A quick sketch/study of some displaced seating in the 1999 Britannia crash. I’m planning to do some artwork based around the interior of the plane after talking to a Uni tutor. We were discussing ways to possibly making it relatable to the general viewer, as not everyone views planes as I do because of my love of the exteriors. Over the next few day I will be doing some prep work for bigger pieces incorporating text and other collage, this will help with finalising a composition.
I’m looking at using the interior apparatus of the plane to relate to the general passenger, I have also started to watch certain ephemera associated with the Britannia 757 on eBay. I’m possibly thinking about displaying diagrams and safety cards along with my artwork on the crash ( and other crashes i decide I want to look into for this semester.)
This morning I started my first large artwork this semester. Obviously based on the 1999 Britannia crash in Girona, Spain as that’s the crash I’ve been working on the last month.
This is the first stage that makes it onto the 200gsm Fabriano paper. The text is a mixture of crash report text and headlines at the time of the crash, the two types of texts use different fonts.
The image of the plane itself is a quick drawing of mine scanned in, enlarged and digitally added onto the text. It is then printed out onto 30 sheets of A4 for image transfer onto the paper via an emulsion transfer technique. This techniques allows me to print the text on a large scale (without the cost of a professional printer) and gives the paper a rougher texture. This stage shown in the photograph is the transfer being applied the Fabriano paper, when this is dry I then wet it and remove the first layer leaving the inkjet ink on the Fabriano
I then plan to draw and paint back into the image and use various ink techniques pertaining to the context of the crash.
Some more testing of ink and water techniques with the crash of Britannia flight 226A. Summary of crash report here.
I feel this suits flight 226A as heavy rain/ storms at the time of landing was one of the contributing factors of the crash and the ink is reminiscent of this.
In my next works I want to use techniques used here as well in the works in the previous post in relation to this crash.
From now I am aiming to use the textures of ink and paint to reference different elements of the air disasters I am making the work out of. Hopefully this will develop my way of demonstrating context visually to the viewer and will both complement and juxtapose the use of text and plane forms.
A continuation of experimentation work looking at the 1999 Britannia crash. These works use the same fuselage form as I was testing out various ink techniques.
The first image is a far cleaner, thinner outline of ink and the printed text is far darker. I prefer the second image as the whole work seems more vibrant.
The second work also emphasises the balance of the clean and the ‘messy’ of the disaster spectacle and I also like the use of the text on only one half of the artwork. I also used a mixture of report text and news headlines from the time of the crash, the headlines are shown in a different font to differentiate the two. Unlike work in the previous semester there is no painted scenery/landscape and the different elements of the image are only against the colour of the paper itself.
Some small artworks produced from my experiments at the start of the semester. As in my theory side of my MA I am looking at the ‘disaster spectacle’ I am aiming to balance the clean, safe representation of the spectacle in the mass media (described by Debord in Society of the Spectacle) as well as both the destruction and the factual information of the crash.
They are all based off the same crash, I find working with one crash at a time allows me to see effectiveness of composition, media, smale etc far easier as it’s a constant for me to work with.
These works are ink, acrylic ink, gouache and printed text on paper, none of the works are over 42 x 30 cm.
I am planning on making some of these far larger to see how scale effects the reading of the work and how it will fit the subject. To me, the smaller works seem to have a more personal tie and making them larger will hopefully both demonstrate the issues of the spectacle and the scale of the air disasters themselves.
Just a short post showing more experimentation with composition of text, image and ink. Both the text and image were left over from a previous studio session hence why an MD81 is mentioned but the plane is a Boeing 747.
Hoping to use similar techniques on some larger artworks in the next few weeks.
This artwork is a larger piece that developed from my two smaller pieces on the 1993 Poland crash (previous post). After producing the work A cargo of flowers to Miami I decided to not further outline the plane form with ink. The outline is added digitally and so is transferred with along with the text from the paper, at times it feint or incomplete. I felt this fitted with the overall aesthetic of the work itself.
The summary report text is, again, available here
This work shows both the fuselage and the cockpit of the plane and the fragmented form after the fire, using this crash for inspiration I was able to illustrate fragmentation of both image and text in this artwork. I used an ink and water method to create an abstract background for work and tried to combine the printed text and the background far more than the other works where I was trying to remove context from the actual scene of the crash.
This is the last work I produced for this semester’s assessment, I definitely feel that this piece is an accumulation of my experimentation and studies and allows me to see where my work will develop in my final semester.
The artwork is ink, acrylic paint and printed text on paper and is 196 x150 cm.
Just a small update of two small works that I also produced for this semester’s assessment. I don’t have any photographs of their stages of progress (they were in the batch that my camera deleted) but you can see how they were displayed in the studio on the wall.
Click thumbnails for larger images.
These two works were in response to the Airbus A320 crash in Poland in 1993. The plane crashed on landing at Warszawa-Okecie Airport due to the crew’s reactions to windshear information given on approach. The aircraft caught fire that spread to the passenger cabin and destroyed the top of the fuselage.
The textual report summary and information can be found here.
The images are ink, acrylic paint and printed text on paper and are approximately 84 x 58 cm
Another new artwork for the end of this semester. This work is also from my studies of the Kalitta Air cargo B747 in Columbia 2008 however this is larger than the other artwork I produced. I also decided to focus on smaller part of the wreckage, a section of the sheared engine.
I decided to structure this work more like a landscape as the majority of the plane wreckage was piles of black debris with larger recognisable parts of the aircraft visible. In this ‘landscape’ the engine form and the text contained within it lies within the unstructured debris on the surrounding ground.
Click the thumbnails for larger images.
There are not as many images of the painting’s stages for this post, my camera seems to have deleted them unfortunately. I’ve included the last image to show demonstrate the scale of the work and how it has been displayed. In my opinion I don’t feel that the ink outline works particularly well in this image visually however I do like the contrast of the white text form emerging from the dark, unusually shaped ground. In my artwork after this series I am thinking of playing on the landscape idea more, possibly using the broken plane form to build up some sort of landscape.
The artwork’s title is A cargo of flowers to Miami as this is what the aircraft was carrying when it crashed, there were fatalities on the ground when the plane smashed through a farm in the area. I felt that using this phrase from the report text added a small bit of context for the viewer when considering the artwork. The text, again, is from the report summary available here.
The painting is ink, acrylic paint and printed text on paper and is approx 196 x 150cm.
This work accompanies the artwork in my previous post- Bouncing to a halt in the lake. This a smaller work from my study of the same crash, I used the smaller scale to experiment with text transferring methods used in the larger work but it is also a work in its own right. The work is at this time untitled but I will choose a phrase from the text report for titling.
The images show the stages of the artwork, unfortunately the first image is blurred and but is the only image I have of the ink on its own. The test that is transferred is summary report text that I digitally applied to the defined outline of the plane.
Click the thumbnails for larger images.
The plane has the same form as the previously posted work but from viewed from a different (rear) viewpoint.
I used ink and water to create an abstract colour background for the plane to exist in, the colours used are drawn from the crash scene itself. I have included some close up images of the background to try and demonstrate the texture created with the ink and water.
After the image transfer of the text I painted over with white acrylic to build back up the plane form and originally intended to leave it like this to complete the work. After leaving the work and then coming back to it however, I decided to outline the form with black acrylic ink. In my research I have been looking at the idea of the spectacle and how that is reinforced in both the mass media and artwork. One of the elements of the spectacle is the changed or the forced context and the removal of the event/ scene from the viewer, I felt that the addition of the black outline both slightly removed the plane from it’s background ‘scene’ and the real instance of the crash itself.
(Due to this I used the outline in the next few artworks I made, however including an outline in two larger artworks I decided that it works better on the smaller works.)
The work is ink, acrylic paint and printed text on paper, it is approximately 59.4 x 42.0 cm.