Plan for the next fortnight

- use lettroset to record conversations on the cord of a telephone. These will be conversations that i have recorded on the telephone and from listening in the household.

-Write conversations on white stickers and stick them into area on the trains such as the handrails on the underground, the borders on the windows on the train or the floor or ceilings of the train carriage.

-find out telephone numbers for all the telephone boxes in southend and ring them and see if anyone answers and then documenting the conversations

-ways of stopping communication, wrapping items in clingfilm/tape such as telephones, mobiles, laptops, phone boxes, postboxes etc.

lines communication illustration

LINES

NOTES FACE

Telephone Box

IdeaS

conversation/thoughts/displayed on post it notes

I need a smaller tv!

Postsecret

PostSecret is an ongoing community mail art project, created by Frank Warren, in which people mail their secrets anonymously on one side of a homemade postcard. Select secrets are then posted on the PostSecret website, or used for PostSecret's books or museum exhibits.

The simple concept of the project was that completely anonymous people decorate a postcard and portray a secret that they had never previously revealed. No restrictions are made on the content of the secret; only that it must be completely truthful and must never have been spoken before. Entries range from admissions of sexual misconduct and criminal activity to confessions of secret desires, embarrassing habits, hopes and dreams.The secrets are both empowering to the author and to those who read it. The postcards are inspirational to those who read them, have healing powers for those who write them, give hope to people who identify with a stranger's secret, and create an anonymous community of acceptance.

Clunie Reid

Clunie Reid uses cheap material and gaffer tape to create aggressive and rampant photo-collages.

Clunie Reid (born Pembury, 1971, lives in London) creates aggressive and rampant photo-collages that question the media they are created from, as well as the integrity of the source images which they employ. The artist uses deliberately cheap material, gaffer-taping her collages to the wall and emphasising the act of composition rather than the final product. In one group of works Reid takes photographs of her studio floor; in others airbrushed images of beautiful women are broken into fragments, scribbled over and adorned with slogans that resound with irony.

Reid's Beautiful (2008) shows a majorette, her facial features pixelated. The original poster was found and photographed by the artist in Venice, already defaced with blue biro scribbled over the figure's eyes, nose and mouth. On her legs appear jagged scrawls of pubic hair. The dancer is superimposed over a postcard picture of a Venice sunset, and across the top of the image Reid has written 'beautiful' in childlike lettering. These are the clichés that form one idea of beauty: flat-chested girls in glittery tops performing arabesques, tourist sites at sunset with Prosecco at the ready. Bringing together these overloaded signifiers of beauty compounds the indeterminacy of the original image - and especially of the woman's identity. This message is further complicated in the artist's messy but carefully accomplished installation, in which the work must be seen as one of many conflicting and competing images.

In her work for Nought to Sixty, however, Reid moves away from paper collage to create more sculptural juxtapositions, affixing different images and media fragments onto industrial foam board. In the same way that the artist uses standard paper sizes, here she uses generic wire picture hangers to suspend the collages, undermining their potential commodity status but also co-opting the same industrial standardisation that she critiques.

While Reid's debased, deskilled aesthetic challenges the ideologies that her source images support, it also enables a mode of performance: the quickness of execution reflecting the swiftness of thought, as well as its potential for change. Misspellings are left in place, or simply blacked out, as the artist carries on. If impermanence is one of the qualities of the fashion and celebrity economy, Reid performs this flux in her foam board collages, sites where information is exchanged and updated. The strength of Reid's works is not manifested in any single piece but in the multifarious accumulation of meaning, quickly tacked to the gallery wall.

http://www.saatchi-gallery.co.uk/artists/clunie_reid.htm

First EXPERIMENT with phone

I think the images with the clingfilm wrapped around the phone cord and the last image are successful images. However I feel that the clingfilm is too distracting in the other images. I intend to buy and old phone and write on it in black permanent marker (I think black would be more successful that the blue pen I used on these images)