The following notes were written prior to watching the presentations yesterday. Most (80%) of these notes can be found on the Skype transcript. As mentioned in the previous post, it was interesting listening to everyone’s thoughts and suggestions.
While I was viewing the presentations on Monday evening, I tried to make a personal objective to myself; avoid using the words ‘like’ and ‘interesting’ As you can see, I failed miserably!
Interesting synonyms: Absorbing, fascinating, riveting, enthralling
Like synonyms: admire, enjoy, fond of, dig,
PETE MANSELL Main mediums = photography/sound
Very Contrasting relationships montaged IMAGERY=bottles, bags, buildings, medication, human waste, and SOUNDS=harmony, birds tweeting outdoor ambient
Also, Semantic relationships between words+visuals
I see this as a very intense study of work. If I chose a word to describe Pete’s work it would be ‘Clinical’ = Very efficient and without feeling; coldly detached. I don’t see any warmth but touches on humour 1.19 and 11.31.
The cold realism could be intensified. I see a lot of tubes; liquids oozing from and inside the tubes could be an engaging aspect of his project
The visuals slowed on the following visuals. I tried to detect links, what does he want the viewer to be aware of?
0.14 Camberwell University, .23 Townscape, .32 Coagu test strips .43 Catheter bags, 1.08 Excrement, 1.19 Envelope (humour) 1.31 (catheter tubes assembled as for consumption knife n fork) 1.42 Catheter bag 1.52 Arranged objects, 2.00, Skype conversation, 2.07 White screen, 2.16 Bearskin guards 2.22 White screen, 2.32 White screen,
2.39-3.00 Abstract representational images. How Peter visualizes himself. This body of work is very recent, an interesting study of work. Pity he didn’t mention it in the film.
‘The Telephone Conversation’ Interesting remark = ‘what motivates them to make the work that they do, I don’t know that yet but it’s been interesting trying to find that out’ I’m with you on that one, Pete! It’s difficult trying to get on other people’s wave length, and see where they are coming from.
RHIANNON EVANS Multimedia
After first viewing, I must admit, I had to go through some of Rhiannon’s archive material to ‘get’ her work more clarity. I’m a bit slow, that’s all!
Written communication and blogging as archive material
Drawing & printing as archive/ PRACTICE Drawing & tracing on old photographs
Mono print residue rather than the archival print
Absorbing effects from material at 1: 32 appears to be Christmas tinsel?
Playing with personal archive
Projection of personal archive material
My main area of interest, I was particularly interested in the overlaying and tracing archives aspect of her practice ‘
Re: Overlaying: I’m interested in the concept of layering co-existence (i.e. re-projecting video in the same location where is was originally, then re-filming it, re-projecting it repeatedly) I watched The Salt Way 11, the overlays gave a very ‘glistening’, fairy tale, magical aesthetic.
Sarah really (in her own words) ‘goes to town’ on the experimenting:
Nice ideas here: Using wax to distort and blur an image for MEMORY.
Fading/ tainting images with colour to expressing EMOTION.
Morse code on tea leaves (I love it!) expressing secret COMMUNICATION
Reviving memories using metallic on photographs for aged effect. Experimenting with inks and glue.
Sarah mentions ‘giving a new lease of life to old photographs and artefacts’ I see that is a predominant feature in her work. Reusing archive material such as photographs and reinventing them with digital technology. Great ideas when experimenting (i.e. with inks and glue, tea leaves and wax)
I like the strong exaggerated colours at 1.36, screen printed with light shining under the images.
Gran and granddad’s wedding celebrated with fireworks, represented with coloured blobs. Nice! Very Pop Art.
‘Agents on missions’ sounded really interesting. I thought this area could be developed using maps. Presenting it like a board game (I can see Sarah cringing at my idea!)
Experimenting with morse code over the photographs and tea leaves! Brilliant!
YVONNE OPILINSKI Main mediums Painting/Animation
When I think ‘Fragmentation’, Cubism always comes to mind, especially Braque’s work. There are links between both. Yvonne’s painting and Braque’s ‘Women with a Guitar’ must be just coincidence, or is it? Yvonne, conveys fragmentation in collaboration with technology very creatively here, and it has definitely struck a chord with me. Yvonne’s experimentation process has produced stunning ‘surreal’ animation effects. As I kept watching the animation again and again, I found a sound piece titled Fragmented Fantasy and watched Yvonne’s animation (turning the video sound off) at the same time.
Fragmentation theory from a scholarly article
Postmodernism, in contrast, doesn’t lament the idea of fragmentation, provisionality, or incoherence, but rather celebrates that. The world is meaningless? Let’s not pretend that art can make meaning then, let’s just play with nonsense. Dr Mary Klages
During the presentation, the spotlight was all on the animation. Is this down to a younger audience? Digital Natives vs Digital Immigrants (me) For me, it was refreshing to see someone employing traditional tools. Drawing & Painting (traditionally) Rule!
Pascale Lemelin Main mediums Multimedia
Typography meaning through letters is a huge area to explore.
3D letters with nails and strings on wooden boards
Pins cotton thread on foam boards= Very ‘craft-like’ by appearance. Employing harsher materials like barbed wire, wire mesh and smashed glass could alter the aesthetic.
Absolutely agree with you at 3:31, Pascale, get off the computer and make
Pascale, have you explored typos such as Arabic, Urdu, Chinese, Indian, Japanese etc?
The shape and what letters and numbers signify/associate is an interesting area too. For instance, for me, ‘X’ has mixed, contrasting connotations. X-rated, an adult film containing sex, violence and bad language, yet it is used to express adoration, kindness at the end of a message xxx This could make an interesting questionnaire??
Check out: Shoko Mugikura, Japanese Typographer based in Germany http://shokomugi.com/
Jason Murray Main medium Animation
Comments made about my work from London-based course participants
I’ve tried to make the wording as accurate as possible. Apologies if I have misquoted anyone.
Charles ‘That sound makes so much difference’
Jack ‘I’d like to see that sound over more delayed rotoscoping’
Donald ‘It was interesting braking the iconic images showing the graphic elements but the wasn’t anything there that I found remotely frightening which he seemed to be wanting to do from the start’….
Charles (counters Donald’s remarks) ‘But it draws from the original film’
Donald ‘It (the rotoscope) doesn’t get to the end where she gets killed which is the frightening bit’
Was it completed? No Do you assume that the murder part of the scene is the most frightening? I don’t
Trystan comments I couldn’t hear
Ed ‘Everyone knows about that (referring to the film Psycho)
Trystan ‘I think it would be interesting………..the Tokyo underground….rotoscoping that and making that sinister’
Jack ‘Rotoscoping, that could be quite sinister because he can choose……you have no narrative
Jonathan ‘I think it’s problematic whether you’re using something as iconic as that scene ……….for me it’s too iconic, it’s too difficult to use, you’re constantly fighting it as a figure itself……taking some of his own footage and using that’
Trystan ‘and that would make it much more personal is, not maybe the right word….much more self-generative work as opposed to being a comment on other work, being about his experience and using his artistic practice to….’
Jonathan ‘Taking away the Psycho/Hitchcock, what did you think of it just as a rotoscope?’
Jack I like it because…the bit I like, he has those two parallel lines, the rotoscope. unable to hear properly.’.and that is a really nice point of interest’
Ed ‘The layering of two shots of the same person is interesting as well because it starts to add a bit of mystery to it….quite surreal’….
Jack ‘I’m not sure if I like to way the water is represented’
Trystan I couldn’t hear if Trystan agreed or disagreed with Jack
Trystan/Jack (mainly) give their views on the tube film. The ideas from them generate interesting ideas for me to consider. For instance, rotoscoping the commuter’s wincing face as he is pushed against other commuters on the train which would make a focal point of the film.
Overall, the critique was very useful for me and I have taken a lot of ideas and considerations on board. Yes, as Jonathan mentioned, using iconic imagery (especially a very iconic scene) is a challenge as I’m taking my audience on a journey that has already been played out. However, I wanted to take on that challenge and criticism was inevitable. Redesigning the fear element and adding a divergent interpretation was my aim. Pop art themes have always been a predominant feature in my work over the years and I’m drawn to how artists use aspects of popular culture in their art. Though using others’ art work does have its implications and as an artist you need to deeply consider ‘why’ and ‘how’ you are reusing their work. I will attempt to finish off (time permitting) Don’t Have Nightmares 0.1 as a completed project, it would be a waste not to. The rotoscope work received positive remarks which was pleasing. The number of drawings was not mentioned (350/400). The Tokyo Underground is a potential future project as I have acquired a lot of footage over the past year. Again, using the fear element. An exciting prospect.
Thank you, I appreciate your constructive criticism. If I have time, I would like to give my opinions on your work.
Feel free to comment.