ANGELA GLAJCAR
Gallery of Inspiration
Artist Analysis
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This is one of Angela Glajcar’s ‘Terforations’, as part of the Paper Series, and demonstrates the area of her work that I will explore as part of my Identity project. Angela Glajcar was born in Mainz, Germany, in 1970, and studied at the Akademie der Bildenden Künste in Nuremberg.
In terms of my initial reactions, I think that the way in which the work creates and emphasises the 3D characteristic of the piece gives the art depth and meaning, beyond just a simple aesthetic design. It seems to carry on themes of ‘meaning within’ that were prominent in both Draxler and Thecuadro’s work, despite being a drastic step away from their more digital work. The work is enrapturing, and almost creates a sense of being drawn towards it.
The art piece consists of layers of torn paper layered upon one another to create and effect similar to that of a 3D topographical map; it shows a clear sense of depth and form that are not as prominent in the essentially 2D photographs of the previous two. In terms of materials and techniques, paper is a key element; beyond that, just the ability to tear paper in vaguely interesting shapes (an ability I may have to develop).
Colour is not present in her work, which creates a sense of simplicity that allows for underlying themes and the 3D characteristic to become more prominent and flourish. The shapes are harsh and rough, juxtaposing with such a plain and clean design. The lines are crude, in contrast to the smooth border of the page – none of the tears ever breach the outside of the page. Textures rapidly transition from smooth to jagged, and the pattern of an ever shrinking whole creates a simultaneous sense of infinity and an ever-approaching end. The work is of a considerable scale.
This piece of work relates to my project due to the way in which it conveys some internal meaning that is not immediately visible. Much of my work will involve combining the design with images of people to add a more personal aspect to it.
I find the work deeply intriguing, and think it will be very interesting to incorporate into my own work.
Photoshoot Plan
This is my photoshoot plan for Angela Glajcar, and I have created this plan, as usual, to streamline the photographing process for optimum efficiency. In the photoshoot I intend to take photos that are very similar to the ones I took for Pablo Thecuadro, but more monochromatic and centred in the image, to create images that are more like Glajcar's work in terms of atmosphere. I will create my photoshoot at any location with adequate lighting and a white background, either in school or not.
Photoshoot / Contact Sheet
The photoshoot was relatively successful, despite the camera acting up and being full, and my plan was helpful. I didn't change anything other than perhaps the clothes - this seemed more morose and thoughtful than a white t-shirt (and was more readily available). I have created a contact sheet with these photos, and circled the best ones, then crossed out the worst ones. Some images are more successful than others due to composition and accidentally covering up the flash in some. I could improve this photoshoot by taking more time considering the composition, and improving the general environment.
First Developments
These are the original and edited photos that I printed for the first developments. In retrospect, most of the images are very similar, which I will bear in mind for my next set of developments.
I have created physical edits, combining the nature of Glajcar's work with the human elements of Draxler and Thecuadro. I think that they are interesting in terms of how they use aspects of Glajcar's work to elaborate upon the themes delineated by the collages of Draxler and Thecuadro. To improve these edits, I would improve my tearing skills; in some cases they are in inconsistent places and thus don't stack up as well.
First Developments
These are the original and edited photos that I printed for the first developments. In retrospect, most of the images are very similar, which I will bear in mind for my next set of developments.
I have created physical edits, combining the nature of Glajcar's work with the human elements of Draxler and Thecuadro. I think that they are interesting in terms of how they use aspects of Glajcar's work to elaborate upon the themes delineated by the collages of Draxler and Thecuadro. To improve these edits, I would improve my tearing skills; in some cases they are in inconsistent places and thus don't stack up as well.
These are my preferred edits out of the ones I did, due to the fact that I think the composition is most appealing. The tears also create the most desirable effect, and they most seem to create the effect of looking into someone's soul, or investigating their personality.
Second Development
These are my second edits, and very much serve as an experimental set of developments that I will later combine with my first developments to create the optimum outcome for my third developments. As of writing this, I have done one experimentally, using the stack of torn A5 card (top-left) and the image edited with the dodge tool (bottom-left). The resulting image was created by double exposing one onto the other using the 'Overlay' blending option.
When I go on to create multiple like this, I may circumvent excessive editing of the image both for efficiency and to avoid both the patchy result of the dodge tool and the harsh light on the right side of the final image. If it creates an undesirable final outcome, I will again reconsider my options, and perhaps an alternative to the less-than-perfect dodge tool.
For the following edits I will also rearrange the stack's orientation, as opposed to my original intentions.
Images without the dodge tool - instead I took the raw image, double exposed it ('Overlay'), then upped the contrast and lowered the saturation. The effect is better, I think - the shadows look more realistic, as if the photo is actually printed on each layer.
Third Development - Photoshoot and Developments
This photoshoot was alright, but quite a few of the images were blurry - the main success in terms of improvement and experimentation was the setup, which involved lots of folding and cutting paper to make the pieces of paper stand up. I used the LEDs to create different lighting, which create more colourful shadows and combinations - I began with combinations of complimentary colours. The circled images are the least blurry ones and the crossed ones are the most blurry.
Iteration A
These are the first six developments of my third developments, and I am relatively pleased with them. The effect is somewhat less convincing, but I do like the presence of colour. I created these by double exposing the images onto the photos I took above. I feel as though the black and white nature of the photo has an interesting relationship with the harsher colours of the more saturated images of the paper model & lights.
AO4
This is the culmination of my work revolving around the artist Angela Glajcar; with this, I combined the paper construction used in my second and third edits with the image actually being on the page like in the first edits. To do this on the same model, I projected the image onto the paper, and then took photos from different angles to avoid obscuring the projected images.
The top set of images are my preferred ones, and more mirror the work of Draxler; they take a more surrealist take on the styles of Glajcar, and carry on the more monochromatic, distorted themes of introspection. The bottom images are more like Thecuadro's work, in their more colourful and more human illustrations of the same setup.
Overall, I really liked exploring Glajcar's work, and applying the themes from Draxler and Thecuadro onto her more physical work; my final piece will most likely draw much inspiration or expand further upon Glajcar's work, but with clearer influence from Draxler and Thecuadro's work.