As mentioned in the previous post, I have edited a few more photos. I have decided to post all of the pictures that I have edited just to see whether they all look like they have the same theme and they look like they are part of one project. The last few photos that I have edited I have noticed that they look more abstract than some of the others that I have done. When I started this project I had the intention of making some of the photos look more ambiguous than others, but when I started editing I didn’t really have a clear plan on which photos they were going to be. I noticed that I would start out with a plan or an image in mind of what I  want the final image to look like, but as I kept on layering  and editing a photo it would turn into something completely different to what I had imagined. So now, especially with the last few pictures I would just come up with the starting point and just seeing where the process will take me. Below are the images that I have created. The first three photos are the ones that I have been working on recently.


Vile Bodies,” Vorticism, and Italian Futurism

Notes from Vile Bodies,” Vorticism, and Italian Futurism by Archie Loss

To an observer the English art scene between mid 1910- mid 1920s, Cubism, Vorticism and Futurism blended together to form one aesthetic vision. The distinctions among the three were difficult to make out at the time and even the artists in the movements differed seriously in defining their purposes. What they had in common was their frequently declared difference from the artistic tradition. Vorticism originated in England and was founded by Wyndham Lewis in 1913 in the pages of Blast. Like Futurism, Vorticism attempted to deal both literally and plastic terms with the modern reality. Vorticist art suggested the machinery of modern life that was so important to the Futurist, this was done through the geometric forms which are reminiscent of Cubism. According to Lewis however, Vorticists did not aim to reproduce the quality and or the dynamism that the Futurists aimed for. Lewis wrote “The Vorticist is at his maximum point of energy when stillest” He would try capture not the storm but the calm at its centre.

Vorticist art often anything but still however, and Lewis’ work violate his own principles. Vorticist art is eclectic and at times suggesting Picasso’s work from the period of Cubism before the first World War To others it suggests the works of  Italian Futurists, “especially their so called lines of force”. Both of these components can be seen in Lewis’ abstract work title Composition (see picture below)

Composition 1913 by Wyndham Lewis 1882-1957Although it is more Cubist than Futuristic in feeling, its non objectivity goes even further than any Cubist work had done to that date. Christopher Nevinson’s Returning to the Trenches (see picture below) shows similar fusions of style, but the lines of force are also reminiscent of some Futurists work for example Luigi Russlo’ The Revolt (see picture below).



Loss, A. 1992, “”Vile Bodies,” Vorticism, and Italian Futurism”, Journal of Modern Literature, vol. 18, no. 1, pp. 155-164.



Helen Saunders

Helen Saunders is another artist who was part of the vorticist movement. An interesting thing about the movement is that there was a significant number of female artists, even though the group of the artists themselves was small. Saunders’ work has been hard to find because like many of the art that was created during the Vorticism movement, the art work has either been lost or destroyed. She was an active member of the movement and contributed to their magazine Blast by writing poetry and providing imagery. Like some of the women in the movement, Saunders was one of Wyndham Lewis (who was one of the founders of the vorticism movement)After 1920 she changed to a more naturalistic style. A closer look at her work shows the suggestion of arms and legs.


Wyndham Lewis

A painter and write who was a co-founder of the vorticism movement. His paintings were like short stories which had a mechanistic view of human social behaviour, which was evident in the deliberately clumsy and grotesque figures in his art. When he started producing geometrical and semi-abstract art based on machine and architectural forms, he became obsessed with politics and it’s implications on art. Lewis served in the British Army during the First World War. Due to his experiences in the army, Lewis changed his view on art and the machine age. He told a friend that Vorticism  was “a little narrow segment of time, on the far side of World War I. That first war, you have to regard, as far as I am concerned, as a black solid mass, cutting off all that went before it”.