Inge Jacobsen

Inge Jacobsen is a highly accomplished Danish/Irish artist. Not only has she exhibited around the world and won countless awards, in 2012 she exhibited alongside legendary YBA Sarah Lucas at the Selling Sex show by SHOWstudio. One of her proudest accomplishments. Jacobsen takes mass produced images, like magazines and adverts and gives them a unique makeover. She stitches, embroiders, cuts and collages to transform her subjects, a process that Jacobsen refers to as ‘hijacking’. Inge Jacobsen’s work is influenced by her Grandmother and Grandmother’s sister who was very good at cross-stitching and would create very intricate pieces.

Inge Jacobsen uses found commercial imagery and thread to put her own spin on classic advertising. Embroidery is used to physically alter the pictures and appropriate their meaning; the artist has named this process ‘hijacking’. Recently Inge has enjoyed working on a commission for American Express, who wanted an original perspective on 3 of their classic cards to use in a social media advertising campaign.

 Inge Jacobsen describes her work as an “intervention.” The photorealistic effect she’s able to achieve with full cross-stitched reproductions (see her version of British Vogue‘s March 2011 Rosie Huntington-Whiteley cover above, side-by-side with the original) is really bold and interesting to look at.

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The Occupation Tapestry was the biggest community art project ever undertaken in Jersey, and made by Islanders for Islanders. It was conceived in order to tell the story of what life was like during the five years of German occupation. 

In 1995, the award-winning Occupation Tapestry was woven by Islanders to celebrate the 50th Anniversary of the liberation from five years of occupation by the German armed forces during the Second World War. It is 13 panels, created from the memories and stories of Islanders who experienced it first-hand. The tapestry is held in the Maritime Museum.

Jersey spirit runs through the Occupation Tapestry. Each of the original 12 panels were created in a different Jersey parish and the 13th panel toured all 12 parishes, each of which depicted a scene of local life during the German Occupation.

The Occupation Tapestry was unveiled by Prince Charles, the Prince of Wales, on 9th May 1995, fifty years after the first English “Tommy” soldiers came ashore to liberate Jersey after the surrender of the German garrison on the same day.

In the museum, each of the tapestry panels has an interactive screen in front of it. By touching the screen, information, including photographs and film, tell you about the tapestry, and also what life was like back then.

Materials used to make this tapestry were 1,418 of 25 gram hanks of Appletons Crewel wool, comprising 275 shades of 52 different colours; 24 metres by 100cm wide, 16 threads to the inch, Single Brown Canvas. Each panel measures 72 inches by 34 inches, there are 626,688 stitches per panel. In all, the twelve panels contain 7,520,256 stitches

Trinity – “Outbreak of War”

St. John – “By-Passed”

St. Martin – “Red Cross”

St. Lawrence – “School and Work”

Bayeux Tapestry

The Bayeux Tapestry is an embroidered cloth nearly 70 metres long and 50 centimetres tall that depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. The story begins with a prelude to Harold’s visit to Bosham on his way to Normandy (1064?) and ends with the flight of Harold’s English forces from Hastings (October 1066); originally, the story may have been taken further, but the end of the strip has perished. Along the top and the bottom run decorative borders with figures of animals, scenes from the fables of Aesop and Phaedrus, scenes from husbandry and the chase, and occasionally scenes related to the main pictorial narrative. It has been restored more than once, and in some details the restorations are of doubtful authority. When first referred to (1476), the tapestry was used once a year to decorate the nave of the cathedral in Bayeux, France. There it was “discovered” by the French antiquarian and scholar Bernard de Montfaucon, who published the earliest complete reproduction of it in 1730. Having twice narrowly escaped destruction during the French Revolution, it was exhibited in Paris at Napoleon’s wish in 1803–04 and thereafter was in civil custody at Bayeux, except in 1871 (during the Franco-German War) and from September 1939 to March 1945 (during World War II).

The tapestry is of greater interest as a work of art. It is also important evidence for the history of the Norman Conquest, especially for Harold’s relation to William before 1066; its story of events seems straightforward and convincing, despite some obscurities. The decorative borders have value for the study of medieval fables. The tapestry’s contribution to knowledge of everyday life about 1100 is of little importance, except for military equipment and tactics.

Occupation Tapestry was the biggest community art project ever undertaken in Jersey, and made by Islanders for Islanders. It was used so they could easily tell stories about how life was like during the five years in which jersey was part of the German occupation.

I feel that these tapestry’s that were made by islanders are very bold and vibrant. This may of had a significant impact on the viewer as they may understand the stories in which are being tried to outline within the tapestry.

The Occupation Tapestry was unveiled in 1995 and has since successfully helped Islanders and visitors to have a better understanding of this difficult period in which Jersey had. Below are several example of the occupation tapestry.

This link will lead you to be able to find more detailed information on the occupation tapestry as well as information on jerseys history during the war which is what lead to the tapestries.

https://www.theislandwiki.org/index.php/The_Occupation_Tapestry

What is embroidery? Embroidery is the craft of decorating fabric or other materials using a needle to apply thread or yarn. Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. When it comes to photography, this can be a good edition to your images- it can add texture, depth and can make images more interesting overall.

We started by learning 4 different techniques, these being: running stitch, back stitch, couching stitch and the satin stitch. My personal favourite would be the back stitch as it creates a smooth, thick and constant line of thread. We practiced these stitches on a small piece of material.

We were then assigned a task to cut any pieces of material around the room (being the People Make Jersey tapestries from the Jersey Museum) and had to create our own piece of art using the embroidery techniques we had learnt. We were also asked to take pictures every few minutes to create a short gif animation afterwards.

Mike Winkelmann- Beeple

Michael Joseph Winkelmann, known professionally as Beeple, is an American digital artist, graphic designer, and animator. He is known for using various mediums in creating comical, phantasmagoric works that makes political, social commentary while using pop culture figures as references. He uses software such as the program Cinema 4D. The sale of his work ‘Everdays- The First 5000 Days’ marked two industry firsts. Christie’s is the first major auction house to offer a purely digital work with a unique NFT (Non-fungible token) — effectively a guarantee of its authenticity — and to accept cryptocurrency, in this case Ether, in addition to standard forms of payment for the singular lot.

From Simple Drawings to Life in 3D

Consumers of internet culture will already be familiar with the South Carolina-based graphic designer and motion artist known as Beeple. His visionary and often irreverent digital pictures have propelled him to the top of the digital art world, winning him 1.8 million followers on Instagram and high-profile collaborations with global brands ranging from Louis Vuitton to Nike, as well as performing artists from Katy Perry to Childish Gambino. In EVERYDAYS: THE FIRST 5000 DAYS, the artist has stitched together recurring themes and colour schemes into an aesthetic whole. The individual pieces are organised in loose chronological order: zooming in reveals pictures by turn abstract, fantastical, grotesque or absurd, deeply personal or representative of current events. Recurring themes include society’s obsession with and fear of technology; the desire for and resentment of wealth; and America’s recent political turbulence. The notable differences between the early and later pictures reveal Beeple’s enormous evolution as an artist. At the project’s inception, ‘everydays’ were basic drawings. When Beeple started working in 3D, however, they took on abstract themes, colour, form and repetition. Over the past five years, they have became increasingly timely, reacting to current events. ‘I almost look at it now as though I’m a political cartoonist,’ Beeple explains. ‘Except instead of doing sketches, I’m using the most advanced 3D tools to make comments on current events, almost in real time.’

Above are some examples of Beeple’s work that is reactive to things that were going on in the world at the time of making. Such as the BLM movement that was sparked after the death of George Floyd and the riots that happened afterwards.

NFT’s and Digital Art

Digital art has long been undervalued, in large part because it’s so freely available. To help artists create financial value for their work, NFTs add the crucial ingredient of scarcity. For some collectors, if they know the original version of something exists, they’re more likely to crave the “authentic” piece. It can be hard to understand why digital art has value. Some digital-art collectors say they’re paying not just for pixels but also for digital artists’ labor–in part, the movement is an effort to economically legitimise an emerging art form. “I want you to go on my collection and be like, ‘Oh, these are all unique things that stand out,’” says Shaylin Wallace, a 22-year-old NFT artist and collector. “The artist put so much work into it–and it was sold for the price that it deserved.” The movement is also taking shape after many of us have spent most of the past year online. If nearly your whole world is virtual, it makes sense to spend money on virtual stuff.

NFTs are having their big-bang moment: collectors and speculators have spent more than $200 million on an array of NFT-based artwork, memes and GIFs in the past month alone, according to market tracker NonFungible.com, compared with $250 million throughout all of 2020. And that was before the digital artist Mike Winkelmann, known as Beeple, sold a piece for a record-setting $69 million at famed auction house Christie’s on March 11—the third highest price ever fetched by any currently living artist, after Jeff Koons and David Hockney.

Everydays- The First 5000 Days

Until October, the most Mike Winkelmann — the digital artist known as Beeple — had ever sold a print for was $100. This was until, his piece ‘Everydays- The First 5000 Days’ sold for a record setting $69 million. NFTs, or non-fungible tokens, are unique files that live on a blockchain and are able to verify ownership of a work of digital art. Buyers typically get limited rights to display the digital artwork they represent, but in many ways, they’re just buying bragging rights and an asset they may be able to resell later. The technology has absolutely exploded over the past few weeks — and Winkelmann, more than anyone else, has been at the forefront of its rapid rise. A few factors explain why Beeple’s work has become so valuable. For one, he’s developed a large fan base, with around 2.5 million followers across social channels. And he’s famously prolific: as part of a project called “Everydays,” Winkelmann creates and publishes a new digital artwork every day. The project is now in its 14th year.

Planning

What	We will film someone walking in front of still images. And with a plain background walking to wards the camera.
Where	Hautlieu studio.
Who	People in group will help with the set up and as models.
Why	We want to show the difference in clothes over the years and that no matter how much technology and the world changes clothes stay the same and come back into fashion.
When	Does not matter as will be shot in a studio so weather or lighting is not an issue. Will be at a time and date suitable for people taking part and the equipment needed.
How	Using a projector and Blank white screen to project on and have the camera on a tripod. We will take multiple shots with different models and outfits and then edit them to make it look like the models are walking seamlessly as one.

Film Making

We will use a projector and a screen to project a still image as our background found from photo archives of jersey or the Internet matching the era that shot is focusing on. For the present and future we will take our own images. We will have someone walking physically in front of the projected screen.

Story Board

Shot types and mise-en-scene:

Shot type: Long shot

Location: studio with projector background of image from archives

Props: Phone/object from the specific era

People: Same

Summary:

Our 30 second clip will consist of someone walking in front of a screen where a background to match that era will appear and they will be wearing iconic clothes to match. The clip will cut from different eras while the model walks looing like they are continuing to walk through the different eras. The end will have short cuts from each scene with new outfits from alternative eras then suddenly stop while the model turns towards the camera dressed in all black with a plain white background.

Mind Map

Mood Board

Statement of Intent

Class in Education: Class is a defining factor in British culture, especially evident when looked through with the micro lens of schooling. School is compulsory in jersey from ages 5-16 and is a shared experience for all jersey citizens however the experience itself is often completely different and varies depending on class and financial status which seems unfair when considering how our education sets us up for later life, whether we are a success or a failure. There is a dramatic difference in the top schools and the bottom which we would like to study through photography and film. In the UK the best universities and schools are mostly only available to the most high-class pupils with the only exceptions for the academically gifted who push through class creating elitist segregation through education that continue to later life. We wish to bring to light this issue by photographing different types of students and schools.