An artist's silence

Tried to email Duncan Cameron, he hasn't responded so far though I think this is due to writing the email down wrong. Never the matter, as know my project has furthered the sculptural technicalities has been reduced, as I'm going to use found materials and papier mache to create my final sculpture, and therefore sculptural technicalities of which my original design ( needed some welding done) was not needed to learn, though it would of been useful to have feedback from a well versed installation artist.

It's finished

The video side of things is now complete. I have mixed feelings about it. It took along time to make, it took approximately an hour of rendering for each section and around 10 hours to format the video for vhs and many more hours filming and creating the sound, this led to myself not knowing how the sequences would turn out till the very end of rendering, this therefore aloud little time to tweak the video around. Also annoyingly for some strange reason the vhs player had to be sequenced with the begging to the end of the dvd, this leads to about a minute of a dvd menu but due to the tape being about 4 hours long it shouldn't matter too much. Also when the dvd loops the video, a little symbol appears, though it is quite tiny and hopefully it won't be noticed. Though I very happy with the sound as it had gained a real rough quality and therefore more intense quality to the sound.

I shamefully cannot upload the video as it is too big ( it is 4.57 GB in size). But I might be able to show the video to my peers when putting up the work

"It broke"

Tried cutting a hole in this sculpture, the top fell in. I've tried to glue gun it back together, but alas it didn't stay together. Originally it was be complete covered in papeir mache, but now I have too look for another object for my final piece.

A big beast to tame

This is my final FMP sculpture. I started this later than I would of liked, as too previous efforts of creating the sculpture ended in failure, due to un-steady material of one, and the falling through of another's purchase.

The way I create this, is by firstly measuring the circumference of the cylinder, this luckily matched the size of another object I possessed, so I decided to build around this object for the hood of my sculpture, made of chicken wire it was loosely fitted around the object to give it a more bio-form likeness . I also with the measurements created a base out of chicken wire to give more sturdiness. I firstly used pre-made papier mache paste, this mixture simply refused to dry, so I took it off the base and the hood and used my own created papier mache to cover it, and then when both dried I combined the two. When the combined object dried , I painted it with a P.V.A and paint mixture, dripping one colour at a time then drying it till the whole surface was covered. I then committed the same technique to the barrel but without P.V.A, but after the paint had dried, I lacquered it.

The drying of the object took longer than expected even with the hair dryer (it dried for about three days). I also had to touch up some of the colours on the hood, due to in my mind being too dull.

Purposed Story Boards

Here are a few storyboards of which I purpose to make

 

All These storyboards shall be only a loose guide for the shooting, as I might change quite allot due to the experimental  nature of the editing style and that coherency has very little importance as dreams are more often than not, non-coherent. Narrative wise these shall be arrange as if a soup of visual noise of which fades into one of the many narratives, this will allow looping and a less knowledgeable sense of time. Though they may need to radically change if location is unfitting for my sequences.

Sound is vitality important to my project, the collection of sound and approach too sound is also vital. The image below explains why this is this.


The source and recording is one aspect of sound of which I have committed focus to. One of the approaches I committed was to give sound prompts, of which where visual and written to collect raw sound. These where then giving to musician and non-musician to interpret how they wished. The raw sound was collected then sampled when the composition was decided.







Here are some examples of the sounds I have created. One of which is used in my dream sequence film and the other being used for the sound sculpture.


boomp3.com

boomp3.com

Location, Location and some fancy editing

Here be one of the location I shall be using in the filming of my dream logic film. Why I have filmed this location and further locations in the future is due to the extreme editing style, of which extremely distorts the image and there is a likelihood of the distortion to be too much and simply becomes a texture rather then a location, which is needed for some symbolism of my dream logic narrative film.



As you can see the location dose keep it's form and still reassembles the location, apart from when it pans upwards and due editing completely obscures due to high tone mid tone low tone being too one sided (in this case to dark as the inversion effect was implemented). Though on the whole the editing technique looks very impressive...

How to take another artist to the side...

Here's another test, but this time it is reaction to Kurt Kren. Introduced many film techniques such as quick edits, but a major benefactor of his work is the intensity, this is probably due to non-commodifiable practice of his works. The process of the works as thus, shots of my back, chest, back of head, front of head, left arm back and front, right arm back and front, left leg back and front and right leg back and front where shot of myself doing the same sequence, these where edited in 0.5 sec intervals (apart from the establishing shots) with the sequence in question in context still moving forward in time, this process was also then reversed, and the sound was created by using the diegetic sound of sequence by cutting and repeating a 0.1 cut of a sound...



The shots them selfs where not entirely in timed sequence, as I did not work out the speed of which to do the sequence, or even the exact movements I would do, though this is obscured by the quick edits. It is utmost importance, as much I do not desire final sequenced production of film, rather a collections of shorts which exist in a environment like a dream.

How to take an artist to the side...

Here be a test in reaction to Adolf Wolfi. It is basically an flash animation reaction to his style of his work and especially the concept of 'horror Vacui ', though the process to create this work went through a many programs.
Here is the process in brief: drew the animation, then scanned these pictures into a scanner then imported these into photo shop, these where then edited with color and B&W levels edited, these where then imported into flash to animate, (in retrospect it would of easier just to do cuts on final cut, but I wanted to use Flash as I have very little of experience of it) it was then transported into final cut where image correction, sound, cutting, cuts and overlays was implemented, and then export as a quicktime.



Though in retrospect more time could be spent on the animation, as the where only eight cells used in each animation, also due to amount of transferring of the main file, the image degraded due to the amount of resizing. The sound was quite good, many piers also did comment favorably on it, though I believe without the sound it would be certainly be weakened as a piece, and I believe this has also been a strength of mine, from the feedback from pervious works.
In context of my final major project this test may have very limited implications, as I'm most defiantly using film due to my lack of drawing skills and the emotive and "real" value, and then so a pure animated sequence would not be desirable, but a combination of the two mediums could be viable, for example I could combine blue screen and animation to give a wild effect, which most likely to be rough looking, though very wild, I could also use overlays of animation to give texture to the film.

It's going down, going down...

Went to a few museums in stroud a couple of weeks ago, but haven't posted anything due myself not being able to make up my mind on what I should write about it. So I'm going to say nothing more...

"Vist, Toe"

Yesterday I witness the Arnolfini to watch a collection of art film, which luckily for my sake, was based upon the idea of dreams as the collective theme through these films. Some I had seen before, but others such as "Le Jeux des Anges" and "Asparagus" I had not.







I was especially taken by "Le Jeux des Anges" as it was not quite like anything I seen before, It was very minimal, often just focusing on two toned textures and objects living and non-living which hold often one attribute of what it was based upon. I most study further into "Walerian Borowczyk" work, and most likely influenced and apply his style on both my sculpture and film.

"Visceral Gristle Shizzle"

Depression began the day. It then leaped onto the note taking, mostly upon these artists such as Adolf Wolfli into my study into the outsider art and I hoping to included some of the aesthetic touches. More focus direction is needed for research, as I believe that I have a floppy habit of looking at research that can not really further my direction of my instillation, though will give me greater context to draw from. I also looked upon some selection of film done by "london Film makers Co-operative" though I have not watched all of it, it has reminded of much of my previous work to date, and therefore maybe not wise to be pursed further, though the process of re-filming film, and the obscuring of image by using techniques such as out of focus shooting and creating large amounts of motion blur.

Here are some examples of dream being used in dream narrative.







While they all differ in aim and genre, large amounts of symbolism is used, and therefore might be a line of inquiry to pursue symbolists concept's, art, and film...