vortex / cover & illustrations

Before the academic year was over I was working on an important side-project. The second book by author Vera Petrova called Vortex, about to come out.

After the success of her first book 6 years ago she wished to collaborate once more to create a second boutique publication, this time with illustrated chapters rather than just a cover. Saying I was excited would be an understatement.

What happened was quite interesting – Vera had had a look through all of my work online and liked several pieces which she thought would fit the esthetic she imagined for her book. I suggested making new work in accordance but she was set on several sketchbook pieces from the beginning days of my final year project ‘Cosmic Genesis’. As they were no longer of any importance to the outcome of the project, I felt they would fit well for the occasion. Thus they became chapter illustrations.

The cover artwork was chosen in a similar manner. Vera wanted her second book to carry on the layout of her first book (‘Instead of a Book’) – a short but wide image which flows from the back cover to the front cover as one long piece. A very fitting image I had done was, again from ‘Cosmic Genesis’, the 3.3m-long animation concept. She felt it was illustrative of her entire idea behind ‘Vortex’ so she had me send it over to her visual editor (Rumen Dimitranov), who shortened it wonderfully so it can fit the format without losing meaning.

You can see the finished cover below, as well as some of the illustrations inside.



illustraTED / images

Some of the illustrations in the book:            

Batman v Superman

I stumbled upon these beautiful posters today as I was scrolling through my Facebook getting bored with life (as usual, it’s what Facebook does). I was genuinely impressed, not only because it was on the Little White Lies magazine page, but because these posters are a breath of fresh air in between the overly decorated and edited and crammed ads that I see on a daily basis.

I thought I’d share them here as a good example of a smart and simple artistic approach depicting the already legendary icons. We don’t need a thousand lines of text or the names of a hundred actors or cliched poses and predictable scenes. As I said, it’s like a breath of fresh air brought out to the mass public.

GorillasInTheRoses: A Zine of Zine Covers


At our last collaging session with James, we set ourselves a collaging brief – to create a cover for the Gorillas In The Roses zine of covers, which James suggested earlier this term, and to which we excitedly agreed. After giving it about two hours of intense work, we all came up with our different versions of what Gorillas In The Roses is, how we see it, what it means to us as a module or mmaybe literally, etc.

On the left: my GITR cover

We were, for the first time, working under a set brief. I’m not going to lie, I found it a bit stressful, but then again, there’s no inspiration like the deadline. Haha! We had to consider the size – the print was going to be size A5, so be careful about details too small. The other thing we had to be wary of was the fact it was going to be printed in black and white and any bright colour would be lost. Having all that in mind we all ended up handing in with very interesting outcomes. Everyone signed their names on a page that James made himself and then we were ready to go.


This week after the end of our assessment session, we each got a copu of the finished zine. I love how it turned out, as simple and strange as it is, it perfectly reflected Gorillas In The Roses and it was a zine, a little publication, that I contributed my collage artwork to, along with all my friends – you can see why I was so happy to have a copy  :)


Above: GITR Zine Cover | Credit Page by J Green
Below: Inside Cover | Page 1 Cover


I think it is fairly easy to notice, eve just from the first two images (and the cover), that the zine is filled with various aproaches to collaging. From minimalistic to elaborately detailed, from hand drawn to photographic, literal to abstract… all bearing our personal artistic touch and views and ideas.

This zine was a success, there should definitely be more of those, on all sorts of subjects, that’d be quite interesting…

Rebecca Hammett, MFA / Performance


/home/wpcom/public_html/wp-content/blogs.dir/d7a/58572234/files/2014/12/img_6122.jpgRebecca Hammet, MFA / Performance


/home/wpcom/public_html/wp-content/blogs.dir/d7a/58572234/files/2014/12/img_6123.jpgRebecca Hammett, MFA


As the second part of one of our Painting Performance sessions we had a guest performer from the Fine Art Masters course (CSAD), Rebecca Hammett, who was testing out her invention – a set of wooden bionic-type arm-like extensions with a brush attached to each end.

For about 10-15 minutes she was stood in front of the paper, moving her body up and down and sideways, letting the arms do the painting for her. It was actually quite interesting to observe her movements and actions, analyse her process and direction towards a final outcome. I was (and always have been, really) fascinated by the growth of a piece of artwork, in this case, from a single pair of marks, to a whirlpool of overlapping, chaotic strokes, a slow yet dynamic mixing experiment. I also got to thinking about taking it further, exploring colour in a completely new way… ideas like adding a single colour to one brush, or to another, or adding two, three, more colours, or even turning the combination into a sort of gradient experiment in which each brush has the same colour but with a different hue/tone/etc.

I find it really pleasing when an artwork (and of course the process of making one) inspires a focus in me, focus towards my own practice and developing my ideas. Also, it was really nice of Rebecca to let a few people try it out.


/home/wpcom/public_html/wp-content/blogs.dir/d7a/58572234/files/2014/12/img_6126.jpgEthan Dodd (from my group) trying out the ‘arms’

Practicing ‘Control’


Graphite on table-sized sheet of paper

from top left, clockwise: Ethan Dodd, Sara Christova, Danielle Adair, Kirstin Crocker;

This is the final outcome of an exercise we had. Following simple instructions like “make dots with your right hand”, “make diagonal lines with your left hand”, or “make any marks you want with both hands”, we ended up doing automatic movements. We shifted from thinking about what we were doing to automatic movement, waiting for the whistle to tell us to stop. The result was different for everyone, even though we were doing the ‘exact same’ movements. We made different use of the space of the page, since there was a different amount of people on each table and just one sheet of paper on each; the free space between each person’s little mess varied between each group, reflecting in a way how we actually feel about each other, the more blurred the two scribbles were, the more open and friendly those people are to one another.

I find it interesting how something so seemingly innocent can easily tap into our emotions and subconscious thoughts. Being in control of these means being in full control of our bodies and the muscles we use with each movement, and our breathing. Then that would mean we are also in control of what comes out on the page. The mark then would be a purposeful illusion, rather than an unintended exposure of the person.

abstract portraiture

Boys, girls and plants, followed by a self portrait inspired by the works of Vivian Maier whose work I have been looking into for this photography project.





city oddities

The following are a series of photographs focused around time passing by, the timelessness of architecture and the oddity of reflections and road signs.