Thursday, 19 March 2015

research: rachel whiteread














interested in using photo stills as a /figurative starting point or skeleton for painting work.
Building up layers in a predetermined fashion blocks me, it's the highlighting chance marks, working with what is accidentally there, as well as taking away to reveal colours/marks underneath is what seems to appeal at the moment, especially from my ECG drawings.


Rachel WhitereadB: Clapton Park Estate, Mandeville Street, London E5; Bakewell Court; Repton Court; March 1995 1996



love this final still from the tate website which is taken after a demolition of a building in east london

christian marclay



Exhibition review:
Christian Marclay
White cube Gallery








Christian Marclay an ex-DJ Amercian artist came to wider attention with his widely acclaimed video pieces “clocks” in .
The public now has the chance to see his latest work reflecting his on going fascination with the relationship between image and sound.
The exhibition takes up the long central white walled concrete floored space in the gallery. 3 further room spaces house a black carpeted walled silent cinema space to show one his larger scale video pieces. An animation using computer manipulated images of recognisable comic book onomatopoeas. The Vinyl Factory Press Another 2 show firstly, works on paper based again on his preoccupation with snappy bright onomatopeas and a third larger gallery space with 8 works of screenprints hung on 4 walls. The large space is divided with a central division behind which at various time intervals the sinfonietta perform in a room with walls lined at bar height with over a differing size and shaped beer glasses. The performance was recorded live then pressed onto a ‘retro’ one-off vinyl record for purchasing. 
My favourite parts were the ‘bar crawl’ video installation. Lining the entrance corridor, videos at floorlevel project images onto the opposite corridor wall forming a bright animated noisy walkway. The videos are out of synch and show from a hand held point of view shoes of someone walking, stopping and tapping or crunching underfoot various remnants of someones boozy night out. A pen taps beer bottles resonating a distinctive ring, whilst other footages have more jarring noises of beer cans collapsing underfoot, or bottles rolling on the pavement. The height of the projection means that the viewers lower legs enter the video as we walk along, adding to the vertiginous feel of the footage.
The main room, square, black carpeted with people sat randomly was another pleasing piece. Soundless, colourful, dizzying and eye catching, edited isolated words from comics jumped along the walls, ‘whizz’ whizzing around on repeat, ‘bang’ exploding outwards at varying heights. The primary coloured visual display was hynotic and humourous and worked well in the space. I found myself like other watching the loop on repeat catching different aspects each time.


More muted were the paintings, browns on peppermints, the same words from themain video replicated one per paper. Obvioius watery dashes of paint to try and match words like woosh. They seemed to dull and almost like a collection of experimental artists proofs rather than being able to stand up in their own right.
For my first visit to the cube I enjoyed the works and location and was definitely not disappointed with being able to experience some of Marclays’ work in-situ rather than reading on-line and on you tube.
The use of space and perspective of the projections were inspiring.





Christian Marclay
28 January – 12 April 2015
North Galleries, 9 x 9 x 9 and South Galleries, Bermondsey

Referencees:



http://whitecube.com/exhibitions/christian_marclay_bermondsey_2015/



28 January – 12 April 2015

North Galleries, South Galleries and 9 x 9 x 9, Bermondsey






















http://whitecube.com/exhibitions/christian_marclay_bermondsey_2015/

Wednesday, 18 March 2015

artist research: Ian Mckeever


Sentinel III

2004
225 X 131 cm
Acrylic and oil on canvas


Hartgrove Painting No 10

1993-94
250 X 265 cm
Acrylic and oil on canvas


Assembly Painting

2006-07
190 X 270 cm
Acrylic and oil on linen
b.1946
self-taught


paintings breathing in or out
obsessed with light and creating/harnessing it
often applies paint on reverse on canvas and doesn't always prime,
uses cotton/linen depending on the whether he wants painting to absorb/give out- uses areas of exposed raw untreated canvas

i prefer his more recent abstracted pieces uses ovals/circles and veils of translucent white

interesting interview on you tube him discussing exhibition in copenhagen and meditative quality of his work 
works on more than one canvas at once, large scale
mainly known for large scale painting works, also accomplished etcher and printmaker









Gallery representation:
Alan http://www.alancristea.com/artist-Ian-McKeever


References: 
https://www.youtube.com/watch?v=ApuAy5ajmMI

traces





ECG paper with fixative, acrylic and ink


after looking at various works the last few weeks certain elements have stuck in my mind
I've wanted to work with some drawings on ECG paper for a while.
It looks so innocuous and saccharine with it's pink hue at a distance.
Lots of my sketchbook doodles are repetitive scribbles often relapsing into heart trace like patterns that meander across the page.
After seeing some of Barbara Hepworths works on gesso covered board I wanted to re-visit a long held image of washing over the paper and using black ink on top.
Where most of my drawing work or printwork stalls is from not having a set image to work with in different mediums. Starting from using the stills from a shapwick heath trip, the bird formations seemed a good point to work from.
Whilst spraying the back of the paper with what I thought was spray mount, large darkened patches of bled blank ink appeared on the paper forming cloud like patterns.
These were like the monoprints I'd done the week before. I liked the watery/organic appearance and decided to work with these pieces instead of chucking them. The mistake seemed to provide as starting point I'd been lacking.
The first image seemed rather twee and tree-shaped so i set about outlining it with ink pen using the squares on the paper.
I've found it really useful on a wednesday morning to stick to drawing as it has helped me relax and stop ruminating about things happening at work, ironically incidents pop up whilst i'm making marks but they go again and it feels useful and therapeutic. Doing something different with paper that I've got ambivalent and negative associations with, a source of alarm or reasurance, is pretty darn useful aswell.



Obviously referencing's work, agnes martin's grids.

Evaluation: project1


Evaluation: Project 1
The aim was to produce upto 3 short videos of less than 5 minutes each using edited and altered footage of murmurations (flocks of starlings) taken at Shapwick Heath Somerset. A yearly winter phenomenon visible over the reed beds.
I was inspired by a video I had seen which showed the flock of birds forming unpredictable sculptural shapes as they settle before bed/at sunrise in order to fend of predators in the same way schools of fish form 'bait balls'. The footage was mesmerising.

The aim of the videos was to try different edits with or without sound, manipulating the footage where appropriate to elicit different moods that I associated with watching the birds in flight in-situ to produce 3 videos around the themes: anticipation/anxity, beauty and surrealness.
 I knew I wanted to concentrate on the shapes, movement and contrast of the birds against the sky. I was unsure about using audio.
The aim was to obtain enough usable footage that would not be too time consuming to view and edit. I used a digital SLR camera with a zoom and portable tripod. The footage was filmed over 2 separate dusks on locations in Shapwick heath in January. It was exceedingly cold, I had not filmed birds in flight before, the murmurations last only up to 20-30mins around sunset so timing and being responsive to the flocks was crucial.

 The most spontaneous part of the project was hoping that the tripod, film ISO and manual zoom setting would manage to capture some usable footage. In advance I knew I wasn't ideally looking to shoot traditional views of the murmurations in context, i.e , not with recognisable trees/clouds/colour graduations from the sunset.
The main obstacles to producing a final video were, my inexperience of editing and using imovie and my patience.

I used an instrumental video piece of music by a friend that had a variable pulsing rhythm and varying crescendos and pace to use as a skeleton to start putting video footage in order, practice editing using varying speeds and reversal of film footage. This enabled me to play with the options available. No usable audio was obtained from the original footage as there wasn’t a technical microphone available.
It soon clear how mindboggling the number of editing options would be. Without a narrative or storyboards (I was reliant on the footage I managed to get) I decided to concentrate on using the most visually pleasing footage. This was shots that I cropped to make sure only the birds movements were visible, nil horizon or landscape features. Short clips were used, this was down to creating a short piece but also due to the small amount of usable footage that wasn't blurred/camera shake.

My patience was limited due to usually being energised by chance results from spontaneous image making whether drawing/printing or photos. Once I reminded myself that the spontaneity/creative side had been influenced by my choice of location/viewpoint and filming then I felt less frustrated by the need to be so controlled and decisive about the final cut. After discussion with tutors, paring back the number of possible editing decisions meant that I could concentrate on just using exposure/saturation, speed, and desaturating the footage, to produce monochrome abstracted video showing initially unrecognisable moving forms that at some points are more obviously wing shapes.

The main hiccups were deciding transition speeds, I filmed short segments with lens cap on to produce usable black footage that I cut and pasted in between shots. Having not edited before I had to guess from viewing the footage, what length of breaks in between felt right and didn't detract or distract from the main footage.
Setting footage to music was constrained by accidentally shifting the music out of synch with footage I had 'lined up' with the changes in tempo and music and was a frustrating time consuming process that I felt wasn't moving my project forward, so I concentrated on an abstract piece.

I'm happy with the final footage that has lasts just over a minute and a half, comprising of 5 separate views of flocks at separate speeds and zoom. I felt I created a video that is a bit unnerving from it's initial shot that does not clearly reveal it's context. The speed and zoom of some of the shots can be disorientating but hypnotic. The lack of colour and landmarks adds to the abstract quality.

I don’t think that obtaining more footage to edit would have improved the final piece and would have made the whole process more time consuming and complex. I've learnt how to edit and more about the possibilities of using video, it feels limitless, requires patience, planning and clear idea of what the end video should look like. By keeping a video simple I think I got more interested in manipulating the visual effects with different types of projection/installation. Exploring this will be my next project.



Friday, 13 March 2015

see what i hear





http://www.everydaylistening.com/articles/tag/visualization

came across this amazing website, great resource with links and nice layout whilst looking into how to recording certain words to create a visual representation.

drawings always repeat to ECG like patterns, repeats, and the grid of the recording paper, at a distance looks pink but red and white close up is something i've come back to in the past when i've used graph paper for chine-colle prints.

have a pad to use up,like the shiny regular quality to it. Always tend to write in black ink which mirrors the traces created.
I used to look at endless traces at work in the past, banal information about the state of someones health but they're unique to everyone.

Thinking about a columnar form/embossed cylinder or stained glass rip-off montage of white embossed paper. 




Thursday, 12 March 2015

Research: Adam Fuss

ADAM FUSS

"What is seen has never been in the camera. Life itself is the image. Viewers sense it. They feel the difference."















"It's only when I made a photo that I have to keep looking at that I feel like I've successed...like the sensation of looking into the face of someone very beautiful"


shadow catchers

is an eye catching title and book that showcases some of the best contemporary artists using cameraless techniques.
photograms,daguerrotypes, old fashioned techniques given a new often spooky beautiful twist

surreal exposures and techniques add a seductive ethereal quality to the work

the book contains a number of chapters titled according to a theme of each artist.
Adam Fuss's Chapter 'Emblems' shows wide-ranging imagery and colours but with a thematic thread of symbolism.
Babies writhing in water, their silhouettes captured in striking yellows that seem to jar against the more ghostly monochromatic abstracts.
Fuss has used animal intestines, smoke, candles and drops of water causing expanding concentric ripples that bring to mind more scientific or meditative symbolism.

Born in Sussex, Fuss moved initially to Australia and then to New York. Initially experimenting with pin hole cameras, he would also enter and photograph disused warehouses. The discovery of the unseen.
There's something breathtaking about these, like when we're fascinated by something grizzly or striking. The snake dress especially.


Links:
http://www.theguardian.com/artanddesign/2010/dec/16/artist-week-adam-fuss