Daniel Gregory

Feedback   Artist C.V.   Influences   Design   Studio   

2013-Bachelor in Fine Art - Norwich University of the Arts
Left Right
Daniel Gregory
Silver Gelatine Print
A Silver Gelatine print that is formed by a system governed by rules, composed of multiple actions and made part by part. It is the physical recording of an attempt to draw straight lines from left to right using a light source onto light sensitive paper in total darkness without any form of guidance. The work should not be considered as just an aesthetic object, it was generated by an idea and represents an idea. One that requires controlled conditions of darkness and light, to create a structured outcome that pays tribute to the intrinsic qualities of photographic materials. 
(Exhibited in Bishops Art Prize - Norwich 2013)

Left Right

Daniel Gregory

Silver Gelatine Print

A Silver Gelatine print that is formed by a system governed by rules, composed of multiple actions and made part by part. It is the physical recording of an attempt to draw straight lines from left to right using a light source onto light sensitive paper in total darkness without any form of guidance. The work should not be considered as just an aesthetic object, it was generated by an idea and represents an idea. One that requires controlled conditions of darkness and light, to create a structured outcome that pays tribute to the intrinsic qualities of photographic materials. 

(Exhibited in Bishops Art Prize - Norwich 2013)

— 1 year ago with 4 notes
http://daniel-gregory.co.uk →

I have been building a website from scratch, still working on it - unfinished.

— 1 year ago
no.123
- Daniel Gregory

no.123

- Daniel Gregory

— 1 year ago
#design  #art  #installation  #sculpture  #structure 
no.122
- Daniel Gregory

no.122

- Daniel Gregory

— 1 year ago with 1 note
#art  #object  #design 

Fractal Contemporary Private View 

— 2 years ago
Mortise and Tenon
much of my work is visual, I have been thinking about incorporating experience in such a way to manipulate the viewer, creating obstacles that will make the individual walk on a particular path or work that systematically changes the positioning of an individual.
This work in particular was originally designed to be two solid beams made up of planks of oak coming out from the wall; the ends of the beams would be the same as in the photo above. The piece on the left is made up of the mortis joints and the right piece is made up of the tenon joints, together making the mortis and tenon. Weight was the major problem with the original design. The work above shows a simpler version of what I wanted or doesn’t have the same intended effect as I wanted, but still, it is interesting through the fact that joints are displayed separately; and it doesn’t matter some people are unaware of what they are, but you might realise their floor board joints.

Mortise and Tenon

much of my work is visual, I have been thinking about incorporating experience in such a way to manipulate the viewer, creating obstacles that will make the individual walk on a particular path or work that systematically changes the positioning of an individual.

This work in particular was originally designed to be two solid beams made up of planks of oak coming out from the wall; the ends of the beams would be the same as in the photo above. The piece on the left is made up of the mortis joints and the right piece is made up of the tenon joints, together making the mortis and tenon. Weight was the major problem with the original design. The work above shows a simpler version of what I wanted or doesn’t have the same intended effect as I wanted, but still, it is interesting through the fact that joints are displayed separately; and it doesn’t matter some people are unaware of what they are, but you might realise their floor board joints.

— 2 years ago
I have been making works with the intent for them to be shown on a gallery wall. Obviously this is directing my work at a certain type of audience. I have been thinking about how my work tries escaping from the conventions of a wall. This work in particular shows two subtle changes in degrees forming the effect of the wood peeling away from the gallery wall. The back of the piece is almost more interesting than the front, so although it is intended to be displayed like this, maybe it is now more suited to be free standing. I do however like the fact that the viewer can peek behind the piece and see small wedges which are out of sight, it is like when you see the back of a painting and it is more interesting than the front. So in a way the piece is asking you to get up close and have a look.

I made the work out of scrap left over pieces of pine, planed, clamped, sanded, glued, cut and glued again. This process is quite familiar; I enjoy playing with compositions and the aesthetics of natural materials.  Patterns of grain are intriguing.

I have been making works with the intent for them to be shown on a gallery wall. Obviously this is directing my work at a certain type of audience. I have been thinking about how my work tries escaping from the conventions of a wall. This work in particular shows two subtle changes in degrees forming the effect of the wood peeling away from the gallery wall. The back of the piece is almost more interesting than the front, so although it is intended to be displayed like this, maybe it is now more suited to be free standing. I do however like the fact that the viewer can peek behind the piece and see small wedges which are out of sight, it is like when you see the back of a painting and it is more interesting than the front. So in a way the piece is asking you to get up close and have a look.

I made the work out of scrap left over pieces of pine, planed, clamped, sanded, glued, cut and glued again. This process is quite familiar; I enjoy playing with compositions and the aesthetics of natural materials.  Patterns of grain are intriguing.

— 2 years ago
These are some of the prints I produced in the darkroom this term; my photography work is quite separate to my interests in sculpture. These photos are produced from an experimental idea; I wanted to expose compositions of pure light onto an image in a very controlled way - so that parts of the image are unseen and overexposed, they were quite difficult to produce because I had to try and keep track of where the current exposures were on the papers.  I wanted to be as in much control of the outcome as I could possibly be, and it proved really difficult.

The compositions of light on paper are interesting. The exposures negotiate space, there’s a relationship between positive and negative spaces. And they make the audience aware of a relationship between camera and darkroom processes. In this case the process is made apparent as a type of collage.  

These are some of the prints I produced in the darkroom this term; my photography work is quite separate to my interests in sculpture. These photos are produced from an experimental idea; I wanted to expose compositions of pure light onto an image in a very controlled way - so that parts of the image are unseen and overexposed, they were quite difficult to produce because I had to try and keep track of where the current exposures were on the papers.  I wanted to be as in much control of the outcome as I could possibly be, and it proved really difficult.

The compositions of light on paper are interesting. The exposures negotiate space, there’s a relationship between positive and negative spaces. And they make the audience aware of a relationship between camera and darkroom processes. In this case the process is made apparent as a type of collage.  

— 2 years ago

The Shoppe Collective 1 at Fractal Contemporary

The Shoppe Collective 1 at Fractal Contemporary

(Source: gabrielloyworks, via gabrieltheliar)

— 2 years ago with 2 notes