Our last Kick-About, inspired by the writings of Gaston Bachelard, encouraged us to examine our domestic spaces and think about the physical and emotional parameters of home. Now, with John Stezaker’s uneasy marriage between photographic fragments as our starting pointing, we’re exploring issues of identity, affinity and discord.
James Randall
“Life can be scary – survival of the fittest – relationships can bring together different strengths, and if nothing more, give you the courage to bungle on. My image is simple – a river pushing dangerous detritus along – life. I was wanting to have an overlay of two figures swirling about and holding hands but it was too naive looking, and too complicated with the background, so I struggled to find an alternative representation. The lines represent two different shades of people (a couple – sorry such a vanilla representation of marriage) and their individual positive qualities merging to form a barrier protecting the couple from the detritus. The ring blur demonstrates how marriage can soften the edges of thorny life. The colour is joyous (I hope) as marriage is to me (if a lot quieter.)”
Charly Skilling
“When I started looking at John Stezaker’s ‘Marriage’, the thing that struck me most was that ever-present straight line running through each image, often more than once Was this the joint where two personalities dovetailed? Or a boundary line, safeguarding personal territory? Are people diminished by marriage? Or magnified? So I started thinking about some of the models of marriage I’ve come across. and came up with some ‘Marital Maths’.”
Kerfe Roig
“I’m always doing that surrealist kind of thing with human bodies and collage so I decided to try something different. I liked the idea of using one or two inserted elements, as my work is usually much more complex. Instead of using classic film stars I decided to use the work of classic painters. I took Van Gogh’s “Starry Night”, cut it up, and inserted it into works by Monet, Gauguin, Matisse and Homer. They work together quite well I think.”
kblog.blog / methodtwomadness.wordpress.com
Marion Raper
“I luckily came across some old toys belonging to my grandsons which were waiting to be recycled and I thought they would look great if I combined a few of them and turned them into some very strange looking creatures. This then inspired me to do some collage using some old photos and magazine cuttings to create some more fantastical beings, which looked like they had sprung from the pages of a Marvel comic.”
Vanessa Clegg
“By putting two different images together Stezaker seems to create a third dimension, so, ‘sort of’ following this train of thought I’ve dovetailed two extreme scenarios on an old alarm clock set to silent. (Another thought.. weren’t the lurid green numbers painted with something containing uranium to make it shine in the dark?).
Scenario 1: Apocalypse – midnight on the doomsday clock. A young girl runs for her life, her clothes shredded, the sky dark, as a mushroom cloud reaches the stars.
Scenario 2: The clock strikes twelve. Cinderella flees from the ball as her coach, horses, footmen and dress disappear in a puff of pink smoke…the fairy Godmother waves her wand… Abracadabra!”
Phil Cooper
“A strange and unsettling prompt this time. John Stezaker’s work stirs up a variety of different feelings when I look at them, feelings that are quite difficult to articulate. There is something about the violence of cutting up a picture of a human face that makes such images as ‘Marriage’ quite a visceral experience for me. I can almost feel the slice of the scalpel, and I wince at the thought of accidents and slips with the knife; as an artist who uses collage a lot in my work, I’m well used to my hands sporting at least a couple of plasters covering cuts and scrapes.
Stezaker’s portraits also make me think of Francis Bacon paintings, of how he attacked the faces of his sitters in paint, carving them open with the brush to create images that look like something from a butcher’s shop window. I’ve gone down a similar route with my Kick-About response this week, cutting up photos of glamorous people from glossy magazines, smearing their faces with oil pastel, and mangling them further in Procreate to make fractured images of half-remembered nightmares.”
instagram.com/philcoops / hedgecrows.wordpress.com / phil-cooper.com
Graeme Daly
“Because Stezaker drew inspiration from dadaism and surrealism by kitbashing and appropriating images into bizarre collages, I decided to splice together some absurdities in a fun, no fucks given kind of way – all images nicked from the public domain, of course.”
@graemedalyart / vimeo.com/graemedaly / linkedin.com/in/graeme-daly / twitter.com/Graeme_Daly / gentlegiant.blog
Phil Gomm
“All of this began simply enough: try and construct a new face from fragments in a Stezaker-style, and in so doing, seek to produce something as unsettling as some of the photographer’s sepia chimeras.
Reaching for the remainders of some nylon tights and toy-stuffing left-over from the very first Kick-About, I set about sewing together a new face around the shell of a white balaclava. I wanted to produce a fine-art object, as opposed to anything too illusionist, something a bit deconstructed, with its seams showing and the fact of its construction left conspicuous. In this, I looked to Stezaker’s own collages, which likewise make no secret of their provenance of different parts.“
“The head-thing fabricated, I then left it about the house, like a thing left behind or dropped, and photographed it in situ. At times creepy, and at other times just rather sad-seeming, this quickly-produced face-of-bits kept accruing personality and the uncanny ability to seem life-like, even in spite of its obvious anatomical imprecisions and sticky-out bits of thread. That’s the thing about faces, I suppose – even the ones fashioned badly out of tights and Kapok; we can’t help relating to them.”
“The other bit of the prompt I was interested in was the title of Stezaker’s collages, ‘Marriage’: I happen to be married to someone who is willing to share his home with a disembodied head, and the guy who made it. These last photographs are for my husband, Paul, by way of reassurance: however weird things get, I’m still right here and laughing my arse off.”
With many thanks to regular Kick-Abouter, Marion Raper, we have our new prompt, the work of contemporary textile artist, Louise Baldwin. Have fun.
Red's Kingdom 
Leave a comment