JB: Inspiration for Printwork

David Hockney

We took inspiration from various influential periods of modernistic and post-modern artistic history to help with the creation of the disjointed and puzzled effect for the print work. We have already created the front cover of the digipak with a 'dillajoint' design accomplished on Photoshop by using multitudes of layers and by disrupting the original format of such profiles and tweaking them somewhat in an attempt to create a layered and disorientated design.

Although we took inspiration from artists with conventionally similar meta-narratives as Loyle Carner, such as the 80's HipHop artists J Dilla and Slum Village, we also looked into the history of this modern artistic technique.

One inspirational character we looked at for this was David Hockney and the pieces of art he produced about his mother. We found this theme very close to home and relatable as well as surprisingly in line with Loyle Carners' familistic and home-centered music.

This particular Hockney photograph illustrates his mother in perhaps a more maternal and natural role as she breaks the familiar fourth wall creating the stereotypical loving and expressive 'motherly' role, which is used often in Loyle Carners music.

Again this photograph appears to be taken on a day out between Hockney and his mother, expressing compassion, love and sentiment.

The main obstacle Hockney thinks he has overcome is the limited perspective of a stationary camera. A single photograph can only show one point of view, usually for a small period of time. “All photographs share the same flaw,” he says. “Lack of time.” He then goes on to trace photography’s misguided view back hundreds of years to the Renaissance and invention of the Camera Obscura.

Höch

Another artist we looked at and took great inspiration from was the War time imperialist, Hannah Hoch, who took refuge from the devastation of war by creating artistic masterpieces.

Hoch's most famous work, effortlessly titled 'Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany', shows her ideals and techniques in synthesis. A collage of newspaper clippings, the work challenges the racist and sexist codes upholding Weimar Germany. Throughout her career, Hoch would challenge the marginalized place of women in 20th century Germany. She drew together fashion magazines, illustrated journals and photography to pioneer a form bent on demonstrating that art itself could be collected from everyday clutter of modern life.