Final piece pt 2

This is better - full set up pending

Final piece - pt 1

The paperclips aren't very visible

- I don't like that the wooden props are visible

Panels - first attempt.

cardboard panels, pre wall plaster rendering

 
Cardboard warping mishap


It was defintiely a bad choice to opt for this material, even if it was for monetary reasons. I've since swapped the cardboard for ply wood, which is far sturdier, won't warp, and looks more clean and nice.

Fight and Flight (video), Bianca Pauley, 2015

Due to issues uploading my performance video to this source I have uploaded it onto Youtube instead. The link is included for a more high definition source [x]

This is an unedited video and includes background noise from the studio and some shaking at the end. I'm still unsure as to whether this should have audio edited over the top? I think it would have been nice if the sounds of the pins sliding in place had been loud enough for the camera to pick up.

Haeegue Yang, Afterimage, 2006

[x]

 
 
 

I researched this artist and collected the images pre final project and when I did I think I was more interested in the lighting and the arrangement of the various elements and how that could help me decide how to put together a final artwork. I think the way the boards are propped up is of far more interest to me now that I'm faced with how exactly I want to install my work

Annie Han and Daniel Mihalyo, Non-Sign II, 2009-10

'We began by studying the vernacular landscape of highway signage surrounding the site and other nearby influences such as the Peace Arch Monument which was created to celebrate the Treaty of Gent. The structure acts as a type of portal between nations and was built early last century. We decided early on not to attempt to address any international political issues directly given the loaded nature of the site and anxiety surrounding all things visa and immigration. Instead we choose to study  the nature of commercial trade across borders, advertising and highway auto-based culture. Employing the same habituation that billboards use to draw attention away from the landscape, we turned the effectiveness of the rectangular framing device against itself to refocus attention back toward the atmosphere and potency of the landscape shared across borders. Rather than build a billboard outright, we employed a technique to approximate with pencil strokes the atmosphere around a solid object. In doing so we could concentrate attention on the absence more than the presence. This also has the effect of appearing at the edge of perception and creates both a barrier and an aperture simultaneously – which mirrors the prime border crossing experience.'

Can you explain how the concept developed into the ‘billboard’ that we see today?, Interview with Alison Copley

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research related to my paperclip forms, looking at accumulation, density, shape (alluding to shadows, negative space, etc.) 
- this one reminds me of a swarm in a way. A swarm of bees in old cartoons would often form shapes to give them expression

Eva Rothschild - Stands

- accumulating ideas - ways to install work



these could be made out of wood or metal - have to be careful, consider the weight of whatever object is at the top



stand in foreground could support an object along the length of it, suspended in the middle or at the top

Gabriel Lester pt. 2

Habitat Sequences, 2000, Various props, furniture

'Habitat Sequences is a series of fully decorated and conceivable living rooms. The extraordinary effect of the black walls and the uninterrupted loop of lights successively turning on and off, creates a sequence of moods and isolated volumes inside the space. Following basic cinematic lighting principles to create ambiance and atmosphere, and due to the fact that one's eyes need time to adjust to each light condition, the scene inside appears in fragments, rather than as a complete and accessible room. In effect, one constructs a complex mental image of the room, at once memory and moment. These installations propose a certain spatial tension span, where both the absence and presence of identity is at play.'

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- Like Night of the in the previous post, I like that these are fully set domestic scenes - this time it is the lighting that is revealing certain parts of the scene at a time. It reminds me in a way of a haunted house, with the lights turning on and off of their own accord, or perhaps some kind of strange sporadic power surge, either way, it uses light and I like it. 
And the lights are warm, which feels homey, in contrast to my initial impressions.

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ALTAR, 2001

'Shortly after exhibiting Habitat Sequence, a first spatial edit, I found a newspaper image showing how a local pub in the Czech Republic had been transformed into a voting locale for upcoming elections. The image showed a bar split into sections by thin walls. It occurred to me that this produced a similar effect as the changing of lights had done in the living room of Habitat Sequence. For the Unlimited #4 at the Appel, I reproduced a community center / local pub and cut it up with walls, as if dividing it into frames and camera angles. Before doing so, the back wall was covered with wallpaper and props, and became a backdrop to a series of photo’s reappearing in other photos and hung on the wall, like a disclosed semi private narrative. Altar is the first installation where architectural elements are used to create something like a montage of space and elements hung or placed in it.

This one isn't one of my favourites of his work, however I like these walls structurally, and they interest me because of my plan to attempt to create walls for my final piece for the semester

Gabriel Lester pt. 1

Melancholia in Arcadia, lace curtains, textile hardener

'Installed at "I am Not a Studio Artist" on the occasion of the opening of SALT in 2011, an exhibition dedicated to Huseyin Bahri Alptekin, a dear friend who passed away in 2007. The title of the work is identical to a series of photographs by Huseyin shot in Odessa, showing curtains blowing in the wind. These images inspired an installation of hardened lace curtains, frozen in time and space. The work refers to the gesture of opening the windows to set free the soul of the deceased, as well as the idea of a spirit present in a room, mysteriously lifting the curtains to reveal its presence.'

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- textile hardener??
- at first I thought this was just a still image of curtains actually blowing in the wind and perhaps the artist had installed a fan behind them or something, interesting that you can't even tell by looking that something is holding them in that position
- this work was how I found the artist, I was originally drawn to it by the curtains and lighting, similar to my own work
- it also reflects on memory, or rather remembering in ideas about presence of the deceased
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Night of the 24th & 23rd & 22nd, lattive, MDF, props

'The ongoing series of installation “The Night of…” is an interior scene set inside a cube made of lattice. The angle under which the lattice is placed proposes four views onto a scene. Furthermore, the angle of the lattice is such, that de room appears as a solid, closed space from the inside and outside. The lattice functions as a shutter, in the cinematographic sense, creating a motion picture from still images. The shutter framework directs the gaze and suggests the perspective. Each scene shows a moment frozen in time, a moment when something has happened, is happening or is about to happen: a chair up in the air, an office cleaned out, a bedroom abandoned yet inhabited. Together the successive scenes form a narrative.

“The Night of…” refers to a specific line of dialogue familiar from film noir and crime movies. The complete line is: “Where were you on the night of the 24th”? The dates may vary, but the line is always the same, implying that the answer should explain someone’s whereabouts, an alibi, an explanation for where one was when something else happened.'

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- I like that this is a fully set scene but the viewer is only allowed a glimpse at certain angles of different parts of it

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Chance Encounters, 2011, ongoing MDF, wheels, paint, props

'On tour since 2011, twenty-two objects on wheels form an ever-changing installation consisting of artificial tropical plants and odd shaped pedestals. The pedestals are mostly left empty but occasionally display small sculptures and objects or have evolved into clear sculptural shapes. Much like pawns of a board game, a collection of decorative elements found in a casino, the ingredients of a hotel lobby or an assembly of large-scale architecture models, the installation is never fixed in its form, changing its configuration, moving on its wheels sooner by accident than by decision, as if subjected to an invisible tide.'

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Carlos Bunga

Additive Subtraction?, 2008

“The creative process is a mix of emotions. We don’t always have answers to things. We have more doubts than answers, and those same doubts make us search, question and move forward. Impermanence is always active and allows enquiry into things. In an ever more complex world, a variety of things allow the existence of ‘universes’ – (inter)disciplinary, (multi)cultural, (inter)net or multi(national)– to reach our ever-changing mutant world.” 


- when I see this i think of the inside of walls. I remember at the beginning of second year in Installation art I was really interested in the insides of things - what makes up structures - particularly industrial materials; where a finished product would be formal and geometric, the materials are kind of organic or biomorphic. I think that's definitely persisted in my interest in the materials I use. 
- these structures though, are of interest to me in regard to future work (most likely), which may present itself in some kind of diorama. But it's also interesting to me because of my continuing interest in the domestic. and this could be the inside of walls in an apartment, house, or bedroom.

Ross Manning

Endless Sheet,  2011, 4 Overhead projectors, electric motor, brown paper, timber

link to video [x]

- in interesting way to use overhead projectors
- makes me think of astrology 
- it's very atmospheric (geddit?)
- have used overhead projectors previously in my work, would be good to think about other creative ways to utilise that particular kind of light

Being out in society feels like publicity

Image by Kevin Tadge [x]

Invertuals 3 by Dutch Invertuals (group)

[x]

relevant to my fabric restraint idea. actually quite similar to what I would like to do with a larger area of stretched fabric (as it is at the moment I'm having to make do with a small square. I'm not sure of a way to stretch it over a door frame?)

- I find this far more eerie because of the semi-opaqueness of the material and how that controls how much of the figures is visible

Cornelia Parker

[x]





'Cornelia Parker’s early installations brought her a great deal of attention and for good reason. They are ambitious in every way. Imposing in scale and visually stunning, the punch they pack is delivered upon the realization of what is being viewed and how it came to be. Politically and culturally astute, Parker’s work always offers layers of discovery, prompting thoughts that the initial, highly visceral encounters actually delay. Cold Dark Matter: An Exploded View of 1991 is a collection of charred building fragments that appear to float as they hang from the ceiling to reconfigure the garden shed that they once were, prior to being exploded upon Parker’s request by the British Army. Before reading the museum label or hearing about the origins of this piece the viewer is confronted with a beautiful but daunting form floating in the center of the gallery with a single light bulb, suspended from the ceiling in the middle of the piece as a source of light that casts dramatic shadows across the gallery wall. Enchanting yet frightening, like the monstrous shadows of a child’s room at night, the shadows expand the already impressive form to fill the room. Then the layers begin to peal away and the light becomes illumination as the viewer works through numerous implications from a humorous cartoon-like explosion that evokes the absurd; to the inference of violence and military force; to the philosophical, as the shadows bring to mind Plato’s cave and notions of reality.'

Video self reflection

a screen shot from the video where I try and force myself through stretched and bound curtain material. It didn't convey what I wanted it to and ended up looking pretty ridiculous overall. But the lighting is really nice. Maybe a larger area of fabric really would be best.

Directional Coloured Lighting

Ryder Morey-Wheale, Untitled, 2012 (deleted flickr account)

found: [x]

Coloured Lighting insp.

Trilogia de sensaciones  by. brand silva [x]

Shirley Paes Leme

[x] 



Sem título / Untitled, 1998, traces of smoke on acrylic

- technique
- material

Fernanda Gomes

works [x]

"Physical space conditions work as it conditions life. My intention is not to tie physical, architectonic space to a physical situation, but to a state of mental and emotional concentration, where shapes are present not only as originating from a certain space, but also from a certain moment. What I want to create is a moment of pure space-time."

Do the characteristics of physical space condition your work?, Fernanda Gomes
interview [x]


This is one of her large scale installations - unfortunately I was unable to find a version of this image that was actually sourced properly, so I don't know the name or materials used, which doesn't help much for interpretation, but i can see pillows and fabric (perhaps sheets). In my journal I recently brainstormed some words about the idea of a safe hiding place. That was what I thought of when I saw this image, although less, the more I look at it - the stark white lighting and very little variation in colour is uncomfortable and over-revealing, the light isn't particularly gentle. Something to consider if I'm to pursue that idea in my work.










I love these objects that Fernanda creates - they're quite beautiful. They seem to be made up of pieces of old things, which gives them a domestic feeling. Some of her other larger sculptures and installations are made from used furniture.

Places to look for materials: demolition, secondhand stores, hard rubbish

Phyllida Barlow

Untitled: Hoardings, 2012

untitled: hoardings, 2012
timber, scrim, cement, black felt, paint
600 x 1400 x 700 cm / 236 1/4 x 551 1/8 x 275 5/8 in

Installation view:
Kiev Biennale, 2012
Photo: Fabian Peake

- form

- colour

- weighting

- scale (contrast in scale)