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This is me deconstructing most of the Air Max 1. I couldn’t record the last bit of it because I was doing it in little chunks of time so it was difficult and annoying to keep having to set up the camera but you can still see most of the process in this video.

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Test deconstruction time lapse.

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My final evaluation.

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This article is about a shoe that is made from recycled materials so that when the user is done with it, it can be recycled and reused. However, I don’t really believe this theory that the whole shoe is recyclable because of the boost of the sole. The sole isn’t recyclable so I’m not sure how it can be done. Also, there is plastic on the back as a mould so not sure how this can be recycled as well.

Adidas are probably trying to do this as a marketing venture to make it look like the brand is trying to improve the environment but really isn’t doing anything substantial. The material may be environmentally friendly but the other things attached to it don’t look like they are. 

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Research into Rudy Lim and Kim Jungyoun’s exhibition.

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Today I started drawing up the plans for my final piece. The image on the left is all about how I decide to make the ‘statue’. It’s a very rough plan but I think it explains how I will take it apart. It’s important how I take the shoe apart because of how I want to present the final piece. The image on the right is just a concept of a shoe that I created in my spare time. I started making it but now I look at it and critique myself, I’m not sure I like the sole of the shoe as it is too chunky.

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This is an example of what my image would look like over a double page spread. Where the faded black line is, is where the middle of the page would be.

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This is an image chosen as my favourite images from the What Remains subject.

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This is a screenshot of me creating to overlay for the shoe which is for the final video.

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This is the video I created based on identity. The meaning behind the video is how i felt as well as the names or questions I have been told once I’ve spoke about my foot. The reason for one shoe staying on, is to show that covering up my foot is better for societies standards while my normal bare foot is acceptable to peoples feelings. I felt that this was a good representative for my identity piece as this shows 2 things close to me, being shoes and my disability. It’s not that long to prove a point of short time seeing it is more acceptable to peoples opinions.  

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Workshops

During the term, we had some work shops based on future needs for fashion photography (subject I was studying at the time). For example, we had a workshop showing how to use inDesign as well as Lightroom for our pictures we had taken. We also had one showing us how to print images in the dark room so that the pictures we had taken were on proper paper and wasn't on film no more.

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Judith Scott

Judith was born into a middle-class family in Cincinnati, Ohio in 1943 along with her fraternal twin sister Joyce. Unlike Joyce, Judith was born with Down Syndrome. During her infancy, Judith suffered from Scarlet Fever, which caused her to lose her hearing, a fact that remained unknown until much later on in her life.

At the age of seven, she was sent to an Ohio state institution where she remained until her sister became her guardian 35 years later. In 1987 Judith was enrolled at the Creative Growth Art Center in Oakland, California which supports people with developmental disabilities. There, Judith discovered her passion and talent for abstract fiber art. An account of Scott’s life, Entwined – Sisters and secrets in the life of artist Judith Scott has been written by her twin sister. For almost two years, Judith showed little interest in any artistic activity. She was unexceptional with paint. She scribbled loops and circles, but her work contained no representational imagery, and she was so uninterested in creating that the staff was considering ending her involvement with the program. It wasn't until Judith casually observed a fiber art class conducted by visiting artist Sylvia Seventy, that she had her artistic breakthrough.��

Using the materials at hand, Judith spontaneously invented her own unique and radically different form of artistic expression. While other students were stitching, she was sculpting with an unprecedented zeal and concentration.Her creative gifts and absolute focus were quickly recognised, and she was given complete freedom to choose her own materials. Taking whatever objects she found, regardless of ownership, she would wrap them in carefully selected coloured yarns to create diverse sculptures of many different shapes.

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John Callahan

Callahan became a quadriplegic in an auto accident at 21. The accident happened in Callahan's car after a day of drinking; his car was being driven by a man with whom he was bar hopping.

Following his accident, he became a cartoonist, drawing by clutching a pen between both hands, having regained partial use of his upper body. His visual artistic style was simple and often rough, although still legible.

From 1983 until his death 27 years later, Callahan's work appeared in the Portland newspaper Willamette Week. The controversial nature of his cartoons occasionally led to boycotts and protests against the paper.

Two animated cartoon series have been based on Callahan's cartoons: Pelswick, a children's show on Nickelodeon; and John Callahan's Quads!, a Canadian-Australian co-production.

Friends said Callahan realised that his cartooning was a form of emotional venting, which led him to pursue a master's degree in counselling at Portland State University. However, his deteriorating health prevented him from finishing his first term.

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Club-Foot and How Shoes Help Me

My personal experience with club foot isn't as bad as some. I was born with it in my left foot and my foot was twisted to the point my toes were touching my leg. I don’t remember any of it because it was such a bad case that as soon as I was born, they took me straight to the surgery theatre to correct the problem. They extended all the tendons in my calf region so that my toes would uncurl and my foot would straighten out better. I was placed straight into a cast which I had to keep on for 8 weeks which was apparently hard for me as a child as I would purposely bang it during my sleep as I wanted it to come off. 

Growing up, I started to develop problems with my foot such as not being able to do the sports I wanted to do because it would be too painful for me. I once was playing for the rugby team at my secondary school when I started running with the ball and nearly snapped the tendons in the back of my leg because I was running on my toes (because my heel didn’t touch the floor) as well as me being too fast for my foot to handle. Since that moment, I stopped doing physical sports which was a very sad point for me as I grew up liking to play rugby and play football in my spare time. I started to get a bit more chubby because sports wasn’t in my life anymore so some people started talking about me in a negative way saying I was ‘milking’ the situation when I literally physically couldn’t do anything which really got me down when I was younger.

I started to pick the interest up around shoes because I wanted people to look at my feet for something else except the scar that was running up the side of my foot/leg. I started to collect shoes for people to point out my shoes and enjoy what they were looking at, instead of judging me for a scar (and because I had a massive enjoyment in everything to do with shoes). Of course people are always going to have their opinion on it but for the most part, people started to pay attention to my shoes and not my disability which is where my passion for shoes grew and grew to the point it is today. 

I feel like shoes is a way of me expressing myself for people to notice and not notice my foot in the negative ways.

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Al Capp

In August 1919, at the age of nine, Capp was run down by a trolley car and had to have his left leg amputated, well above the knee. According to his father Otto's unpublished autobiography, young Capp was not prepared for the amputation beforehand; having been in a coma for days, he suddenly awoke to discover that his leg was removed. He was eventually given a prosthetic leg, but only learned to use it by adopting a slow way of walking which became increasingly painful as he grew older. The childhood tragedy of losing a leg likely helped shape Capp's cynical worldview, which was darker and more sardonic than that of the average newspaper cartoonist.

Capp spent five years at Bridgeport High School in Bridgeport, Connecticut, without receiving a diploma.

n early 1932, Capp hitchhiked to New York City. He lived in "airless rat holes" in Greenwich Village and turned out advertising strips at $2 apiece while scouring the city hunting for jobs. He eventually found work at the Associated Press when he was 23 years old. By March 1932, Capp was drawing Colonel Gilfeather, a single-panel, AP-owned property created in 1930 by Dick Dorgan.

What began as a hillbilly burlesque soon evolved into one of the most imaginative, popular and well-drawn strips of the 20th century. Featuring vividly outlandish characters, bizarre situations, and equal parts suspense, slapstick, irony, satire, black humour and biting social commentary, Li'l Abner is considered a classic of the genre. The comic strip stars Li'l Abner Yokum—the simple-minded, loutish but good-natured and eternally innocent hayseed who lives with his parents—scrawny but superhuman Mammy Yokum, and shiftless, childlike Pappy Yokum.

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Disability Art

The development of disability art began in the 1970s / 80s as a result of the new political activism of the disabled peoples' movement. The exact date the term came into use is currently unverified, although the first use of the term in the Disability Arts Chronology is 1986. During this period the term "disability art" in the disability arts movement has been retrospectively agreed to mean "art made by disabled people which reflects the experience of disability".

As the movement and term developed, the disability arts movement began to expand from what mainly started out as disabled people's cabaret to all art forms. The disability arts movement began to grow year on year and was at its height during the late 1990s. Key exhibitions which looked at disability art happened like Barriers, which was an exhibition considering physical, sensory and intellectual limitation and its effect on personal art practice. (8 Feb - 16 Mar 2007: Aspex Gallery, Portsmouth) and the creation of the Disability Film Festival in London in 1999, – both of which looked at work by disabled people as well as disability arts.

Disabled people's politics in Britain was changed by the Disability Discrimination Act of 1995. In the subsequent years as people adapted to the protection of legislation a new wave of politics entered in the disability arts movement. In 2004 the revised Disability Discrimination Act signified the end of the domination of art based on discrimination politics in the disability arts movement. A new generation of disabled people were less political and carried an agenda of integration. This combined with the carers movement highlighted a change in attitude that acknowledged the work of the disability arts movement to claim the term "disability art" but showed a movement away from the idea that only disabled people could make disability art. It began to be recognised that disability art needs to be "supported by society itself and not just by disabled people".

In 2007 the London Disability Arts Forum held a debate at the Tate Modern on the motion 'Should disability and Deaf art be dead and buried in the 21st Century?' produced in response to arts cuts from the Arts Council faced by disabled-led arts organisations at the time. This debate has become significant in the way Melvin Bragg's article highlighted how disability art like Marc Quinn's sculpture Alison Lapper Pregnant raise the profile of disability in the arts. This debate and subsequent article set in motion a change for many people to recognise that the new generation of disabled people and artists did not feel it necessary to control the term disability arts but to open it out for a wider view on disability.

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Here are a few screenshots from my video that I created based on my disability that I was born with.