Friday, 13 May 2016

Circulatory System Prints

As usual with this set of prints I was looking to abstract from what we normally see in medical art. By using gold and silver instead of red and blue for the arteries and veins I was attempting to keep the balance of warm and cool tone, but by shifting the colour, and adding that metallic quality, I hoped to in increase the visibility of the circulatory system in terms of active viewing. I wanted to create a piece where a viewer would not just think, "oh, its the arteries," and move on. As with all my work I'm trying to inspire a conversation and reflection on the processes and structures of the viewers body. 

I was apprehensive about doing a skull print. The skull is a structure with high visibility already, I didn't want to just do another skull, something which would be oversaturated with work that's come before. Alexander McQueen, Damien Hurst, etc, people do fantastic work with the skull and create some really inspiring objects and images, but in terms of shifting the conversation to one of anatomy and inspiring those without a background in human biology I felt like I need to create something more than just another skull. For this reason I chose to include the arterial structures of the face, again adding that touch of warmth with the gold tones. The aim was for viewers to see this and think, 'oh, it's a skull... thats nice,' but find that extra information on closer inspection, to get them to possibly think "what are these lines, what are they for? Are they arteries? Nerves?' and to possibly seek more knowledge on whats going on in the image. 

I exhibited these prints at Freedom Mills with a few of my nervous system prints, which was quite successful in terms of physically putting my work out there. 

As usual you can find snapshots of my process and work on instagram

Wednesday, 27 April 2016


 Guess who has Instagram now? Thats right, me. 

Instagram just lets me share images more immediately than the blog, they basically fulfil two different purposes. Instagram gets the monkey of instant gratification off my back while the blog lets me share more formulated thoughts. 

Wednesday, 9 March 2016

Research Questionnaire for amputees




Have you ever suffered from a mental health condition related to amputation such as
body dysmorphia or depression?
If so could you please give details on how this has affected you?

What care, if any, did you receive for this/these condition(s)? Was this care offered or
did you have to seek it out yourself?

Do you think your psychological state influenced your physical recovery? If so in what way?

Do you feel that the aesthetic of your limb is important? If so in what way?

Do you think involvement in the design of a new limb could help to give a better sense
of control?
Do you think it is important for a prosthetic to match your aesthetic needs?
Would you wear an aesthetically designed prosthetic or prosthetic cover? Please give
 your reasons.

 This information is for use in a paper on the psychological aspects of amputation and how aesthetics could play a part in recovery, you will remain anonymous. Please contact me if you have anything further to add or if you would be willing to have a more thorough conversation, or even if you’re just interested in what I’m doing.

 Thank you for completing this questionnaire.

Ross Reynolds,

Tuesday, 8 March 2016

Italian Adventure: Day 6

 This is a bit post-humorous, as the exhibition was a week ago now, but once again I've found myself inundated with tasks and this is the first opportunity I've had to sit down and collect my thoughts about Trento.

 The exhibition was quite a daunting experience having never exhibited outside of an educational institution, which always feels very safe. There are people there, it doesn't feel as though they're there to see (or indeed) judge your work, they've just come to support a loved one. I'm not sure if that's naive or cynical, or an odd mix of the two. Anyway, exhibiting work outside of that realm, promoting it as a 'proper' exhibition was fairly strange. Another thing I was apprehensive about was the language barrier and my inability to absorb any words other than 'caffe latte per favore?' 

 In spite of my worries, the exhibition proved a great success, with a fair few people wandering in from the street. One of the highlights of the show for me was Annabeth Robinson's process video, which captured everyone's working methods and showed how the work on show was created, giving a visual background on the principals behind everyone's pieces. I also made a process video, unfortunately my laptop seams to take issue with the file type, hopefully I'll be able to upload it soon.

 I'm actually quite proud of the work I exhibited, creating a series of prints in three days that are show worthy is no mean feat. I originally intended them to be black and gold, but felt the addition of the grey helped to produce a more complex image whilst maintaining the overall tone of the work. I used a map of the area to produce linoprint maps coupled with prints made from tracings I took from the cracks and textures in those areas. The idea was to show how the microscape can be more descriptive of a certain place than a map, and how the small microscape and city scape are irrevocably linked. Basically how these textures can be seen as the cells from which the town is composed. The texture prints also hold a sense of time, in that they are produced by temporal processes such as weathering.

And for the last time #TicTacTrento

Tuesday, 1 March 2016

Italian Adventure: Day 5

 So my plan to do a Trento diary kind of failed, simply because I’ve been too busy collecting images and making prints to exhibit. The town itself is quite strange when using Leeds as a reference. On the Saturday as few of us set out to get supplies from a local art shop set in an industrial estate, the buildings and tone of the area where strictly at odds with the surroundings, these imposing mountains that can be seen throughout the town. The centre, which I am counting as Piazza Duomo as it’s where I spent most time, has that quality that only age can impart. I found the entire place to be a system of textures, cracks and weathering. I found myself taking a photo of an interestingly textured door way only to find I was stood outside a H&M.

 As I began to see the town more on this scale as opposed to the grand mountains and frescoed buildings, my work began to focus on these cracks, the areas of temporal process. As I continued I started to relate these fractures to the framework of a map, linking the micro-scape to the cityscape and the macro, the textures I picked up becoming maps in there own right, connecting these small areas and the natural, timefull processes to the urban, manmade cityscape which because of it’s age seams timeless.

  The above is a preview of my starting point, the first prints that I produced whilst here. The final pieces are changed in a few ways but I feel I’ve kept the elements and the spirit I was trying to embody. The exhibition is tonight, we’ve handed out flyers, put up posters, all we can hope now is that people will come. Wish us luck!