Statement of Intent.

Book covers were my main focus throughout level 2. I used books in separate genres to help improve my illustration and type skills, but in hindsight, relied too heavily on software within my work. This year I feel I need to step away from this reliability on software, and become more hands on with my approach to work. I want to loosen up with my drawing and lose this precious attitude that I have had with my work in the past. By doing this I aim to become more confident and experimental with my work and produce more evocative and emotional pieces.

Recently, I have been inspired by the ambiguity of Jean Dubuffet's work. The way he uses images within images, helps make his work look natural and non-contrived and is something that I have been trying to achieve within my illustrations. I like to be imaginative and have no real them when I draw. My practice of late has been simply to make a mark on the page and take it from there, not thinking about the outcome, but rather, what I can turn each line into. Shape therefore plays a massive part in the way I work. Furthermore, I love the way Dubuffet and also Picasso, create this continuous line when they illustrate, something that I have tried to echo.

Collage adds to this interest in ambiguity and enables me to question readability. Unifying lines can be created from a mixture of materials, to leave an effect that is not too dissimilar from the style of illustration I have been pursuing. What tends to be lost in line quality, is gained in surface quality; both, taking something away from the composition as well as giving it back. Robert Rauschenberg's work uses combinations of urban photographs collaged with found pieces of graphics, to compose eclectic and vibrant pieces; while the work of Ian Wright collages small images within an overall image, relating back to the ideas inspired by Dubuffet.

In addition, the marginal remains of civilization inspired Jacques de la Villegie's lacerated posters, using destructive lines to make compositions of colour ad fragmentation.

over time I aim to collect a variation of materials and found objects that I can use to collage within my working practice. Photography will also enable me to take pictures of interesting surfaces, which can then be used and manipulated in their own right and used in conjunction with other found materials. i can also obtain influences from deteriorated surfaces, and remnants of construction markings from the world around me, and recreate these, within my illustrations by employing techniques to age my work.

vaughn Oliver seems to touch on similar processes in his work, but manages to create varying styles. Clan of Xymox, seems to embrace illegibility to create atmosphere. It looks bottomless with never ending  blotches and blurs assembled onto a compilation of torn layers that gives the piece it's meaning.

Referring back to age, outside of graphics, I love old, vintage and retro things, with the flat contrasting colours tones. What's more, I feel there is something aesthetically pleasing when you look at an object that has aged. Age gives an object history, and makes them look as though they have a had a life, by taking away its once perfect state. However, depending on the content of my illustration, I could source things such as old newspapers, comics and books, which can then be re-invented in my collages, to help further its meaning. The materials could help add to the works content.