Last edited by Self Publish, Be Happy
25.05.2021 | History

1 edition of Felicity Hammond found in the catalog.

Felicity Hammond

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      • nodata

        StatementSelf Publish, Be Happy
        PublishersSelf Publish, Be Happy
        Classifications
        LC Classifications2019
        The Physical Object
        Paginationxvi, 123 p. :
        Number of Pages82
        ID Numbers
        ISBN 10nodata
        Series
        1nodata
        2
        3

        nodata File Size: 9MB.


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I tend to find that my sculptural work comes from far clearer visions before they are constructed.

Artist Feedback Session: Led by Felicity Hammond

FH: Capital Growth explores a space in which reality is fused with the virtual world; an area where manufacturing and industrial process has been discarded, and in its place stands computer generated imagery of luxury living, where posters pertain to a better life and a better future. Capital Growth sends an ambivalent message: the work promises growth but shows decay; the installation refers to concrete places while allowing indistinct objects to sink into them like quicksilver.

Felicity Hammond the rate of ocean rise continues to change at this pace, sea levels will rise 26 inches 65 cm by 2100 - enough to cause significant problems for coastal cities. Object in form, the cut out pages are used as a device to reveal Felicity Hammond the rendered image dictates physical space, and how both of these surfaces are at play in the urban realm.

LAST FEW COPIES IN EUROPE REMAINING, SOLD OUT IN US The 21st century has seen a dramatic shift in the way that architecture is experienced. I start by making drawings, like blueprints, mainly of new architectural features. For example, once the exterior walls of a building have been digitally built, they can be clad in a downloadable surface; one which mimics brick, polycarbonate, or concrete.

jpg World Capital, vinyl print 2019 1. She researches the complex processes of urban regeneration, in which sites are often improved Felicity Hammond the expense of original inhabitants and buildings. But rather than the sun-kissed fantasy described by developers, the viewer is invited into a world which anticipates them in ruin. The disregard for the spatial realm in which these visual imaginaries propose to operate is exposed when they are transferred from computer screen to printed matter: the battle between the powerful, speculative image and the city from which it grows are at the forefront of our urban encounters.

1 Ian Nairn, Outrage: The Architectural Review VOL 117, No 702, 1955 365 2 Ibid. In her practice, Felicity Hammond explores the ways in which the urban landscape is imagined. If the CGI is produced in dislocation from the site, i.

Property by Felicity Hammond

In terms of perfectionism within my process, these works actually emerge from a studio full of raw materials, tests, found objects, drawings, and old photographs.

Rather Felicity Hammond merely presenting an image, these representations tell a story of the lifestyle that the site stands to make reality. Through a transnational, digitalised design process — a process that takes place through the screen rather than through embodied experience, a distancing occurs. I then allow the processes that I use between photography and sculpture to inform the final work.