Recipe Book Project
The recipe book is a collaborative project which invited contributions from the alumni, academic and technical staff from Arts University Bournemouth (AUB), artists and professionals from the gallery world and friends along with the Fine Art Master students at AUB to put forward a recipe submission demonstrating the importance and function of a recipe. The book will be published into a recipe book of each individual recipe to help, propose or guide the reader. The proposed publication will be printed in Black and White and on an A5 size.
Invitees include
Akihito Izumi, Alan Taylor, Alexis Harding, Alison Wilding, Andrew Bick, Andrew Bracey, Anita Taylor, Anita Zabludowicz, Carrie Mason, Catherine Bertola, Cathy Lomax, Dan Hays, David Connearn, Deborah Harty, Dominic Shepherd, Eric Butcher, Emma Kerr, Fran Norton, François Perrodin, Georgina Starr, Grenville Davey, Harry Barnett, Helen Baker, Jacob Dahlgren, James Hugonin, Jasmine O'Hare, Jason Dungan, Jeff Hellyer, Jo Bushnell, Jo Volley, Jon Archdeacon, Josepha Sanna, Julia Flatman, Lisa Milroy, Lisa Richardson, Marisol Malatesta, Mark Segal, Michael Roberts, Monica Bonomo, Natasha Kidd, Patrick Heide, Paul Home, Peter Abrahams, Phil Lunn, Phil Jones, Richard Ingleby, Rose Smith, Samir Nougas, Siân Bowen, Sian Hutchings, Stephanie James, Steve Dutton, Steve Moberly, Stewart Geddes, Su Stockwell, Tania Kovats, Tim Davies, Tim Knowles, Tom Chamberlain and Tom Hall.
My contribution to the book is as follows;
Title of the work:
A recipe for Male and Female by Jackson Pollock
Biography
This is a topographical representation of Male and Female by Jackson Pollock, made up of extracted details from the whole. Pieced together in such a way that remains recognisable but also abstracted. Each detail becomes individual and exploits a different colour or mark within the composition, they are also readable collectively.
The publication is being printed in black and white which removed my main concern with colour vibrancy. I collaged the details together as I would in colour, I didn’t purposefully choose details that would transfer into black and white at a better quality than others, as I wanted it to naturally transform. I was excited to see the coloured collage for the first time in black and white, as that is a whole different world to me. The images were totally transformed and suddenly the colour was discarded bringing the mark and composition of the details to my full attention. I think they look like little natural landscapes made up of a variety of land-forms, such as hills and valleys. There like view finders capturing areas of the world, the restrictive attitude of them cuts off the rest of the world as they limit to what can be seen. Even gliding across each detail doesn't give the reader any more information for the surroundings of each detail, as they don’t continue from one to another, each detail abruptly comes to a halt. I think this invites the details to be read collectively or as individuals, because there is no commitment to suggest there one conjoining piece or a definite signification that there individuals either, because they are juxtaposed together.