Eileen Quinlan: Exposure

Quinlan looks to find ‘Radical beauty’, there are many ways of possessing beauty and it’s not always through the obvious. Using mirrors and smoke often, Quinlan reaches a tendency towards allusive abstractions. Using a cross between the body and abstractions, she develops this personal nature, how are we perceived when exposed on a whole new level? What do we still consider as beauty?

Lately I have been taking small boomerangs as well as sound recordings in the hope to discover and/or trigger ways of exposing the inner mind and body. Becoming more personal through these abstractions has been extremely interesting and adds a new layer to delving into yourself as the artist much more. Layering seems a strong apparent resource and is something I wish to go forward with and use not only within stills but my ongoing video work.

Quinlan’s work feels quite sexual also and lately I’ve been having some tormenting sexualised, extremely vivid nightmares which have this cross between a closeness to a friend and feeling betrayed and almost raped? Binding and exposing these inner thoughts and feelings feels very intense but I now feel able to express this and maybe the dramatic, intense nature is what I now need  in my work?

  Contact Hour,  2014     30 x 24 inches   

  No One Sleeps,  2014     30 x 24 inches      

  Attachment , 2014  30 x 24 inches      


Daido Moriyama ‘Exploiting sexual tendencies’

Image result for daido moriyama the naked body

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Moriyama’s work contrasts between modern society and post war in Japan.

How were American’s perceived from then to now?

Creating crude, sensual and troubled photographs, he brings a new dimension to street photography. American’s as low lives in the 1960/70s and still today so explicit..lack of respect?

I’m even starting to think maybe my sleep is based from lack of respect for myself? Maybe the carelessness for my own body is part of what builds up to these sexual yet disturbed visions?

Mariyama’s work exploits the human body and makes me feel so much raw and open to my own body just from experiencing his photos. He also talks about taking close up observations of ladies fishnecks etc and how these objects feel and become such a ‘sexualised’ known ‘thing’? The way one positions themselves can be the key factor to how a you can be perceived and Moriyama documents these elements at their peak.

Does how I position myself when I sleep count to anything? Could this start to trigger something which pulls out apart of me? Or am I looking into this way too much? Even if so this artist is helping me to really think about so many more possible avenues. My visions become sexual so often these days and maybe expressing this through my work more so could give the viewer a greater sense of more than one or two factors which happen during my sleep.

Image result for daido moriyama the naked body

Image result for daido moriyama the naked body



Bill Viola

Image result for bill viola lights

Image result for bill viola lights

After looking back at my visions which depicted different elements of lights, the artist Bill Viola sprung to mind. Wow his work literally makes me feel like I’m reliving some parts of my nightmares, freaky. Making the images and screens larger really gives impact. As I’m moving forward with my use of photos and video these seem key points to consider. Viola considers the electronic sound towards the fundamental human experience eg. birth and death… all aspects of the consciousness.

When are we actually conscious, how much are we in control of our own bodies?

How much should I exploit my inner thoughts to the audience and how much of what is in my head is actually true? I’m still feeling confused by my ‘sleeping’ mind myself and looking at an artist who looks at the crosses between different experiences of ones human life, has made me re-consider how much of what’s in my conscious and subconscious minds cross over?

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Tracey Emin

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Tracey Emin is a significantly known artist and has inspired many I’m sure but I have had to say, looking over her work again recently I have really connected to some of the ways she’s illustrating her work. Her work often pulls towards the confessional, confrontational and the explicit but the cumulative effect is extremely powerful.

I weirdly enjoy the un-comfort of Emin’s work and she is currently inspiring me to become more daring with my visions. Confidence seems key and using text to exploit these factors even more so has really started to develop my work to a greater, more strengthened understanding.

I would say I’m able to to ‘exploit’ myself more so through photography weirdly rather than drawings/collages but i do want to see if I can emulate these thoughts and visions in my drawings more so the more I create them and become more confident.

Image result for tracey emin disturbing drawings

Much of Emin’s work also speaks volumes about past boyfriends and how she’s been made to feel etc, I connect to this more through being made to feel a certain way by something which isn’t necessarily controllable. Feeling like your bodies been violated isn’t pleasant at all and vocalizing this with the confidence I’ve been getting lately has been like a sense of release.


Henry Matisse

Matisse’s work surrounds the boundaries between line and colour. His work came up quite randomly whist searching for some visionary influences and he got me thinking about how I react to my visions and the boundaries I’m pushing myself?

Talking about seeing shadows and intense weights of strength on myself, maybe I could see how more domineering uses of shapes and lines could impact these drawings? I really admire his cut-outs and blocked bodily shapes and the way in which he “cuts directly into vivid color.” Being harsher and more confident with my mediums are maybe something I could develop further? Even if I stick to a more expressive way of working use of various shapes and lines seems a good way to move forward with and enhance through my visions. Considering things around the main part of my visions could potentially depict a more story telling piece. – But do I even want narrative as such? – I mean I like keeping a date and a link to my diary but having some more ‘abstract’ elements is what makes my work that little more personal. Using them as snippets and little glimpses of what I remember and what i think I remember, is what I feel makes the work that bit more connected and interesting.

Image result for henri matisse body

I’ve also found myself beginning to consider how I express my body positions in video and photography more so lately, in relation to what I think I’m doing in my sleep. Matisse’s weird body shapes are only helping me to relive and express this more so as I feel these are vital parts to actually getting to grips with full understanding whats actually going in my head.

Image result for henri matisse body

Image result for henri matisse body

Roath: MADE

Attending the Roath MADE ‘Walk and talk’ exhibition was actually really interesting! There was such a diverse range of art shown and it really made me see how individual and personal one can make their art if they really delve deep. I was obviously most drawn towards the collaged and dark imagery, the broken up visuals and disturbed, intensities only made it more appealing to me. I’ve never been much of a painter myself but I was drawn to a few of them, I guess maybe because they still had this essence of collage but either way very impressive.

I am also having the opportunity to auction a piece of my own work as part of their next charity fundraising. Half goes towards their charity and the other half to the artist so even better! This whole experience really was inspiring and really made me want to step up a gear now!


Dissertation: 1 0n 1 – BRAINWAVE

I have officially decided to go with the Dissertation which consists of making an Artefact and a 6,000 word accompaniment.

But where I was struggling to decide before this tutorial, was where in the second half of the essay I would talk about the relations and connections of artists work etc to my own. My work surrounds the theory of distortion through sleep paralysis and i felt this would mean essentially bringing a whole new topic into the game. Would I really want to try and squeeze how artists talk about distortion in imagery then how my work does, what it is swell as connecting all these dots too? It just felt bit wavy.

I have came up with a more refined question of which is titled:

‘How defects in vision, perception and mental processing have informed modern art?

This way I can still talk about artists etc who use distortion through many ways of perception but compare the way they use it in comparison to artists who use it through mental and visionary health issues. How the two can be compared and have different outlooks but intertwine at the same time.