image quality low – apples began to chip from moving them so much -quick touch up – research image only 

I like how the apples look arranged In a pile –  I hope to have many more so the pile is much larger. I am considering walk ways or spaces that will obstruct the publics usual movements. Each apple will represent aproximatly 200 children within Edinburgh that are living below the breadline. I hope that the scale and repetition of a familiar object will help to put this figure into perspective and recognise the seriousness of the issue. 21,000 children were living bellow the bread line in Edinburgh in 2019 this would mean I need 105 apples for each to represent 200 children. rough idea of numbers at the moment.

issue using acrylic paint – I like the look and multi dimensional appearance with colour / tones. It chips incredibly easy and left the apples totally battered after I had moved them around. I will try glazing them with PVA glue to see if this makes a difference however just now I am going to focus on making more apples once my plaster arrives next week.

I will continue making apples similar from sugar as I like that it adds a smell to the work. Sugar ties into ideas around sweet/unhealthy foods being cheaper and easier to buy for people with a low income. Candied apples also have childhood connotations and the smell gives imagery of candy floss or toffee apples at Halloween.

I think using apples as a vessel to represent children as opposed to being specific about people will make the work more open to interpretation. I am okay with the viewer looking at it and not thinking about the issue of child poverty, I don’t want to trivialise this issue. I would hope that looking at the work considering scale and the multiples of the intended final work would help to bring perspective of the issue. But then whilst the viewer is looking at it, how then would I tell them that each apple represents 200 children in Edinburgh?

 

writing on the floor?

sound?

text?

Nov 20, 2020

 

Nov 19, 2020

what’s inside your kitchen cupboards?

I have been watching a lot of documentaries based on bread line families. Looking into their cupboards seems too be imagery that will portray the families economic and social status. Filming them putting away shopping after going to the food bank or talking about how they will provide a meal for that night.

Does the contents of your kitchen cupboard tell us more about the people who live there?

people with money have choice, with choice comes healthier options.

brands? own brand ?

empty or full?

could I display work here? could a cupboard be my work?

 

This engaged people in discussing the issue of child food poverty. They had questions surrounding why i wanted this image, as i explained my research they began to engage in a conversation. I questioned wether a headline would’ve had the same interaction as this. Although requesting these images seemed very random, it got participants to take time out of their daily lives of probably being blissfully ignorant of the issue to reflect upon it in a new way.

i enjoy the idea of getting the public to do something simple at their own homes that seems quite questionable however, provokes new thoughts and questioning. I want to challenge  the passive way we view or receive information.

Charley

 

Nov 17, 2020

Nick Waplington

untitled, photograph, at domestic bliss exhibition GOMA

Nov 17, 2020

Jo Spence 

http://www.britishphotography.org/artists/19153/ei/1954/jo-spence-jo-spence-the-gypsies-and-travellers-archive-1973-75

Photo therapy: Mother Work: Newly married she offers herself up on a plate

Vintage C-type print, 15 x 10 cms (5.90 x 3.93 ins), 1986

Gypsies (inside a caravan), Vintage Gelatin Silver Print, 12.7 x 20.5 cms (32.26 x 52.07 cms), 1974

Gypsies (inside a caravan), Vintage Gelatin Silver Print, 20 x 23 cms (50.80 x 58.42 cms), 1978

Photo therapy: The Evacuee – Abandonment at Christmas, Vintage C-type print, 15 x 20 cms (5.90 x 7.86 ins), 1988

Photo therapy: from the “Unbecoming Mother” series (Love on a Plate ), Vintage C-type print, 15 x 10 cms (5.90 x 3.93 ins), 1989

• insight into family experiences, roles and expectations.
• Spence’s early documentary work took a particular interest in how children are represented within the family environment and attempted to break through the usually scripted depictions of children within archetypal domestic photography.
• raw and real imagery of family experiences and day to day life.
• food – family, love, relationships, time, connections, together.

Nov 17, 2020

Leave the Dishes, Poke the Jelly 

Morwenna Kearsley 

 

Leave the Dishes Poke the JellyUsing elements of Lee’s biography and recipes as catalysts to think about the idea of lineage within the history of photography, the images display the inevitable slippages between re-making a photograph or a recipe and the resulting new image or dish.

notes

• looking at her through her recipes.
• colours – pastel, playful, desert, jelly., child like.
• photographs in home context
• plates, dark, unfiltered lighting, natural, no studio.
• science/germs/growth/mould
• humour – cauliflower breasts
• attraction and repulsions
• tactile textures, wet, shiny.
• names of works – virus, stomach lining, belly ache, after birth, amputation then cherry eyes, Sunday for lee miller, sweet meats. –  names evoke attraction repulsion.
• images in kitchens – authentic setting,
• collage – uterus shape – Womens body, anatomy, reproductions, medical interference, surgery.
• maggots within jelly
• chipped toe nails – unfiltered – authentic
• domestic
• room is empty – free to move around the space. viewer moves along the walls in a systematic fashion.
• colour starts to question the white cube – an empty room however promotes the typical gallery environment.
• how would the space change if there was a real jelly in the centre of the room? or a plate of one of Lee Millers?
• I like the way the images of the cauliflower breasts have been taken. Seems natural and not staged. just a photograph of the finished ‘meal’ like anyone could’ve taken it however it is playful yet bizarre.

 

pictures from Kearsleys instagram https://www.instagram.com/morwenna_grace/

 

 

 

Nov 17, 2020

Sugar Apples Study

as the sugar on the plaster apple I have positioned 3 casted sugar apples on some paper to seen if they do the same and how they will disintegrate over the coming days.

7/11/20

22/11/20

29/11/20

burning sugar changes the colour – different brands of food colouring colour the apples differently. the three lighter red apples are form the 7th so length of time can also change the colour / texture of apple. I like that they smell and that they change.

Nov 7, 2020

 

where would I put it?

poverty areas? rich area? Hollyrood?

how would the public engage with it?

Is it communicating what I want it to?

idea around the apples being goals (food, education, money) encaged by a structure,  (might not include snake) where the snake (tories + upperclass ignorants) guard the lock.

I like the idea of a big metal structure, with something inside that you want to get to.

Nov 7, 2020

Forbidden Fruit, Razvan Burnett, Romania, Painting, 35.4W x 37.4H x 1.2 D inches

Why the cage?

https://www.forbes.com/sites/lisettevoytko/2019/06/12/disturbing-pop-up-art-installations-depict-kids-in-cages/?sh=7c9630635761

Gu Dexin, 2006, Installation. 5 tons of apples, plaster walls, bulldozer, variable dimensions, Photo Oak Taylor-Smith.

thinking about multiples and scale ?

https://www.galleriacontinua.com/artists/gu-dexin-23

Exhibition Barnaby Ford  – More More More

https://www.davidgillgallery.com/barnaby-barford-2019

interactive work where viewers paid to pick an apple from the tree and snap it off. what is the role of the viewer in my work? should they touch it? should they take something from it? 

scale. how does the viewer move around the space?

 

Nov 7, 2020

Locations  – where could I put my sculptures?

• How will people see it?
• Is it for the people experiencing challenges with poverty or is it for those ignorant to it?
• How will the public interact with it?

 

• 11,812 children in Edinburgh living bellow the bread line.
• 71% of families have one or more parent working.
• more than one in three children in poverty in Clovenstone, Wester Hailes, Niddrie  Granton West, Easter Road.  

https://www.edinburghlive.co.uk/news/edinburgh-news/shameful-figures-show-extent-child-18153034

• In the Gorgie and Sighthill ward of the city, the child poverty level is as high as 39 per cent, Leith and Forth wards both register 34 per cent. More than 30 per cent of children living in Portobello/Craigmillar, Leith Walk, the city centre and Gilmerton/Liberton wards are living in poverty. At the other end of the scale, 11 per cent of youngsters in Corstophine, Murrayfield and Inverleith live in poverty.
• https://theedinburghreporter.co.uk/2019/08/21000-children-in-edinburgh-now-living-in-poverty/
• Edinburgh is regarded as a well-off city – with incomes 27 per cent higher than the Scotland average. Unemployment rates are lower than those of “any other major UK city” and wages are higher than most other parts of the UK.

Edinburgh is a rich city. Why are so many children in poverty and not receiving support/help.

Hollyrood –  grass area or long wall with grassed roof ?

 

• “on returning to school we were shocked to see the children at breakfast club eating breakfast with two spoons out of two bowls as they had had no food since they had left the school”.
• https://edinburghfoodproject.org/news/christmas-appeal-2020/ (what can I do to help)

I have decided my works will not be site specific. This makes the work too political and direct. 

Nov 7, 2020