Assignment 5: Reflection

This part of the course was one I was really looking forward to because textiles was my strong point in school and I really enjoyed doing it. However, issues in my personal life meant that i couldn’t enjoy this part as much as I’d hoped. In school, I created my own textile for the final piece of one of the projects which required me to use all kind of techniques from applique to batik so I was able to use previous knowledge. It would have been good to go to some galleries and find some textile based artworks. Unfortunately, due to current circumstances I wasn’t able to go to any.

I really enjoyed many parts of this course, especially sustainability and handmade artwork. Since becoming vegan at the beginning of the year, I have been trying to find more sustainable clothing and everyday items such as a toothbrush. Handmade craft is important to me because my mum and my nan both make things using knitting or crochet techniques so the creativity has been passed down to me. I also really enjoyed researching and admiring Christian Boltanski’s ‘Personnes’. It’s incredible to see how he transformed the space he had into a much deeper meaning. I imagine you get the chills when entering the exhibition and continue to walk through, especially hearing the heartbeat echo through the room.

For my assignment, I chose to look at a functional textile within a public space. I really struggled to get started on my assignment and the deadline kept creeping closer. My mental health took a toll and I literally had no motivation to do anything. So I was happy to be able to finish it even though it took longer than it should have done. I know it is not to the standard it should be either but I’m hoping to work on the feedback to improve it. This part of the course took longer than expected as there has been a few bumps in the road.

Overall, I have really enjoyed this first section of my course. I think I have come a long way since the beginning and I have learnt a lot of new things. Lots of different techniques and exercises that I can take from and apply to certain things in the future. I need to go out more to galleries and libraries to find primary sources to give that extra bit of context. I think that is something I lacked over this section of the course which probably held me back a bit. So this is something I will definitely try to improve on for the next part.

Assignment 5

Assignment 5

Textiles have been around since the late Stone Age and it has used in a functional way ever since such as clothing to wear and weather protection. Functional textiles are normal textiles with added functions such as temperature and humidity control depending on the location. In this essay, I will discuss a textile within a public/commercial area that is being used in a functional way. I will comment on its practical use and presence within that area and critically examine its formation, placement, use and other properties. The object I have chosen to look at is an exterior canopy type textile.

Outside the El Limonero restaurant in Orgiva, Spain is a permanent exterior Pergola. It consists of 8 masonry columns holding up a steel frame. Attached to the steel frame is a roofing grid of beams with a waterproof textile acting as shelter from all weather types. On the sides between each column are sheets of clear plastic that are available to roll down if it is raining to stop customers getting wet or when it is sunny they can be opened to allow a breeze through. Also, attached to the pillars are lanterns so you can see when it gets dark. The actual textile itself is made of solution-dyed acrylic yarn woven together to create this large textile. It is a vellum style pergola meaning it can be retractable when it’s needed. It is useful as it can protect customers against all weather types such as wind, rain and sun. It is free standing with an extra sheet attached to the building covering the walkway. Below the pergola is a nice seating area consisting of 6 tables with 6 chairs around each table. Around the seating area is a balcony type railing separating the tables from the road. The floor is made out of artificial grass. Personally, this textile is being used perfectly the way it should do, it is functional.

These textiles have been created specifically for this context; to protect customers from different weather types. It looks like it has been commercially made; if it had been handmade it would be appreciated more by the customers when eating because of the craftsmanship and effort gone into creating it. The scale is important for this to be useful as it connotes an umbrella so the bigger it is the more customers they can have in all weather conditions. To view this fully, you need to stand further away as it looks better as a whole. Although it is not made to be attractive, you can appreciate it more when underneath it and being protected. This textile transforms the space it is in because it changes a normal decking to a well protected seating area. There is repeated folds in the fabric for when it retracts, it will all fold together nicely instead of creasing.

Pergolas are a very useful thing to have whether it is in your garden at home or at your local restaurant. It is classed as an outdoor room that provides light and airy space. They are freestanding and much larger than an ordinary arbor or canopy. They don’t require you to try and add it to the building/house. If you like flowers, you can add trellises or lattice to allow the plants to grow up the side or hang up flower baskets from the roof beams. Pergolas are easy to DIY if you prefer to do it yourself but you have to remember to put it in the right position if you are using it for shade. However, pergolas can also require some maintenance such as treating the wood. If you have flowers or vines, you need to trim them regularly so the pergola isn’t weighed down. It may look different over time where the sun has bleached the colours of the fabric or wood. These things should be brought into consideration when looking into buying one.

Going back to the flooring of El Limonero, it is Astroturf which is technically a textile. At first, this seems unusual to have as a floor in a restaurant but when you think about it, it’s actually rather smart because it is low maintenance and still looks good. It is made out of multiple layers such as pile fibres, backing cloth, shock absorbing layer and a supporting base. The pile fibres are grass-like and soft to feel. The backing fabric is what the fibres attach to and it allows water to permit through easily. The purpose of the foam is to absorb impact and cushion the feel when walking over it. The supporting base is the concrete beneath it to hold everything together. All these layers not only allow comfort when walking over it, but it also doesn’t require any maintenance and should last for many years. Overall, this is another functional textile being used in a useful way.

Functional textiles are used all around the world in many different houses, shops and other commercial areas every day. They include breathable, hot and cold resistant, waterproof and fire retardant fabrics. This specific restaurant has 2 forms of textiles being used functionally, the pergola and the artificial grass. Both of these textiles are different when in comparison with each other, however, they have one thing in common and that is the functional use. The pergola is used in all weather types and it can be used by anyone anywhere. Overall, this pergola at El Limonero is being used in a functional manner to protect customers; its permanent fixture will bring people in anytime of the year.

WORDS: 933

Bibliography

Pergola – El Limonero, Orgiva, Spain.

Beauliec, D. (2019) What is a Pergola? The Spruce. [online] At: www.thespruce.com/what-is-a-pergola-2131097

Artificial Turf. Technical Textile. [online] At: www.technicaltextile.net/articles/artifical-turf-the-new-face-of-sports-textiles-5463

Assignment 4: Reflective Commentary

Overall, Part 4 was super fun for me and allowed me to connect with my passion for this medium. I have always loved photography because I love to capture every beautiful thing I see. When I was younger, I used to say “I wish you could take photos with your eyes” because nothing could compare to the amount of detail the human eye can see, like looking at the moon for example. My nana bought me a DSLR camera for my 16th birthday and I’ve used it ever since. I even used it for my projects in A-level Media to take photos for magazines and posters. This allowed me to gain knowledge of the different kinds of shots and why they are effective, which came in handy for this part of the course.

My favorite part of this course was exploring the deeper meanings of photographs, discovering when photographs and cameras came around and what they looked like. I particularly liked the works of Abelardo Morell, whos uses modern-day camera obscura. He produces amazing photographs of which you can see the inside view and the outside view from a house or building. I also liked the works of Aleksandra Mir, who produced a piece called “First Woman on the Moon”. It was interesting to see the time and effort gone into creating this magnificent photograph, the final piece does look very similar to the moon.

I was especially inspired by movement photography. It is so fascinating to see things in motion and the aftermath effect which the human eye cannot see. For example, Harold Edgerton’s ‘Bullet and Apple’ is very interesting to look at because you can see the bullet going through the apple and out the other side. The human eye would not be able to see this because the bullet moves too quickly.

The assignment was very exciting for me and I enjoyed doing it because I believe David Hockney is a very good artist and photographer in my eyes. We covered him in A-level Art when I was Sixth form but that was more towards his paintings, whereas this assignment allowed me to look at his photographic pieces. I love his photo collages with the polaroids and I will probably give it a go myself in the future.

I didn’t struggle with any parts of the exercises because I am familiar with the use of photography so I was able to put my knowledge to good use. I will continue to take photographs on my iPhone, my DSLR, and my polaroid because one day, those certain things won’t be around and all that will be left are the photographs. Which is why I believe photographs are the most treasured thing in the household.

Assignment 4

Photography has been questioned within the art world since the invention of camera obscura, also known as a pinhole image. There have been arguments whether it is an important aspect of some artists’ practice, without the photography element being immediately noticed and often used by major artists not typically named a photographer. In this essay, I will discuss David Hockney’s polaroid photograph ‘joiners’ Pearblossom Hwy, 11-18th April 1986. I will research the creative aspects of the artwork and the message that the artist is trying to convey. More specifically, I will analyse how photography is a necessary part of the process.

David Hockney is a British artist born in 1937, who is mainly known for his paintings and photocollages. He produced his first ‘joiner’ in 1970, composing the photographs into a collage using polaroids. Hockney visited Los Angeles, California for the first time in 1964 and stayed for 6 months. He eventually moved there permanently 14 years later in 1978. In 1986, Hockney traveled to the outskirts of Los Angeles and he was so fascinated with his road trip through the Antelope Valley, that he decided to take photographs of Pearblossom Hwy after taking a commission from Vanity Fair. Though it wasn’t just any old single photograph, he took over 800 separate photographs that were developed at an ordinary processing facility in nearby Palmdale, depicting the desert highway. Pearblossom Highway #2 took about 8 days to complete, however in preparation for this he made a quarter-scale study choosing which elements in the scene should be large and which should be small, borrowing ideas from Cubist painting.

When first looking at the final piece, it takes a moment for everything to be fully seen. There is “not one single viewpoint, but hundreds.” (Gayford, 2019). Every little detail can be seen, from the scattered litter in the foreground to the rocky mountains in the background. “The eye constantly bounces around, focusing on small details; although the image is still, it gives off the impression of motion.” (de Voogd, 2020). Hockney has specifically pieced the photographs together to emphasise motion which isn’t noticed straight away. Hockney has manipulated the viewpoint to make it real, he has cleverly thought about the perspective from inside a car without the car in the image. He has included both the drivers and the passenger’s perspective. The driver on the right-hand side pays attention to the road and the signs; the writing on the floor and stop signs. The passenger, on the other hand, has more time to enjoy the scenery such as the Joshua trees and littered sidewalk. The image as a whole draws you in and leads you to believe that you can continue further down the road but the signs remind you to stop and take in your surroundings, playfully suggesting the irony between the deep-space perspective and the picture’s flat surface.

Pearblossom Hwy is one of his largest photo-based works and the technique behind it “has reappeared throughout David Hockney’s career in different forms” (Zara, 2018). His works were influenced by cubism; turning abstract pieces into a complete picture. In 1982, Hockney created a photographic collage of his mother sat on a gravestone at Bolton Abbey. In this piece, photography was an important factor, however, if all the photographs continued to the edge of the frame, then it would be less apparent that photography was used because the joins aren’t as noticeable. “Each edge makes you subconsciously mindful of what’s not in the picture” (New York Times, 2001) Every photograph that Hockney took was taken at different times in the day and different seasons, which makes you think what goes in the background, or what’s not in the photograph.

This long, bumpy road in Hockney’s piece is known as Pearblossom Hwy. It could connote that this is the road to success and the many different challenges that you will come across. The stop signs could indicate the obstacles you face and the people you meet that will make you want to quit. The “138” sign with arrows pointing either way, could imply the hard decisions you will have to make. But that is just my theory, Hockney made this piece because it was commissioned by Vanity Fair to illustrate a story about Humbert Humbert, looking for Lolita -driving around the Southwest but it never appeared in the magazine. He refused to sell it at first, however, he eventually changed his mind when he was introduced to the Getty Museum in Los Angeles.

Hockney himself describes it as a “drawing with a camera” (Hockney, YouTube, 2012) When looking at the whole piece together, it looks like one photograph taken from a central perspective, but once you’ve fully taken it in you can notice all the joins of the photos and Hockney says that not a single photo was taken from the centre. Although the medium used is photography, he refers to it as a drawing rather than a photographic piece but his photographer friend said it was a painting. In a sense, you could agree that it is a drawing or a painting because you have to create the structure before anything. So essentially you would join the lines of the road first to know where everything else is positioned, then piece everything together like a puzzle. Hockney mentions that one did paint the sky as the sky was made up of around 200 photographs so he chose the different shades of blue and placed them as if he was shading with a paintbrush rather than having random patches of blue. He said, “I was aware cameras push you away, I was trying to pull you in.” He did exactly that, starting with the stop sign and getting close up shots of everything, he created a sense of realism with the final piece.

Photography has been an integral part of David Hockney’s career, using it to capture the artwork and manipulate it in his own unique way. He created many photographic pieces that involve using a camera and often took a large amount to position together as seen in Pearblossom Hwy. In his earlier works, the photography element was apparent when looking at a piece because the joins of the photographs were clearly visible. However, it seems Hockney wanted to make it very clear that he has used photography to create art, engaging his audience and allowing them to feel as if they were involved in the scene. Overall, this piece refers to the theme of time through the manipulation of still images edited together to create a sense of motion.

Word Count: 1077

Bibliography

De Voogd, A. (Feb 4, 2020) The Versatile World of David Hockney. At: Gallerease [online] https://gallerease.com/en/magazine/articles/the-versatile-world-of-david-hockney__d65bfbc5ac48 [accessed 04/03/20]

Gayford, M. (Jun 25, 2019) Hockney’s World of Pictures. At: Tate [online] https://www.tate.org.uk/tate-etc/issue-39-spring-2017/hockneys-world-pictures [accessed 05/03/20]

Hockney, D. (1986) Pearblossom Highway. At: David Hockney [online] www.david-hockney.org/pearblossom-highway/ [accessed 04/03/20]

Weinruab, B. (Aug 15, 2001) Enticed by Bright Light; From David Hockney, a Show of Photocollages At: Los Angeles, The New York Times [online] https://www.nytimes.com/2001/08/15/arts/enticed-bright-light-david-hockney-show-photocollages-los-angeles.html [accessed 05/04/20]

Zara, J. (Sep 12, 2018) Inside the Private World of David Hockney. At: Architectural Digest [online] https://www.architecturaldigest.com/story/david-hockney-studio-visit [accessed 05/03/20]

At: The David Hockney Foundation [online] https://thedavidhockneyfoundation.org/chronology/1986 [accessed 05/03/20]

David Hockney’s “Pearblossom Hwy” Video. At: Khan Academy [online] https://www.khanacademy.org/partner-content/getty-museum/getty-photographs-films/getty-photographs-photographers/v/david-hockney-pearblossom-hwy [accessed 06/03/20]

Assignment 3: Reflection

Part 3 was definitely a challenge for me as I struggled to understand the subject. Visual communications aren’t necessarily hard to come to terms with because its literally communicating visually. Its when I start to break down an image and look into the deeper meanings, that’s when I found it difficult. I really enjoyed doing the knitting patterns exercise as my nan loves to knit so I got her involved in it with me. She told me everything she knows because I believe she has done it for many years now.

Semiotics was quite difficult for me at first because I couldn’t understand the sign = signifier + signified. I think that because I struggled with this exercise, it put me behind on the other work. It took me a while to figure out but once I got there, it was alright but I just hope I understood it correctly. I also really enjoyed doing the film posters as I am familiar with analysing the details. For GCSE Media, one of our projects was all about analysing film posters and then designing our own poster. I chose to analyse my favourite film ‘Snatch’ because I’ve seen that film more times than I can remember so it was fun to dig deeper.

When I finally got to the assignment, I knew that I wouldn’t be able to complete it in such short time as I was already behind so I got an extension but I think it actually helped more because I completed it better than the others. That’s my opinion anyway. Again, I struggled at first but I came to terms with it pretty quickly. I chose to focus on the Mona Lisa painting and the re-appropriated version of her in Andy Warhol’s piece ‘Thirty Are Better Than One’. Mona Lisa was another piece of art that was first introduced to me in school in GCSE and A-level Art so it was exciting to discuss it again.

Overall, this Part of my course was challenging but I have definitely learnt from it and I will probably consider it more in the future.

Word Count: 350

Assignment 3: Re-appropriating Images

In this assignment, I was instructed to identify an example of re-appropriation within visual communications. It could be illustrators or designers drawing from wider visual culture or advertisers using ideas from films. I will look at the original image and complete a semiotic analysis with its contents and possible meanings. The two pieces of work that I will be analyzing are the ‘Mona Lisa’ by Leonardo Da Vinci and ‘Thirty Are Better Than One’ by Andy Warhol.

Firstly, I started with researching re-appropriation. I found a definition that suits it perfectly.

Appropriation in art and art history refers to the practice of artists using pre-existing objects or images in their art with little transformation of the original
As explained in the Tate Modern website Art Terms.

There is a fine line between appropriating and copying, if you copy someone’s work you should give credits where and when it is due to respect the artist. Otherwise, it is classed as plagiarism. Further down on the Tate Art Terms, it mentions a few artists such as Marcel Duchamp with his urinal artwork. He re-appropriated Leonardo Da Vinci’s ‘Mona Lisa’ by drawing a moustache and a goatee on a postcard version of the painting. Jasper Johns (born May 15, 1930) is also mentioned, I further researched him and he has re-appropriated ‘Mona Lisa’ as well. However, his piece ‘The Seasons (Summer)’ features ‘Mona Lisa’ in a different way, she is seen slightly towards the back of his piece. These images have inspired me to use ‘Mona Lisa’ because she is very famous and many artists have re-appropriated Da Vinci’s painting. The painting has been mass reproduced on items such as coffee mugs, postcards, t-shirts and so on. Does this then effect the meaning of the painting? I believe it makes mundane due to easy access, it takes the fun out of not knowing.

I will begin with a semiotic analysis for the original painting. For instance, Da Vinci used oil paint on a wood panel, he used a technique called Sfumato a revolutionary new technique of his time which consists of blending of light and shade. It is a portrait painting of Mona Lisa seated in a chair, her body angled slightly to the left but face and chest turned towards the viewer. Her facial expression is a half-hearted smile and her eyes directly gazing at the audience. As an observer, you might first notice that she has no eyebrows, however, I am unaware if that was intentional or just due to the age of the painting. Her left arm is placed resting on the arm of the chair, her right arm is resting on top of her left arm and she is wearing a dark-coloured dress. She is positioned against a scenic background, the bottom half that is in line with her chest and shoulders is very mountainous scenery with a wooden bridge to one side. Further up, in line with her head and eyes is what seems to be a lake with smoky blue colours.

There are a few possible meanings that this painting has. Firstly, her crossed arms could be suggesting the side of her wanting to protect herself. When people sit or stand with their arms folded, it suggests they are protecting themselves or feel insecure. The next important thing to discuss would be her smile. It is a half-smile with the corners of her mouth raised. A smile is a visual representation of happiness so this could imply that she is content with being painted. Her gaze, on the other hand, is quite mysterious and her eyes follow you wherever you walk which suggests she is watching down on her viewer. The Mona Lisa painting was originally commissioned for Francesco del Giocondo, however, the client never received it as Da Vinci kept it for himself. She was painted in Florence, Italy in the 16th century between 1503 and 1506 and considered the greatest treasure of renaissance art by most people.

Mona Lisa is currently permanently located at the Louvre Museum in France. I accessed the image online at mymodernmet.com, this website had an extremely clear photo of the painting and looking closely it is possible to see the age-related cracks in the wood. Having never seen the original in person due to living in the UK and the artwork is in France, I would like to visit her at some point when I travel through France to Spain. “So it’s finally possible to ask yourself critically: is she worth it?” (Johns, J. 2005) Most people believe it’s not worth traveling to see her unless you’re a big Da Vinci fan or happen to be in Paris.

There are a variety of examples of re-appropriation with Mona Lisa such as Marcel Duchamp’s ‘L.H.O.O.Q’ or Jasper Johns’ ‘The Seasons (Summer)’ but I have chosen to focus on Andy Warhol’s ‘Thirty Are Better Than One’. The title itself ridicules a consumer society that loves quantity over quality. In 1963, whilst successfully touring the United States, the Mona Lisa caught Warhol’s eye and that he was inspired as much by the ubiquitous nature of the image as its historical importance. Warhol was obsessed with the celebrity cult so of course, he had to re-appropriate Mona Lisa. “He proposed that fame was a commodity, and that the endless replication of a celebrity’s face made it so.” (Keats, J. 2013). He produced a series of works in various sizes and colours, all relating to the original painting. The final piece was published on the occasion of the 1997 exhibition “Andy Warhol: Thirty Are Better Than One” at the Tony Shafrazi Gallery, NY.

Figure 1. Leonardo da Vinci (c.1503-06) Mona Lisa

I have placed the two next to each other to compare the similarities, differences and discuss how the new references the old. The first comparison to make is obvious, the original has been used but the difference is there is 29 more in Warhol’s version. He referenced the original but just repeated multiple times and made smaller like a grid. Another difference is the colour and medium used; Da Vinci’s is in colour oil paint and Warhol’s is black and white silkscreen. The line, form, and value are all similar as he has taken those elements from the original, however, shape and space have changed because he has repeated the image so shape and space would be larger. The texture of each image is different from one another because of the medium used. All these elements have been used to create meaning, the title is “Thirty Are Better Than One” so that explains the use of repetition.

Andy Warhol embraces mass consumerism and reproduction within his piece, he says ‘More is better’. He challenges the idea of valuing only the original piece. Da Vinci has challenged his viewers with trying to understand the mood behind her smile. Andy Warhol was inspired and followed in Duchamp’s footsteps after he drew the moustache and goatee on Mona.

Word Count: 1118

Bibliography

Tate – Art Term – Appropriation. At: https://www.tate.org.uk/art/art-terms/a/appropriation [accessed 02/12/19]

Jasper Johns – born 1930. At: https://www.tate.org.uk/art/artists/jasper-johns-1365 [accessed 02/12/19]

The History and Legacy of Leonardo da Vinci’s Mysterious ‘Mona Lisa’. By Kelly Richman-Abdou, June 15, 2019. At: https://mymodernmet.com/leonardo-da-vinci-mona-lisa-facts [accessed 03/12/19]

Did You Know – The Mona Lisa. At: https://www.jerrysartarama.com/blog/did-you-know-the-mona-lisa [accessed 03/12/19]

Oi, Lisa, Over Here! By Jonathon Jones, April 11, 2005. At: https://www.theguardian.com/culture/2005/apr/11/1 [accessed 04/12/19]

If Every Artist Were As Good As Andy Warhol Forgery Would be Unnecessary. By Jonathon Keats, January 15, 2013. At: https://www.forbes.com/sites/jonathonkeats/2013/01/17/if-every-artist-were-as-good-as-andy-warhol-forgery-would-be-unnecessary-book-excerpt/#6f4880ff6080 [accessed 04/12/19]

Mona Lisa Takes New York. April 24, 2015. At: https://www.christies.com/features/Andy-Warhols-Colored-Mona-Lisa-5916-3.aspx [accessed 12/01/20]

Assignment 2

The Kite Runner PG 1 – Khaled Hosseini

“December 2001

I became what I am today at the age of twelve, on a frigid overcast day in the winter of 1975. I remember the precise moment, crouching behind a crumbling mud wall, peeking into the alley near the frozen creek. That was a long time ago, but it’s wrong what they say about the past, I’ve learned, about how you can bury it. Because the past claws its way out. Looking back now, I realize I have been peeking into that deserted alley for the last twenty-six years.

One day last summer, my friend Rahim Khan called from Pakistan. He asked me to come see him. Standing in the kitchen with the receiver to my ear, I knew it wasn’t just Rahim Khan on the line. It was my past of unatoned sins. After I hung up, I went for a walk along Spreckels Lake on the northern edge of Golden Gate Park. The early-afternoon sun sparkled on the water where dozens of miniature boats sailed, propelled by a crisp breeze. Then I glanced up and saw a pair of kites, red with long blue tails, soaring in the sky. They danced high above the trees on the west end of the park, over the windmills, floating side by side like a pair of eyes looking down on San Francisco, the city I now call home. And suddenly Hassan’s voice whispered in my head: For you, a thousand times over. Hassan the harelipped kite runner.” – 245 words, pg.1

This extract is taken from the opening chapter of The Kite Runner by Khaled Hosseini 2003. The novel itself is a father-son story that emphasizes the familial aspects of the narrative, it tells the story of a friendship between two boys growing up in Afghanistan. In this essay, I will be carrying out a close-reading of the extract and discuss my feelings and interpretations of the piece. I will consider elements such as plot, structure, character, point of view and language techniques. I will also discuss possible themes of time and place and the narration used.

When reading the piece, the first thing I noticed was how personal it felt. The use of the first-person narrative can be effective because it gives a sense of closeness to the character. We, as the audience, witness what the character sees through their point of view. However, as I read further into the novel, I realized that the narrative changes when the letters are being read and sent. The novel is temporarily being told through the letters from someone else’s point of view. I think its essential for the point of view to be correct as it contributes to a deeper understanding of the plot.

Khaled Hosseini opens the novel with a nameless main character remembering something from his past, an event that happened in 1975. Opening the novel with a flashback provides critical information to the characters history and how the past can effect the present. This event is unknown to the reader at this point, which pulls us in to read more. The details are vague but we know that this memory is significant to the novel as it’s the first thing that is mentioned. An event that has haunted this character for twenty-six years, despite his attempt to redeem himself. He receives a phone call from his “past of unatoned sins”; this helps to emphasize the guilt that he has felt all these years because it means he has sins that he needs to make amends for. The “pair of kites, red with long blue tails” is mentioned in the beginning to emphasize the significance of these throughout the novel but it also highlights the guilt that lies behind them. He refers to the kites as “a pair of eyes” and then he hears Hassan’s voice. This could imply that someone or something is always watching over him. The narrator also calls Hassan the “kite runner” in the extract. This suggests that Hassan plays an important role in the novel. Further into Chapter 1, Rahim Khan’s words echo in the narrators head… “There is a way to be good again”. This quote is significant throughout the rest of the novel; where redemption comes into play. The quote may be implying Rahim Khan could assist the narrator to redeem himself and be forgiven if he was to help him out in Afghanistan. This is possibly the narrator’s opportunity to come to a closure and forget about the event from the past.

The extract has many different themes that continue throughout the novel. The main one being friendship. As we have read in the extract, his friend “Rahim Khan” is mentioned. The name “Hassan” is also mentioned but it doesn’t state the relationship between the two, however, we get the impression that he could be a family member or friend due to the main character hearing Hassan’s voice in his head from the past. Another theme I could pick out would be guilt. It is strongly shown within the extract and the reader begins to feel the same emotions. The way the narrator describes his past, it sounds like he is guilty of something he may have done. I found a review by Hill, 2003 at the Guardian and she quotes “Amir’s story is simultaneously devastating and inspiring”. When the readers read this novel they begin to recognize the character’s emotional state so they are devastated that this event could happen but feel inspired to raise awareness of common issues of identity. You could say the novel explores themes of time as it refers to the past and the present like a flashback: “one-day last summer” and “in the winter of 1975”. Likewise, it explores themes of place. The narrator stated Pakistan, which we could assume, would be from his childhood and San Francisco where he lives now as an adult in a new life. The juxtaposition of the place is key; both Afghanistan and the US are mentioned, not only to build suspense but to establish the power of the past and how it affects the present.

I noticed that the extract raises more questions than answers and I believe its because nothing is identified in this short text which creates suspense for the audience. It makes you feel intrigued to read on and find the answers to the questions. The first question to be asked is who is the narrator? Does he have a name? By using a nameless character it prevents the readers from getting emotionally attached but it also keeps it vague which allows the reader to experiment. Are they male or female? I know the brief summary of the novel so I know that he is a male. What past problem is he talking about? How does it involve him? Who is Rahim Khan? What is in Pakistan? How are San Francisco and Pakistan related? Who is Hassan? What is kite running? There are many questions to be asked about this extract because it is so vague. The answers will come further into the novel.

The imagery that Hosseini has used creates a sense of peace: “floating” “danced” and “sparkled”. This makes me question why he has used this imagery here as he refers to the past being so negative. He has tried to redeem himself in the past so maybe he is trying to stay positive. But no matter how hard he tries to bury it, “the past claws its way out”. This highlights the constant reminders of the secret he’s kept hidden all these years. The language of the extract paints a picture of how the rest of the novel will look. Hosseini has used quite a descriptive language and visual imagery to help underline the importance of the plot. A variety of poetic devices are used within the extract. For example, the author has used alliteration “sun sparkled”; this creates rhythm in the extract. I believe symbolism is used when the narrator mentions the kites. The name of the novel is The Kite Runner so mentioning the kites in the beginning, is a symbol. The author has also used a simile in the extract: “like a pair of eyes,” this is useful as it creates vivid imagery for the reader. Hosseini has used foreshadowing in this extract and during the remainder of the novel. It is narrated by an older version of the character reflecting on his life in which the events that are being foreshadowed connect both his childhood and adulthood together.

In conclusion, my close reading of Khaled Hosseini’s novel, The Kite Runner, has underlined the themes of time and place and how the narration used effects the text. The first chapter brings a focus to some of the main characters and
introduces the plot. Hosseini efficiently creates uncertainty within the opening chapter by keeping the details ambiguous. The extract effectively portrays themes of time through the flashbacks and themes of place through the two
settings introduced.

Word Count: 1246

References:

The Kite Runner Extract. At: https://blue-novels.com/the-kite-runner/page-1-2819/ [accessed 29/07/19]

Hill, A. (2003) ‘An Afghan hounded by his past’. In: The Guardian [online]. At: http://www.theguardian.com/books/2003/sep/07/fiction.features1 [accessed 07/08/19]

Reflection

At the beginning of Part 2, I struggled to get going because the writing was never my strong suit in school. I always tried to get out of doing it so it was hard for me to get motivated but once I started it, I learned a few new things. I pushed myself to keep completing the tasks in this section. I compared the difference between reading and writing, and how changing the narrator can effect the perspective on the text. I also researched and recorded Aristotle, Volger’s The Hero’s Journey which was new to me. I knew most of the character archetypes from GCSE Media in school, however, learning the 12 stages of the Hero’s Journey was new and exciting.

When it comes to the poetic devices, I’d say I did well as it’s a basic topic we learn in early secondary. However, the close reading of the poem is what I struggled with because I was never a big fan of poetry. Then the assignment was a close reading as well, I have to admit that I found it difficult so I put it off a bit. In my assignment, I struggled to find an extract that I could study effectively. With hours of scrolling through the internet, I found the novel by Khalid Hosseini. Whilst studying the extract from the novel, I realized that it doesn’t explore themes of time and place as much as I imagined so it made me doubt if I had picked the wrong novel. But I believe I’ve managed to discuss some parts that may include time and place and successfully carried out a close reading of The Kite Runner.

The Road extract in Part 4 really helped me to understand what close reading is by giving me questions to think about the deeper meaning of the text. I believe the saying goes “reading between the lines”. It’s how the author structures the text, how narration is significant, whether it’s punctuated or not and so on. So this exercise helped me when I was writing my assignment and analysing the extract. I could refer back to this if I ever got stuck and think of the questions that could be raised from the text.

Overall, Part 2 of this course was definitely a difficult one for me personally. I feel quite proud of myself for actually completing it and I believe that I will use creative writing for future projects. I felt like I learnt a lot through the exercises. In my assignment, I effectively discussed my interpretations and feelings about the extract, and mentioned the plot, character, narrator and point of view as well as the minimal themes of time and place that I found.

Assignment 1

A: Reflective Commentary

In the beginning, I was asked: “What is Art?”. Looking back on my answer to that, I would say that my views haven’t changed; I’d say it has progressed more. Art has a purpose, that’s what makes it art and the audience completes the piece with their opinions. The context is also important these days with art changing so much. I believe it’s rather easy to identify art if it has some context with it, however, coming across a piece of work with very little context can be challenging to understand.

These past couple of months completing the first project has been a challenge. It took some time getting back into the studying routine after being away from it for a year. I need to work on my time management as I can get easily sidetracked. However, I’ve become more motivated to study as I’m enjoying the projects. I have been using the Pomodoro technique when doing my studying as it helps me to focus and go back to it with a fresh mind. One of the study skills I feel I have developed is planning for essay writing. Before, I used to try and go straight into it whereas now I write out a plan with separate bullet points for each paragraph to ensure my work is well-constructed and produced efficiently.

I chose to use a learning log as a way to exhibit my research, coursework, and assignments but I also chose this because I’m familiar with using a blog due to using Blogger in school. I feel I’ve always got carried away with the writing side of things and forgot to add the visual elements. I can improve this by attaching photos, videos, drawings, and notes to make my posts look more visually exciting.

I did quite a bit of contemporary art in school that was also familiar to me. The first project was fairly easy, looking at the context discovering the true meaning of art, etc. The second project was very interesting. I loved doing the case study about the Longplayer, it was so fascinating and so many beautiful sounds. However, I felt I struggled a little bit with explaining the positioning of bowls and spectators, etc within the analysis. I also enjoyed doing the case study about Nathan Coley’s piece. I believe I could have put more effort into doing further research to gain full knowledge but as I said before time management isn’t my thing and this is something I need to work on.

Word Count: 419

B: Jeremy Deller’s ‘The Battle of Orgreave’

In this essay, I am going to discuss my interpretation of ‘The Battle of Orgreave’, a re-enactment by Jeremy Deller that took place in Yorkshire 2001. I will consider the form and the context within this piece, but also the relation it has to time and place.

When I first watched the documentary, I felt slightly shocked. I was surprised at how real it felt when watching it. It had many factors that helped to engage the viewer and take them back to 1984. It portrays feelings of rage and fury but also vulnerability for the miners as they take a beating from the police. On the other hand, I thought of the people that were at the 1984 clash and how they would have responded to the re-enactment. Would they have felt offended by it or seen it as a tribute to what happened that day?

The Battle of Orgreave was a horrific confrontation between the police and miners at Orgreave on 18th July 1984. The most violent clash in history. This happened because the National Union of Mineworkers went on a yearlong strike. Jeremy Deller staged a re-enactment 17 years later to educate the viewers on this tragic event. But for the locals, it was an event they had to emotionally experience all over again in a different form. “I’ve always described it as digging up a corpse and giving it a proper post-mortem,” said Deller (The Battle of Orgreave, 2001). His piece is built up of 3 sectors that all have contributing factors to the event; the actual re-enactment, the film, and the installation.

The re-enactment that took 2 years of research and planning consisted of more than 800 participants, 200 of which were former police and miners that Deller encouraged to take part in. There were 80’s denim jackets worn by the miners and the police wore their uniform. By including these, Deller has created a sense of realism for the audience, but he’s also created feelings of anger for those re-living the event. The re-enactment effectively addresses the viewer directly through live performance.

The film was directed by Mike Figgis for Artangel Media and Channel 4. It includes shots from a variety of angles, from police hitting miners with truncheons to miners trying to avoid the cruelty. This emphasizes the brutality of violence that took place. Still shots from the proper event in 1984 flash over the 2001 re-enactment. We hear the sounds of pictures being taken, interviews from victims sharing their perspective and how it impacted their lives. Seeing how emotional some of the victims are, implied that they never intended for a war to break out, but it did and they fought, “It was not simply jobs that were being fought for here, but also local identity and the importance of place to our continued sense of self” (Dean and Millar, 2005;106). All these elements enhance the significance and engage the viewer as if they were involved. It makes you feel sympathy for the men that work hard for the nation.

The footage has features that resemble a historic battle such as the continuous bangs of the drum connote soldiers preparing for war. Charging towards fleeing pickets, the cavalry and the sounds they make help to implicate a battle. The title itself puts a stamp on the violent confrontation. The term ‘battle’ instantly makes the viewers think of the major conflict between armed forces such as The Battle of Hastings. By giving it this title, it produces real emphasis on the significance of this event.

Whilst the film effectively incorporates these features together; the installation at Tate aids the audience with social and political context through the use of documents, maps, riot shields, videos and audio files from the event. The title of the installation is ‘The Battle of Orgreave Archive: An Injury to One is an Injury to All’. That slogan is used by the people of the Industrial Union, implying everyone is equal regardless of their trade, skills, gender or race. I believe this slogan is very fitting for The Battle of Orgreave as it wasn’t just those involved that it affected.

There are references to place within this piece. Firstly, it is site-specific. I think the location of the re-enactment was important it had to be staged in the same place as the 1984 clash to ensure it was an accurate remembrance rather than a mockery. The piece also has references to the theme of time as Deller held the re-enactment at the same time as the original event, 17^thJune but 17 years later in the same village. The effect of these dates and location being the same is almost like creating a time machine for those participating and those spectating. Every last bit of detail had to be correct for it to be successful and I think Deller had done a great job. It allowed the veterans to be transported back in time to this life-changing event.

Many of Jeremy Deller’s other works have political and social connections, “The History of the World” 1997 is another piece by Deller that includes brief information about Britain and how some things have changed over the years. It has links to the miners’ strike, implicating civil unrest at Orgreave. There are other links to privatization and deindustrialization, this piece demonstrates a thought process that could have potentially helped to influence ‘The Battle of Orgreave’ re-enactment. Deller has a fascination with ‘living history’, a term he uses to denote his representation of historical events. He discusses his fascination and suggests that his works like ‘The Battle of Orgreave’ 2001, ‘It Is What It Is’ 2009 and ‘We’re Here Because We’re Here’ 2016 are “public inquiries, creating ‘living memorials for the dead'”. (HeniTalks, 2017). He gives participants and spectators a sense of stepping back in time through his re-enactments.

To conclude, I strongly believe Jeremy Deller created this piece not to influence but to educate viewers and help them to understand. “I was not interested in a nostalgic interpretation of the strike” (The English Civil War: Part II, 2002). He intended to represent that specific time in history that changed the conduct of industrial relations and I believe that he has done this successfully through the context of his works in ‘The Battle of Orgreave’.

Word Count: 1051

Bibliography:

Jeremy Deller – ‘ The Battle of Orgreave’ (2001). At: www.jeremydeller.org/TheBattleOfOrgreave/TheBattleOfOrgreave_Video.php [accessed 05/05/19]

Tate Installation (2001) An Injury To One Is An Injury To All. At: https://www.tate.org.uk/art/artworks/deller-the-battle-of-orgreave-archive-an-injury-to-one-is-an- injury-to-all-t12185 [accessed 07/07/19]

Artangel (2001). At: https://www.artangel.org.uk/project/the-battle-of-orgreave [accessed 10/07/19

Faquharson, A. (2001). The Battle of Orgreave. At: https://www.frieze.com/article/jeremy-deller [accessed 10/07/19]

Jones, J. (2001) Missiles fly, truncheons swing, police chase miners as cars burn. It’s all very exciting. But why is it art? At: https://www.theguardian.com/culture/2001/jun/19/artsfeatures [accessed 11/05/19]

Apollo Magazine (2014) The Battle of Orgreave and ‘The Battle of Orgreave’. At: https://www.apollo-magazine.com/battle-of-orgreave-battle-orgreave [accessed 12/05/19]

Heni Talks (2017) Jeremy Deller: ‘It Is What It Is’. At: https://henitalks.com/talks/jeremy-deller/#transcript [accessed 14/09/19]