#001
contributeurs.
eamon sheridan
tim heatherington
ian pollard
rowan mackinnon-pryde
sean mcalister
alice chambers
doro theisse
mark milstead
peter hyland
luke kilpatrick
luna nero
i had a critique of my research-to-date recently. i consider it to have been a highly constructive discussion. it often seems that these reviews neglect to provide a significant springboard for further lines of enquiry [or indeed further inward reflection], and so i am left to imagine why i consider this critique a success. and i consider that success as something to do with how engaged i felt my critters were. of course, and as always, my perception of the review could be unhelpfully biased, and so i look to my peers and tutor for further insight.
off the cuff, a few challenges are set before me.
to translate/evolve my work into three dimensions
to spend some time looking for black
ex-periential-de-vice
- [instinctive assembly] montage of a chronological experience through the viewfinder of my camera
- [rational assembly] montage using 'traditional' methods of photo-montage composition
- [robot assembly] automated photoshop cs3 photo-merge
lamp-scape
studio has never felt so inviting!
plaster, print, plate, tools, books, white spirits, lamp, buckets
creative endeavour doesn't travel in straight lines
this reminds me of bruce mau's number 18>>
18. Stay up late.
Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.
nothing disappears completely
"nothing disappears completely, however; nor can what subsists be defined solely in terms of traces, memories or relics... in space, what came earlier continues to underpin what follows"
"absolute space is located nowhere. it has no place because it embodies all places, and has a strictly symbolic existence. this is what makes it similar to the fictitious/real space of language, and that of mental space, magically [imaginarily] cut off from the spatial realm, where the consiousness of the 'subject' - or 'self-consciousness' - takes form."henri lefebrve, the production of space, 1991
'obelisk *001' etching, aqua-tint print
i propose that the deformation of space through representation methods has the power to inform and unhinge our experience of space. gordon's work, seen above, caught my eye as i rambled through the 6th year studios of nottingham's architecture. beautiful and eerie.
input ≥ output
chase down the lines of enquiry
piranesi, giovan battista - fictitious 'prisions'
john soane - candle-lit parties
lebbeus woods - incredible interpretations
andrei tarkovsky - extremely long takes
jorge luis borges - nature of time, infinity, mirrors, labyrinths, reality, philosophy, and identity
jorge luis borges - nature of time, infinity, mirrors, labyrinths, reality, philosophy, and identity
below: one 5 prints from a zinc etching plate.
i don't think he can get out of there
a line describing a cone
anthony mccall concieved this piece to disengage his work from the notion of a single aspect experience. aside from interesting transformations of visitors between their role as the spectator and their role as performer [as they interact with the projection][perhaps in being the performer here, there is no opt-out option, other than by accident], aside from this, mccall scripts a three-dimensional transformational space-invoking gesture, your experience of which is unique to your position in the room, moment of view and your state of motion.
i'm reminded of the otherwise insignificant moments when i walk down the level 6 corridor and the low-penetrating evening sun triumphs in casting odd blades of pure light deep in the heart of the building. if every deviation from the earth's surface can act as a sun dial, in a sense, the matthew building is an alien spaceship
level 5 never feels this light.
it's like some sort of evolving, growing thing;
there are common genes in each item, but the
necessarily progressive mutations intrigue me
we reviewed the sheet music projects today
to present, each student hung, from the ceiling, their collage images in the studio
there is something of this exhibition style which i think we could use throughout the year
to present, each student hung, from the ceiling, their collage images in the studio
there is something of this exhibition style which i think we could use throughout the year
display vs exhibit...
prologue
photography took my attention last year.
- find a shop which sells film... choose a type of film to buy... no, not that one, too expensive [and you have to post it to get developed]... uncover your interest/subject/object... gauge the settings... snap. finish the film... book into the dark rooms... flick off the lights... pop out the film and load the reel... bathe in toxic chemicals and rinse... dry the film... go for a tartans... chop it up... pick a favourite... load up the enlarger... set the timer... flick off the lights... align and focus... sacrifice some paper and test your settings... not bad... load up a big one... and maybe another cause you don't want to be in there till lunch... submerge in the chemicals... bathe, rince then dry... and presto, you're a photographer
what i'm describing is specific yet what interests me about this photography is a more transferable quality i've yet to understand
-
people i'm talking looking at
james turrell
eduardo chillida
antony mccall
arthur zajonc
gernot böhme