Collection: Part 1

REFLECTION: PART 1

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10th September 2015

As a team, we were not restricted by the concerns of availability of material, scale of work, or cost of production when it came to the Ideas Factory Research Task. We were required to carry out broad and in-depth research of one practitioner, one material and one process from the list provided. Initially we were given one of each in order to present a practiced idea and pitch; Friday was to be the day that we would utilise the library to begin our real task.

For our trial run, we were given the fashion designer Henrik Vibskov, the material 'Light', and the process 'Inflation'. Visually, the team had many ideas, yet we struggled to link influence from Vibskov. Eventually we came up with the idea to create a piece of art that began as an inflated balloon sculpture, and finished as an installation once the balloon burst. We imagined the second stage of the artwork to be an interactive yet finite 'Experience', and liked the idea of the work being ephemeral. 

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10th September 2015: IDEAS FACTORY trial brainstorm

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10th September 2015: IDEAS FACTORY trial brainstorm

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10th September 2015: IDEAS FACTORY trial brainstorm

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14th September 2015

Today we refined our ideas for our first project, and created some visual aids and sketches to clarify our visions. Due to the fact that our response is going to include some form of text/speech we tried to find the meaning behind the words that Bruce Nauman uses in his artwork. I had previously read that Nauman takes inspiration from the writer Samuel Beckett. 'Like Beckett, he [Nauman] was obsessed with the absurdity of ultimately solitary human existence, the recognition that you're born alone, die alone, and in between are absolutely mystified by the experience of being here. And like Beckett, Nauman was compelled to exteriorise these troubling thoughts by creating works of art' (Bruce Nauman, 'The True Artist', Phaidon). As a group we took particular interest in Nauman's 'One Hundred Live and Die' (1984) which we described as contemplative, repetitive, seductive and overwhelminghowever we ultimately struggled to come up with an understanding of what the work meant. We therefore decided that rather than limit the art by putting a script to it, we would have the viewers create the script themselves, in response to their interpretation of the concept of 'solitary human existence'

Before entering the gallery space in which the sculptures will be displayed, the viewer will pass through a booth in which they can share their thoughts  into a microphone. Their words will then be projected into one of the many hollow glass head sculptures, yet distorted in transfer. The idea is to create an overwhelming sea of distorted light and noise, meaning the viewer will struggle to know which head their voice is being projected from. Conceptually we will have fulfilled Nauman's desire 'to make [things] hard to read, to be contrary' by presenting an abundance of 'echo-chambers' projecting sounds that otherwise are 'barely audible'. The sculptures will constantly be projecting speech, but the speech will also be changing as each individual adds to the audio. Much like 'One Hundred Live and Die' the installation could be interpreted as 'a poem of existence constantly rewriting itself' (LA Times, Elusive Signs: Bruce Nauman Works With Light). 

Having researched the properties of our chosen material glass, we have decided to sculpt our heads in a way that will create the most effective refraction of light and noise as it is shed. American artist Stephan Knapp creates 'lightpaintings which make visible light that surrounds is and transforms it into something physical yet inherently transcendental' (http://www.stephenknapp.com/bio/). This means that light, as well as noise, is distorted. It has been said that 'Nauman's work in neon plays its reassuring vibrancy against the unease generated by its content' (LA Times, Elusive Signs: Bruce Nauman Works With Light). Using an array of neon coloured lights, we intend to create an overwhelming light show which potentially may disorientate the viewer along with the distorted noise, adding to the experience of the exhibition. 

 

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15th September 2015: What does it mean to develop an idea? Have you learnt any strategies to help assist in the development of those ideas?

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15th September 2015: Ideas Factory

Our first task was to come up with 30 ideas in 30 minutes. This was definitely a challenge, but our group decided to individually come up with several different ideas and then discuss our favourites as a group. At first the ideas were very vague and contained, but our tutor encouraged us all to come up with more imaginative ideas because we had no limitations. The idea that we presented to the class was inspired by Bruce Nauman's light works. We visuliased a landfill of glass. Glass that has been thrown away rather than recycled and therefore rubbish that will have a negative impact on the environment. We decided that we would bury some laser lights in an array of different neon colours beneath the rubbish, and at night the lasers would shine through the glass and project into the sky. Eventually as the rubbish would build up, the lights would become weaker and weaker reflecting the affect on the surrounding land and environment. Ultimately the earth would suffocate, and the light would not be able to shine through. 

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15th September 2015: Ideas Factory

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15th September 2015: Ideas Factory

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17th September 2015

This morning we presented our individual ideas and development back to our groups, and received feedback. 

REFINED IDEA (having taken on board feedback):

My second idea, was to create a piece of work about perspective. Bruce Nauman's 'Please Pay Attention Please' led me to encourage people to take an extremely close look at what we would recognise as normal. I reached the decision to create a negative photographic print of a close up portrait; so zoomed in that it would be difficult to determine what one was actually looking at. At first, I would guide the viewers through a very narrow glass corridor. On one pane of glass would be the enlarged print, and people would be encouraged to look at the microscopic detail of the photograph. The viewers would then walk through round to the other side of the glass into a gallery space which would present them with the same print, yet from afar. I intend to achieve two completely different interpretations from the viewer in response to either side of the glass. 

Potentially I could have the pane be one-way glass so that the people in the corridor are not distracted by others on the opposite side of the glass. However, the element of distortion would become further enhanced for the people in the gallery space if they could witness other viewers confined in the corridor. The corridor would be tight enough to inflict claustrophobia and distorted body parts as they squeeze up against the glass and through the space. 

 

In the afternoon we were introduced to the exhibition review, and had the opportunity to look at and critique the work of our peers. We were instructed to leave our books open on the table, and were given post it notes to share our ideas and opinions with the other students. My feedback was mostly positive, however a couple of people commented on the amount of writing that I had in my book. This encouraged me to work more visually and in a different medium, other than drawing. 

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17th September 2015: Peer review feedback.

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17th September 2015: Peer review feedback.

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18th September 2015: Development of Ideas.

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21st September 2015, Fine Art: Human Being/Being Human.

Our Fine Art brief instructed us to bring to class a man-made, hand-held tool. I chose a lemon juicer. This morning we began by sketching our tools, and analysing its form, function and material. We asked;  how was it made? who invented it? what is its purpose? As we sketched we added notations to the diagrams, everybody chose to document their tools in many different ways. Some traced, some created frottage, and some replicated their tool in a 3D model. 

We then looked at the definition of the word 'SUBVERSION': 

noun

an act or instance of subverting

the state of being subverted; destruction.

something that subverts or overthrows.
 
To subvert is to reverse, flip, twist, unsettle, overthrow, sabotage, disrupt, warp, destabilise.
 
Our next task was to take our tools and change its function and form into something far removed from its intended function. I realised that the shape of my tool, was similar to that of a tulip. The head of the lemon juicer, to me, was reminiscent to the head of a tulip before it blooms. My first idea was therefore to create a 'bouquet' of lemon juicers. The heads of the tools would eventually open, just as a tulip head would. This then lead me to the idea of creating a hand held torch, or even converting the lemon juicer into a child's maraca. 
 
After this, we were shown a powerpoint presentation of artists whose work was relevant to the idea of 'subversion'. Susan Collis' 'The Oyster's our world' stood out to me. In this piece from 2004, Collis subtly highlights mistakes or imperfections by coating them in iridescent materials such as the mother of pearl. She puts emphasis on faults that are not usually noticed. 
 
In the afternoon, we were presented with a slideshow which discussed, Kinship, Descent, Worship, Totems, and Ancestry. We looked at the meaning behind totem poles, relating them to 'emblems' which are representative of a community, religion or a tribe. Marc Quinn's blood head 'Self' from 2006 could be interpreted as a literal totem, a life sculpture made up of his DNA. I noted the precariousness of this emblem and its ephemerality which could potentially echo Quinn's interpretation of life; temporary and extremely fragile. Rebecca Horn's 'Unicorn' from 1974 also stood out to me. I was fascinated by the way that she took her figure and extended it, turning her body into a symbol. As she is a performance artist, 'Unicorn' is about a transformation of a woman, rather than just a representation. Mythically, a unicorn represents purity and chastity, and as a female artist, Horn could be suggesting that female chastity is an unrealistic expectation. 
 
Our task in the afternoon was to work in groups and come up with a tribe and a totem to represent the tribe. Our name was 'Mirandus Scrutator' which translates from latin into curios searcher. We created a world beneath the surface of the earth, and our totem was ultimately a pathway, a web-like structure, or a series of tunnels which led from the core of the earth to the surface. Our tribe was a species, with the intention to discover the surface of the earth, driven by religion, their worship of the sun and stories told by their ancestors of another world beyond. Due to a lack of light, the tribe would be blind, or without eyes, so their other senses are heightened. For example, messages reciting pathways that should be taken to get to the surface, would be carved into the tunnels, and the tribe would be guided by texture. 
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21st September 2015, Fine Art: Human Being/Being Human.

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21st September 2015, Fine Art: Human Being/Being Human.

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21st September 2015, Fine Art: Human Being/Being Human.

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21st September 2015, Fine Art: Human Being/Being Human.

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21st September 2015, Fine Art: Human Being/Being Human.

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22nd September 2015, Fine Art

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22nd September 2015, Fine Art

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22nd September 2015, Fine Art

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24th September 2015, Fine Art: Communication.

This morning we were presented with a slideshow which featured a variety of artists who look at the idea of communication. Communication is extremely important when it comes to being human. Joana Hadjithomas, and Khalil Joreige's latent images, 'Diary of a photographer' (2009-2015) took my interest. The work is made up of 354 books that ironically do not feature photographs, rather descriptions of images/scenes. We often rely on photographs to fuel our memory, as real experiences often fade. Hadjithomas and Joreige introduce an element of history as the present 6 years worth of photographs a short pieces of text. 

We finished our project today in time for the arrival of the 'martian'. To prepare for the arrival of our guest, we transformed the studio into an exhibition by pushing tables to the sides of the room and leaving a pathway down the middle for the martian to follow. On the tables we presented our work and were instructed by the ambassadors to stand in front of it, and when the martian approached our work, we were to say one word or phrase relevant to it. The martian seems to understand the word that I chose, 'IDENTITY', yet was confused by the photographs in the passports. He understood that I was not my Dad, yet nodded his head when I showed him a photograph of my Mum. I explained that 'together' they equated to me. When asked questions by the martian, all of us struggled trying to explain what such simple words and concepts meant. For example, the martian asked, 'what is art?', and after a minute of thought, someone answered 'a physical expression of an opinion'. I agree with this, however I would also say that the expression can be conceptual as well as physical. 

 

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24th September 2015, Fine Art: Communication.

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24th September 2015, Fine Art: Communication.

If I were to change my work, or re-do it, I would transfer some more photographs into the passport. I would potentially try to find some more holiday and travelling photographs as they are relevant to the passport context. I could probably have wrapped the passport in more thread, and ensured that the thread did not come loose. 

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28th September 2015, Graphic & Communication Design.

Day 1: Fashion Communication, Film, Photography & Digital Media.

Today, in groups of three, we were instructed to randomly select an adjective and a noun from a given list, and 'develop a visual language that expresses the conceptual idea of the combined words in the most powerful and memorable way using the medium of photography'. We chose POLITICAL and ENVIRONMENT. We began with an individual brainstorm to come up with a few personal ideas and definitions. One of the concepts that came to my mind was the idea of 'nature vs. nurture'. Inspired by the many different cultures and individuality at Central St. Martins, I felt that we could potentially study the differences between the members of our group based upon our background and up-bringing. We have all been influenced by and exposed to different governments and civilizations which have resulted in varying opinions and outlooks. 

When it came to discussing our collective ideas, we were drawn to the idea of identity. We discussed the idea of a series of portraits of us, standing with roots growing around our feet and up our bodies, representing our authoritative backgrounds. the idea was to capture the growth and repression of the roots. 

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28th September 2015, Graphic & Communication Design.

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POLITICAL ENVIRONMENT

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POLITICAL ENVIRONMENT

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29th September 2015, Graphic Communication & Design: 'Lost Letters'.

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29th September 2015, Graphic Communication & Design: 'Lost Letters'.

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29th September 2015, Graphic Communication & Design: 'Lost Letters'.

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AI WEIWEI, Royal Academy, 30th September 2015

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Ai Weiwei, Royal Academy, 30th September 2015

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Ai Weiwei, Royal Academy, 30th September 2015

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Ai Weiwei, Royal Academy, 30th September 2015, 'Straight'

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Ai Weiwei, Royal Academy, 30th September 2015.

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6th October 2015, PDP, 'Perform'.

This morning we were given a presentation on 'shadow play' and were shown a series of performance artists who use light, space and form to create shadow productions. We were split into groups of four and given a short clip of music to create a sequence to. Provided again with limited materials (cardboard, glue, tape and string), we had to play with light. Our group began by brainstorming ideas individually and documenting our personal responses to our piece of music. Due to the constant sound of seagulls, and the dull and heavy music, I suggested a dark seaside setting. Our final idea was to present a narrative of an old fisherman isolated at sea. Alone and depressed, the fisherman is followed by a grey cloud, rough sea and a swarm of seagulls. Eventually, the storm settles and the sun rises in the morning (influenced by a lift in the music about 50 seconds of the way through), but sadly the old man takes his last breaths. He dies at sea, yet is at peace and happy in his beloved boat. 

I really enjoyed experimenting with light, shadows and colour, and utilising our bodies along with 2D props to create a short story. Feedback from our peers suggested that they would have liked to have seen 'something happen', however it was a challenge to move around the stage as our figures would often go out of focus and therefore lead to a vague recital. I am confident that we presented a solid narrative and a aesthetically pleasing scene. We used a variety of colours of light and moved our props with the sound of the music. 

It was interesting to see the many ways in which different groups interpreted the different music. One group had a very electronic piece of music and created a strobe effect with the light which was alarming yet also resonated. Others took a more literal approach and told a story; one group presented a tragic love story reminiscent of Romeo and Juliet which I particularly enjoyed. 

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6th October 2015, PDP, 'Perform'.

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6th October 2015, PDP, 'Perform'.

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6th October 2015, PDP, 'Perform'.

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8th October 2015: Performance Design & Practice, 'TRANSFORM'.

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12th October 2015, Fashion & Textiles, Everyday Shapes & Structure.

Today, we started by drawing prominent sculptures and textures surrounding the Archway site. I was particularly inspired by the deconstruction and gradual decay on the sides of buildings and walls. We were encouraged to use a range of materials and mediums, and play with surfaces and our books. I created some frottage rubbings and drew with pen, pencil, masking tape and felt tip. Back in the studio we looked to 'extract' and isolate 5-10 shapes that stood out to us, both abstract and geometric. We then participated in a series of drawing exercises which encouraged us to draw loosely and confidently. We created a series of different marks using different tools and finishes. My favourite activity of the day was to take one of our shapes and draw it on each sketchbook on our table, and others around the room. As we felt less precious over our peers sketchbooks, we were able to let go and make bold lines. As I often draw with a sketchy style, I enjoyed embracing the bolder approach, I tried to create single marks rather than continuously going over marks that I had previously made. 

In the afternoon we were given some very large pieces of paper and instructed to draw three shapes, one being textured or manipulated in some way. I manipulated one of my more linear shapes by folding into a fan formation. We were told that we were going to be using these shapes and creating structures on the body of our partner. I experimented with the placement of my pieces of paper, as well as the texture. As a 2D sheet, the structures failed to form substantial shapes. I therefore decided to scrunch up my sheets and form them around the neck and waist. I placed the fan structure initially on the shoulder, but then moved it to the head to prevent it from obstructing the other formations. I was pleased to be encouraged to create a sculpture on the body rather than a garment or a wearable accessory. Removing the idea of making an item of fashion influenced me to see the body as a structure rather than a figure, which I really enjoyed. 

We then looked a producing some illustrations of our partners dressed in the paper formations. We took a similar approach to the activity from the morning, in that we drew particularly abstract and loosely. For example, we drew with two pens at one time, drew and highlighted negative space, and drew only silhouettes. I really enjoyed todays project as we had the opportunity to work in all different mediums. We were forced to get out of our comfort zone and work quickly in our illustrations.  

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12th October 2015, Fashion & Textiles, Everyday Shapes & Structure.

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12th October 2015, Fashion & Textiles, Everyday Shapes & Structure.

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13th October 2015, Fashion & Textiles, Fashion Illustration.

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15th October 2015, Fashion & Textiles, 'Your Data'.

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15th October 2015, Fashion & Textiles, 'Your Data'.

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15th October 2015, Fashion & Textiles, 'Your Data'.

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16th October 2015, FRIEZE, Richard Long, Untitled 06, White China clay on Card.

I was drawn to this piece of artwork due to the stark contrast between the crisp black background and the indiscriminate white mark. I was surprised to discover it was the work of Richard Long as I recognise his work to be of the land, however his monochromatic approach and use of natural materials was reminiscent of his black and white photographs of his ‘long walks’. I was fascinated to see white china in a completely different form to which it usually would take. When I think of white china, I often think of a tea set, yet Long takes this everyday material and transforms its function, removing it from its recognisable state. 

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RICHARD LONG

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2nd November, Fine Art: Painting. 'Altered Spaces'

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3rd November, Fine Art: Painting. 'Altered Spaces'

Today we developed our collages into paintings. We had the opportunity to produce some more realised works, however, as my collages were initially abstract, my paintings remained fairly ambiguous. I chose to continue collaging as well as introducing painting as I explored layering and perspective. I began by taking a section of my photocopied collage and worked from there. By doing this I was altering content, and composition, making the collage unrecognisable and changing its aesthetic. I used black acrylic and white oil paint to compose a series of spaces on some soft handmade paper. the scale was fairly small, but my intention was to repeat the monochromatic style and marks from the collage. I layered the work with acetate, creating a window that concealed some of the textures. I also incorporated a polaroid frame, not containing the picture, which added another perspective and dimension to the painting. 

I was not satisfied with my initial outcome so I decided to cut the painting, breaking up the content, and adding another window. I had some time before we were going to present our work, so I did another painting directly into my sketchbook. I remained with the monochromatic style, yet referenced the imagery from my first collage. This time I also incorporated thread. 

I enjoyed our brief group critique at the end of the day as I got to interpret everyones work. Our tutor encouraged us to analyse the work before evaluating it. We asked ourselves to describe style and what was depicted, what was the subject matter? We then had to interpret the content, how does the subject matter relate to the style of the work? What associations do we have with the work? Once we answered these questions we were able to form opinions. 

I much prefer working with oil paint as I feel it is easier to blend, more flexible, and easier to manipulate. The collage that I worked from was a culmination of tones and transitions so I wanted to create a soft and gradual change in colour using paint. If I were to do it again, I would work on a large scale and use oil paint, along with linseed oil to alter the consistency of the paint. My limited selection of materials meant that I wasn't able to create my desired texture and appearance. I am, however, happy with the final outcome as ironically the paint somewhat mimics a photocopy or print, particularly when looked at through the acetate. 

After doing further research on artist Justin Mortimer, and watching the video in which Nigel Cooke discusses the evolution of his 'New Accursed Art Club' (2007, Oil on canvas), I felt inspired to experiment with process further. 'By taking photographs at stages throughout its production, Cooke has a visual record of everything that came and went during the process. He describes it as a type of archaeology as buildings, figures and landscapes are erased and compositions reformed along the way'. In my opinion, the artwork became much more fascinating after learning about the many stages that it went through. I am excited by the idea of the many layers, and individual paintings underneath the final presentation. I would imagine the texture is more telling of the process, I believe, however, that I would feel very different about the painting if I wasn't aware of the development. 

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9th November 2015, Fine Art Practice, 'Re-Edit'

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9th November 2015, Fine Art Practice, 'Re-Edit'

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9th November 2015, Fine Art Practice, 'Re-Edit'

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9th November 2015, Fine Art Practice, 'Re-Edit'

This morning we finalized and exported our films in order to present them to the rest of the group in the afternoon. My film was pretty much complete, yet before I exported it, I change the beginning and the end of the film. I didn't want the clip to open immediately onto the film, instead, I intended to create an element of suspense by including a black screen which would fade into the opening image. Likewise, I wanted the film to finish with a black screen to reinforce the repetitive and cyclical nature of mental disorders. The film ends abruptly and the final image resonates with the viewer, as the subjects eyes close the film ends, therefore the black screen could also represent a dark and threatening mind space. 

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9th November 2015, Fine Art Practice, 'Re-Edit'

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9th November 2015, Fine Art Practice, 'Re-Edit'

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8th November 2015, Fine Art Sculpture, Fischli & Weiss, Equilibres / Quiet Afternoon.

Our independent research task that we were assigned to complete before beginning our Fine Art sculpture project instructed us to select a collection of objects and arrange, balance and stack them to produce sculptural outcomes. Taking inspiration from Fischli and Weiss' photographic series, Equilibres / Quiet Afternoon, I experimented with multiple arrangements of everyday mundane objects that I found in my kitchen. Reading Rachel Wells' article influenced me to attempt to capture the stacked objects just before they were about to collapse. I intended to capture this impermenant moment in time in the fear I would never have the opportunity to capture it again due to an inability to re-create it. 

I found Rachel Wells' article a challenge to digest and analyze due to the extremely conceptual interpretation of Fischli and Weiss' work. The most interesting aspect that I took from the essay was the idea of an physically absent yet influential controlling presence. Ultimately the everyday objects used in their work represent human beings and the lives of us as consumers. Therefore, in my opinion, these photographs could be seen as the portrait of a generation. The artists have manipulated and placed these objects in a certain way, and with the help of gravity, have captured very ambiguous sculptures. There is an underlying element of the uncanny, however, realistically there has been artistic influence. 

 

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8th November 2015, Fine Art Sculpture, Fischli & Weiss, Equilibres / Quiet Afternoon.

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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11th September 2015

Today we had the opportunity to explore the library for research on our chosen practioner, material, and process. As a team we decided that we were not going to be too concerned about choosing the perfect combination of the three as we were willing and excited to create some more obscure and less obvious links between the three. Bruce Nauman, Distort and Glass were are chosen combination and we were lucky enough to find an abundance of information on them all in the library. 

Immediately we started brainstorming ideas, yet eventually decided to create a series of hollow glass head sculptures to be placed upon transparent cubes and stacked upon a plain wall. Our plan is to capture the distortion in the subjects face as they read aloud a certain 'one liner'. We also intend to distort sound and light which we will project into the glass heads...

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11th September 2015

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11th September 2015

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11th September 2015

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11th September 2015

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14th September 2015: Sketching.

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15th September 2015: What do you feel are the important skills required to pitch an idea?

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15th September 2015: Ideas Factory

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15th September 2015: Ideas Factory

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15th September 2015: Ideas Factory

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15th September 2015: Ideas Factory

This afternoon we were told to work on our individual development. Taking some of the ideas that we had come up with in the morning, we had to present multiple stages of the development in our sketchbook. I began with two ideas with similar concepts, and gradually refined them using my research as inspiration.  

My first idea was to compose a performance piece of art in which a large crowd of people would be hired to wear a  transparent glass helmet, which distorted ones face. The glass would be magnified in random areas of the face therefore distorting the shape of the face and drawing attention to certain facial features. The performance would reflect our society and the pressure on all individuals regarding appearance; the helmets may enhance certain insecurities and highlight imperfections leaving the subject vulnerable and exposed to judgement. 

My second idea is documented in the image of my sketchbook. Thorough research and development was necessary and the idea still needs to be refined.

 

 

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17th September 2015: Group Review and Feedback.

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17th September 2015: Peer review feedback.

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18th September 2015: Development of Ideas.

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18th September 2015: Development of Ideas.

The peer group review influenced me to present some more visuals in my sketchbook. By drawing and creating these mixed media sketches I can more easily visual my idea. Inspired by the work of Jenny Saville, and Bruce Nauman, I took photographs of a face pushed up against transparent glass. I ensured that the photographs were very close up, enhancing the abstract appearance of the face. I then edited them on the computer by making them black and white, and then introducing a neon green under tone. I used acetate in my sketchbook as a glass compromise, and was therefore able to experiment with light reflection and shadow. 

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18th September 2015: Development of Ideas.

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21st September 2015, Fine Art: Human Being/Being Human.

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21st September 2015, Fine Art: Human Being/Being Human.

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21st September 2015, Fine Art: Human Being/Being Human.

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22nd September 2015, Fine Art

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22nd September 2015, Fine Art

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22nd September 2015, Fine Art

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22nd September 2015, Fine Art

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22nd September 2015, Fine Art

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24th September 2015, Fine Art: Communication.

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24th September 2015, Fine Art: Communication.

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24th September 2015, Fine Art: Communication.

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POLITICAL ENVIRONMENT

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28th September 2015, Graphic & Communication Design.

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28th September 2015, Graphic & Communication Design., 'PSYCHOLOGICAL FABRIC'

This is one of my favourite pieces of the day. This group created texture using collage and photoshop, and captured psychological turmoil, presented by the facial expression and repressive nature of the photograph. The illustration and layering depicts the nature of imagination. 

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29th September 2015, Graphic Communication & Design: 'Lost Letters'.

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1st October 2015, Graphic Communication & Design, 'TYPE'.

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1St October 2015, Graphic Communication & Design, 'TYPE'.

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1st October 2015, Graphic Communication & Design, 'TYPE', 'Negative'.

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1st October 2015, Graphic Communication & Design, 'TYPE', 'Negative'.

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5th October 2015, Performance Design & Practice.

We began our first day of PDP by discussing some questions surrounding the area; What is performance design? What is performance practice? What is character? What is the role/function of costume design? etc. I learnt about the vast nature of the industry and the many different occupations that make it up. The industry explores theatre, film, video and live art, and performance designers are always in demand.

We deconstructed the word 'PERFORM', and discovered that 'per' can be read as through, and 'form' can mean figure, shape, structure and physicality. Today our task was to create a 'form', or an extension of the body, using limited materials including cardboard, glue and string. However this was not before we embarked on a physical drawing activity in which we were instructed to progress in planes of movement whilst our partner drew us. This was a challenge as our subject was constantly moving, our tutor encouraged us to draw in continuous line and not take our pen off the paper. Many people drew small literal figures, yet my drawings appeared very abstract and undefinable. I do believe however, that they captured movement and the human figure. We advanced in all three planes of motion; frontal (door), sagittal, and transverse (table). We explored restrictions placed on our body, and studied the way that our bodies moved when under such limitation. 

In our groups we were to take inspiration from one plane of motion and extend our figure in some way. Much like Rebecca Horn was inspired by the mid 19th century bustle skirt, I suggested that we take inspiration from the Tudor Ruff collar, a fashion piece often worn by aristocrats in the mid 16th to the mid 17th centuries. In a way the Ruff restricts as well as extends the body. It forces the person wearing it to hold their neck high, but also restricts free movement and vision. 

We later decided to restrict the movement of the hands as well as the person wearing the collar may have felt obliged to hold some of its weight. We maintained a bend in the elbow by attaching Sam's wrists to the structure, meaning that his only free limbs were his legs. 

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5th October 2015, Performance Design & Practice.

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5th October 2015, Performance Design & Practice.

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8th October 2015: Performance Design & Practice, 'TRANSFORM'.

Today we began by discussing our responses to a selection of photographs of places and scenery, considering atmosphere, perspective and context. Next we were given a word, and instructed to draw two/three different places around Kings Cross, which represent our word. My word was 'RELAXED' and my initial thought was to go to the canal, I sat on the grass steps and drew a quick sketch using pen and pencil. I then drew the trees outside the building as I personally associate nature with relaxation. 

Then we had 15 minutes to re-draw our sketches in a more abstract form through elements including pattern, tone and composition. I made my tree drawing more abstract by highlighting the typically dark areas, and adding tone to the areas that were lighter. I also maintained and emphasised my sketchy drawing style, which although is not particularly relaxing, is fairly fluid. 

With the help of our peers, we made 3D models of our abstract drawings using card, string, tape, glue, and anything else we could source. I made a series of mechanical trees, creating the main structure with wire and wooden sticks. I then softened the appearance of the trees using string and tissue paper in an attempt to make the appearance more 'relaxing'. 

After having photographed our models, we paired up with those who had opposing words to us. I paired up with two girls who had the word 'FOREBODING' and we combined our sculptures to create a physical and conceptual experience. We decided to pitch the idea of an infinite amount of trees to be installed in an infinitely long industrial building. The audience would be transported through the installation via the elevator system that one of my group members made. Combining such contrasting emotions was a challenge, yet the contrast in the sculptures is what made the models interesting. The conflicting sensations would inflict a contradictory response, potentially disorienting and confusing. 

I really enjoyed the process of capturing one scene and altering/presenting it in multiple different ways. I particularly enjoyed sharing ideas with my peers and taking inspiration from their interpretations of the words we were given. I looked to borrow others style of drawing and create further abstraction to my work by combining the two styles. I also liked playing with light when it came to photographing my model. As my trees were tall and not solid, the model created some interesting shadows. 

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8th October 2015: Performance Design & Practice, 'TRANSFORM'.

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8th October 2015: Performance Design & Practice, 'TRANSFORM'.

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12th October 2015, Fashion & Textiles, Everyday Shapes & Structure.

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12th October 2015, Fashion & Textiles, Everyday Shapes & Structure.

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13th October 2015, Fashion & Textiles, Fashion Illustration.

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13th October 2015, Fashion & Textiles, Fashion Illustration.

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13th October 2015, Fashion & Textiles, Fashion Illustration.

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15th October 2015, Fashion & Textiles, 'Your Data'.

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15th October 2015, Fashion & Textiles, 'Your Data'.

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15th October 2015, Fashion & Textiles, 'Your Data'.

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MADEMOISELLE PRIVÉ, Saatchi Gallery, Thursday 22nd October.

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MADEMOISELLE PRIVÉ, Saatchi Gallery, Thursday 22nd October.

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2nd November, Fine Art: Painting. 'Altered Spaces'

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2nd November, Fine Art: Painting. 'Altered Spaces'

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2nd November, Fine Art: Painting. 'Altered Spaces'

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2nd November, Fine Art: Painting. 'Altered Spaces'

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3rd November, Fine Art: Painting. 'Altered Spaces'

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5th November 2015, Fine Art Practice, 'Re-Edit'.

I really enjoyed today, as we faced our first technical challenge. The 'Re-Edit' project was about learning how to use Adobe Premiere Pro CC, and editing ready-made or found footage. As this project was condensed for us, we had very limited time to create our film. Therefore, we dived straight into exploring the programme, and experimenting with the multiple editing techniques. I chose a couple of clips which presented the idea of mental health, and the symptoms of schizophrenia. I am fairly interested in this taboo topic, particularly when analysing the way it was approached through the 20th century. One of the videos presents masked mental patients enacting various schizophrenic symptoms as they were understood in the 1940's. It is a disturbing film that raises questions about the condition and treatment of its subjects. 

Initially I was quite apprehensive about working on the computer and with such an advance programme. However, after having been taught a few simple techniques, we were all able to create some interesting films. I had the intention to edit the film using a lot of repetition and fast-speed clips to try and inflict a dizzy sensation onto the viewer, causing a physical and mental reaction. 

In the morning we were presented with a few videos from various artists. I was inspired by the strength of the political messages that transferred. I was particularly inspired by Lenka Clayton's 'Qaeda, Quality, Question, Quickly, Quickly, Quiet' (2002). 

"Be it a labour of Love or a labour of discontent, Lenka Clayton's 'Qaeda Quality Question Quickly Quickly Quiet'? is one of the most painstaking, tireless, intelligent, noteworthy releases we've ever had the pleasure of listing in our catalogue... Apart from the quite mind-boggling effort and technique applied to the construction of this recording, what makes it so engrossing and worthy of your deepest appreciation is the lack of any commentary, though the message is completely clear... Lenka's work is not only hugely humorous, ominous and prophetic, it achieves this without any intentionally distortive re-arrangement or splicing for effect."

Boomkat.com

 

I used footage from a film about a mental hospital patient. I was excited by a very small part of the clip which demonstrated a series of up-close camera angles of the patients face. There was footage of his eyes, hands, and mouth. I played around with this footage by experimenting with opacity, rotation, contrast, and speed. As the footage is close-up, the facial features could be mistaken for other objects. For example, the patients hands could be interpreted as a natural landscape. This ambiguity is something that I want to explore further. 

 

 

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8th November 2015, Fine Art Sculpture, Fischli & Weiss, Equilibres / Quiet Afternoon.

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10th November 2015, Fine Art Sculpture, 'The Exploded Field'

I have been very apprehensive to embark on the sculpture pathway project for Fine Art as I tend to prefer to create something more 2-Dimensional when I work. Although I did Design & Technology at GCSE, I dislike the specific design process. I would rather work spontaneously with an element of chance. Despite this, I really enjoyed the presentation we were given this morning, discussing sculptors and artists who consider objects to have a language, helped to clarify Rachel Wells article on Fischli and Weiss. The slide-show explored an objects usual function along with its subverted function, as we looked at the historical presentation of sculpture. Artists who stood out to me were Damian Ortega and Cornelia Parker who had both created stunning installations of individual parts of an object. Cornelia Parker's 'Cold Dark Matter' captures an explosive moment in time. The artist suspends the destruction of a garden shed which she along with the Banbury Army School of Ammunition blew up. The original function of the shed is subverted and we analyse the object from an opposing perspective and form, The everyday, mundane object becomes an ethereal installation which surrounds the audience due to the shadows projected in the space. 

After the presentation we were encouraged to go to the workshops to try and come up with ideas in consideration to the materials available. I was excited by the metal workshop during our tutorials so I headed straight there. I was interested in the idea of repetition, and took influence from Katharina Fritsch's 'Display stand with brains' (1989). I had collected a few metal hangers as my found objects and intended to use and transform them from the mundane everyday object to something of beauty. At first I attempted to twist them and present them hung from a frame and rotating, but I discovered that this distortion did not make them more aesthetically pleasing. Rather, this distortion was inconsistent. My idea, therefore, was to spray paint the hangers and suspend them from some metal frames that I would make using copper rods. As the brief stated that the sculpture had to be at least a metre tall, I decided I would place the frames stacked, upon a wooden plinth to emphasise the hangers new and improved object status. 

The scrap piece of wood that I found in the workshop was quite beautiful. Although it was beginning to splinter, I felt that its natural form would be an interesting contrast to what would sit upon it. I hope that my sculpture, therefore, portrays beauty in multiple ways;  the beauty of nature, as well as the beauty of something metallic and man-made. 

Having thought my idea through in this reflection I feel more confident in it. However, before, I was concerned that its minimal appearance would not be so striking. I also found the workshops fairly daunting and intimidating. Both were extremely busy and therefore it was hard for me to concentrate and create anything substantial. When we continue on Thursday, I will be in the workshop most of the day. 

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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12th November 2015, Fine Art Sculpture: The Exploded Field.

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