that appear very staged with set up, lighting and costume, and then you have shots that have a more candid and spontaneous aesthetic. Both approaches lead to very beautiful images from you, but do you have a preference of how you like to work? This is a good question.

Sometimes you need to create the scene, and plan the session to achieve the results you want. Planned pictures are more accurate and you can try lots of times and to get what you exactly want to. However, you must always be "ready" for catching a good picture in an unexpected moment or an unexpected place. You describe your photographs as Stories, is there a running narrative through your work or does each piece tell its own tale? What comes first in your process, the story or the image?

Yes, there is a running narrative through our work. Something we call "Landscapes of the Memory". We are very much interested in the collective imaginary, the memory that dwells in the subconscious of all of us thanks to globalization. As we always say, what interests us is not just something beautiful that is happening right now, in front of our camera, but to what extent it has always happened -and will always happen.

Each story has its own substance, but they all are like moments recorded in our retinas since we were children, projected now outwards as photographs. Do you plan to always work with photography as your medium? Well, we are very interested in audiovisual too, in making film. Probably we will try it soon but our main medium will always be photography, we think. It is so free, so suggestive. Do you think if you were to create films they would follow a similar fragmented storytelling as your photographs, or would the ability to add sound and dialogue lead to a more solidly formed narrative?

There will be sound and dialogues, yes, but the projects we have on mind will keep the suggestion as medium, the mistery as narrative tool. Just imagine our photographs with little movements, very pure sounds the wind, drops falling in a bathtub, distant steps and even smells, being performed in a dark room. Since we discovered photography, we have been working on something new every day.

There are some series which are upcoming, and also projects in construction like "Uninhabited Poem" which is a series that talks about human beings, but without human beings in them. We are even making a photobook with our pictures and all of our own theories about art we mentioned before. Of course, the book will be titled "Landscapes of the Memory". The commotion of the city that surrounds him is another big influence, translated into strong, confident gestures in paint.

In some works ghostly forms of figures appear from the paint as if from a. Although working as a completely self-taught independent artist, Obaid has been listed as a Bestselling and Influential artist in , with his work displayed in private and commercial collections worldwide including the UK, USA and Hong Kong.

He is currently working together with interior designers on a series of exclusive commissions. Finding inspiration in the solitary rituals of everyday existence, her figures are often depicted reading or writing, having coffee or immersed in thought. Though it may seem contradictory in definition to find poetry in the prosaic, Addinall does so in these images of everyday life.

Connecting to their inner selves, her figures remind us of our essential isolation but do so by portraying moments we all recognise. There is a beautiful stillness to her work with its stylised simplicity, offering a moment of calm to the viewer. Alongside her paintings in oil, Addinall is a sculptor working primarily in wood as well as plaster, clay, concrete and stone.

She exhibits regularly across the UK and abroad and her work can be found in private collections worldwide. The surrounding landscape is a constant presence and inspiration to her when creating embroideries, taking elements from the patterns, shapes and colours of nature and blending them into intricate works of art. There is also a literal natural presence in many of her artworks, as Lasson often mounts the embroideries on bark from different trees. Some of the embroideries are about their situation; trying to hold on to their traditions managing herds of reindeers while living surrounded.

She combines materials such as reindeer skin, geotextiles and reinforcing cloth, though she considers the search for different materials to use to be infinite. In a combination of focused work and loose play, she experiments creating abstract and unexpected patterns with multiple exposures, light leaks and varied exposure times.

The result is images rich with sepia-tones and fragmented layered imprints. The scenes appear extra-terrestrial, like an x-ray of earth that looks beneath the surface into another layer of reality. Ghostly white trees often sprawl across the frame, sometimes bare and fragile like flashes of bright lightning or else visibly transformed with branches of leaves. The photographs cross seasons; they bear the effects of natural change and the whispers of human interaction. While reminiscent of visions of Japanese horror mythology and cinema, such as the cult classic Ring, it is the ominous sense of the unknown that draws the viewer in to contemplate what may lurk beyond the veil.

We spoke to him about his work and influences. Although there are specific nods to visions of pop culture horror in your work, you state that it is the psychology of the uncanny that underpins your work; what first drew you to this genre? Since I was young I have always been into UFOs and the paranormal, reading countless books and listening to American radio shows dedicated to the subject.

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I was so fascinated by the stories and the storytellers behind them that it began to creep into my work. As my work has developed I have gone on to explore an interest in the fear. You speak of the hair in your works acting as a sort of cloaking device for the viewer to imagine what may or may not lurk behind; when creating works do you consider a specific narrative for each piece, or are even you unsure of what hides behind the dark?

There is almost stillness in the air; entering a room with a shadowy figure in the corner or a strange light hovering above you in the night sky. The hair is used as a veil but is itself also uncanny. I wanted to attach the hair to an object that was familiar, an object that is found in the bedroom; morphing the object into a more intrusive and sinister thing.

How to Effectively Memorise Everything for HSC Visual Arts

Do you find you need to have an almost personal detachment from your work to allow this unknown to exist; to avoid shaping what should be seen so the viewer is free to call upon their own frightening imaginations? In a way, yes. Space Odyssey; the blackness, the simplicity of it, a seemingly inanimate object that has some sort of intelligence. What kind of reaction do you try to provoke from the viewer?

How much energy is lost through leaky walls? Framing an A-Frame end-wall!

If they walk away mystified then I would be happy with that. Have you always worked within such a minimalist aesthetic? I guess I have always been that way, even in my BA back in I was making paintings that where minimalist and monochrome. Floating objects and forms in an empty space, scratching tiny marks into. What are you currently working on? Do you have any upcoming exhibitions? This autumn I am in a group exhibition at the Cello Factory Gallery, London, where I will be exhibiting one of my hair objects. Listening to music gives her energy and makes her more sensitive and expressive.

The Postmodern Frame is usually the most difficult for students to get their head around. Postmodernism challenges traditional ideas and questions what is art? The postmodern frame looks at how an artwork reacts to the art or culture that came before it. The postmodern frame can be used to analyse art that mimics other art, uses other art within an artwork to create new ideas or contexts and even reinforce ideas that have already been shown.

Through a bit of quick research we can arrange information on this artwork into the correct frames. Lets organise this information from Wikipedia into the correct frames. Click on one of the following artworks by Warhol to link you to a website. These websites will give you some information on the artwork. D, divide a page into 4 columns. Title these columns with Subjective, Cultural, Structural and Postmodern. Using the links below or you can find your own artwork , organise your research under the correct headings.

You are commenting using your WordPress. You are commenting using your Twitter account. Year 12 Blogging Team. You should be focussing on the Big 3. What are the Big 3? For that reason the best way to learn and memorise them is by using them!


  • Going Home.
  • Shadow of the Past (Tobias Campion Book 2)!
  • 101 Things You Thought You Knew About the Titanic - But Didnt!!
  • Spring 2011 Issue 3.
  • Memorise the Big 3 of Visual Arts Core Content.

Line — thick outlines create a sense of structure. Shape — angular shapes in the border and background contrast with the organic, curved shapes of the figure. Colour — complimentary purple background and muted yellows figure to create visual appeal. Contrast — used in colour and shape to create visual appeal. Dominance — the figure dominates the image, drawing audience attention. You know what that means — time to practice using the frames.

Example Using the same image from before I first have to ask myself which of the frames are most relevant to it. Structural — moderate relevance Subjective — high relevance Cultural — minor relevance Postmodern — minor relevance From here I can see that the subjective frame is most important, so I can start asking my questions based on that frame to find some key ideas about the work.

What is the mood of the work? How is the mood created? What do you think the artist felt? What does the audience feel?


  • Publications in In Frame Visual Arts.
  • Interactive Homework Activities by Julie Host!
  • Ubuntu: I in You and You in Me;
  • .
  • In Frame Visual Arts.

How does the artist relate to the artwork? What does the artwork show about the artist? How does the audience react to the artwork? What does the artwork show about the audience? How has the world influenced the artwork? What does the artwork show about the world? What Did We Learn? And you know what? Have a question for us?