George Orwell; Coming up for Air: eight layer screenprint A1 size paper 2018
George Orwell; Animal Farm: seven layer screenprint A1 size paper 2018
George Orwell; England Your England: seven layer screenprint A1 size paper 2018
George Orwell; The Road to Wigan Pier: six layer screenprint A1 size paper 2018
George Orwell; Down and Out in Paris and London: six layer screenprint A1 size paper 2018
The first time I used anamorphic distortions in one of my own compositions, it appeared at the feet of “The Claw” [2005]; one of the performers in the ‘Smoke and Mirrors” project. A self portrait can be identified at the figure’s feet if viewed from close to the lower left edge of the picture plane.
The Claw: oil on canvas 122x 91cm
I have used an anamorphic portrait here in the “Landscapes of Betrayal” as a way of visually representing Winston Smith’s gradual realisation what Room 101 Holds in store for him… By moving from a central position in front of the artwork to the designated point of view at the left edge of the drawing, a confusion of half grasped visual information slowly morphs into a screaming face.
Landscape of Betrayal #7 graphite and watercolour
It has been pointed out that the anaglyph portrait might be seen to represent Big Brother himself, rather than, or as well as Winston Smith. Because of its distortion, the portrait observes the viewer BEFORE its discovery from the designated p.o.v.
Landscape of Betrayal #6 graphite and watercolour
Landscape of Betrayal #5 graphite and watercolour
ROOM 103 