Food Tech group homework

Just to recap the bits you might need to finish off in your sketchbooks before we start to print next lesson...

• If you haven't already commented on the work of David Hockney and his photomontages I would like you to discuss the process and the overall look and effect of the imagery. What do they communicate? How do they differ from just one single photograph in terms of repetition and various viewpoints?

http://en.wikipedia.org/wiki/David_Hockney

The "joiners"
David Hockney has also worked with photography, or, more precisely, photocollage. Using varying numbers of small Polaroid snaps or photolab-prints of a single subject Hockney arranged a patchwork to make a composite image. Because these photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, which was one of Hockney's major aims—discussing the way human vision works. Some of these pieces are landscapes such as Pearblossom Highway #2,[1][2] others being portraits, e.g. Kasmin 1982,[3] and My Mother, Bolton Abbey, 1982.[4]
These photomontage works appeared mostly between 1970 and 1986. He referred to them as "joiners".[5] He began this style of art by taking Polaroid photographs of one subject and arranging them into a grid layout. The subject would actually move while being photographed so that the piece would show the movements of the subject seen from the photographer's perspective. In later works Hockney changed his technique and moved the camera around the subject instead.
Hockney's creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses to take pictures. He did not like such photographs because they always came out somewhat distorted. He was working on a painting of a living room and terrace in Los Angeles. He took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. Upon looking at the final composition, he realized it created a narrative, as if the viewer was moving through the room. He began to work more and more with photography after this discovery and even stopped painting for a period of time to exclusively pursue this new style of photography. Frustrated with the limitations of photography and its 'one eyed' approach,[6] he later returned to painting.

• If you have not documented the photography shoot that you did, this needs to be completed underneath the contact sheet of tiny photographs that I printed for you... This need not be in great length but should aim to explain how you took the photos, why you chose that location and how you chose the composition (vertical, horizontal etc.)

• Your Sean Hillen imagery should also be pasted into your books, leaving space for a written response, which we will discuss as a group at the start of next lesson...

Any problems before then, see me next week...