I am interested in now making models which are wrong, but because they have been photographed and look correct, surely they must be. I am currently thinking of creating a model of a tree growing underground, upside down. To go along with this i am thinking of making the sound of a tree growing. Perhaps to be played in a dark room whilst viewing this photograph, maybe a stop animation? . However, like the composition will be wrong, i want to make the sound from the wrong material. I will not use organic sounds of trees etc, but man made sounds hopefully - something like washing machines or cars?
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Is a german artist, specialising in photographing his sculptures and film making. He creates sculptures from paper and cardboard and then destroys them after photographing them, they are a means to an end. He creates scenes which are of a political nature and that have been widely seen through the media. For example he created one of a real life murder scene and another of the suicide of a german governor. Nevertheless, he never includes people within his work. This may be because including a human being to his work would make his work seem unrealistic from the beginning. However, i believe he doesn't include people for another reason swell. He enjoys these iconic scenes. With people in them, your eyes would be focused to them, rather the surrounds. By not including humans, you eyes easily begin to investigate the scene and try to work out what it is and what is going on. I want to take forward from looking at his work, the ideas of using something which is iconic and recognisable, making it easy to be caught under that you are looking at the real thing. Demands work interests me as I too am trying to create scenarios of belief. I am curious to the ways that he leaves people in suspense of what has/ will happen. I am hoping to create suspense within my work through camera manipulation, of not knowing whether something is true or just fiction. I too am looking memory in my work, creating pieces that are familiar to people in order to trick them into believing that what they are seeing is real. Photo entitled "Büro/ office". WOR(L)D(K) IN PROGRESS? Was the name of the exhibition in the Arnolfini which was by Joëlle Tuerlinckx. Her work is a constant collection and on going pieces that all accumulate as one piece, no piece is more significant than the rest. This has resulted in her having around 500 pieces on display in this gallery, meaning that the whole gallery was fit to burst with all of her work. The art she produces is based around collecting mundane objects and transforms them into something to show their best qualities. For example, bringing a rck from a different country and labelling it and placing it in a place by itself. It allows you to stop and think about this piece, rather than just treating it like an everyday object. All of her work connects and interacts with one another. For example, she ties cotton and string to her works which lead you round the rooms and takes you to each piece of work. Also, some of her art works are in display cabinets grouping them all together. Nevertheless, this type of art work and what she was producing isn't really to my taste. However, it was interesting and useful for me to see that all of her art work is of the same importance. Every piece is on the same level. There is no final pice, which is what i am currently trying to do in my practise, as i often worry that i should be creating a final piece and i no longer want to dwell on that. ALT ÜST was the title of the exhibition in Spike Island, which was by the artist Cevdet Erek. This, i found, was a great exhibition and could have spent many an hour in there. His work is all about sound, the rhythms of life and the natural beat. The title of the exhibition means above and below, which is what his main piece was about. All of his work was sound, each speaker delivered a certain piece, but as you moved around different pieces interacted and could be heard, and he made it so that all of the work could interlock with each other. However, the main piece was in the centre. You walked into this dark, nearly black, room with a small blue led light lit up. There were 6? speakers in there pulsating a beat. Whilst you were under there you wanted to dance and move along to it, which is what Erek wants you to do. It is about the modern night life culture. The blue light which lights up the room every so often was there to represent artificial life, and how you are changing the world natural light cycle to suit your own needs. You then came out of this room and went above it. This was a bright light white room. The music wasn't as loud as it was underneath you but you could feel the vibration coming up from the floor. I lay down on the floor to feel it coming up at you. There was a strong connection here about how the night feeds its way through to the day time, you can't have one without the other, they are dependant. I found his work very inspirational as for once in the whole exhibition, you didn't need your eye site. You only needed you ears and skin, to feel the vibrations of the music beats. From experiencing it. I want to have a play and investigation with sound within my work and to see what i can come up with. Yinka Shonibare's exhibition at Pearl Lam Galleries, he has a series of work which are based around wealth, power and labour. In response to this he produced small canvases of african textile print on them. However, he also decided to continue this round onto the sides and paint something on that. I have always left my paintings blank on the sides, nevertheless, from listening to him talking about doing this, i want to do this with some of my work. Some of the photo graphs that i have taken are very blurred and stripped back. I have the idea of painting something like this on the front of the canvas and then on the four sides, painting in greater detail. So similar to my boxes people want to come and look closer, i aim to do this with a painting. You will have to come close to it, explore it and see the outer sides. After having a tutorial with Simon, we were talking about how the photography in my work is key. This is what changes the perception of what has been made/ or has just been photographed, a trick of the eye. We both agreed that at the moment the photographs were the most important thing i was getting from my work, rather than what i will do next with them.
Because the photos were tricking people into believing that they were life sized, it would be interesting to stage little scenarios which should not be real, but due to the way photographed, they look authentic and plausible. For example, a tree that grows underground. I want the photos to look as plausible as they can whilst being wrong, but i am not going to make something like a three legged baby!! I set up the model with a light in it, and due to the windows not looking too authentic, i relied greatly on my dslr camera being able to focus some sections and blur other parts out in order to create a deception of scale. Whilst in Newquay some of the houses had had noticeable storm damage to them, so much so, in some cases half of the house had been ripped down and it had just been covered by plastic. However, what intrigued and amazed me was that there were still people living in there. I know wanted to produce my own replica of this and for it to have a working light inside. So that there is something bittersweet about my piece. From working straight off this photo, i began by making the main house out of cardboard and a Stanley knife. I managed to make he bulk of the house through this. Once i have the main outer shell on i began to try making it look authentic. For example i used sand and paint to make the outer of the house look as though it had been and blasted. I continued to add different elements to it to make it look like the original. Nevertheless, i was wary that i would be photographing it in the dark, so it didn't need to look fully authentic. Once i was happy with the front, i added the plastic to the side, which i believe looks the most authentic. Finally, i made a box for it to sit in and piled up the gravel around it, to show where the house had fallen down. On reflection there are a few things that i would change to it. The windows certainly do not look real, and i spoke to a technician about this and laser cutting was suggested. Where i had been rushing to make rubble in order to photograph it before i left for easter, some of the brick are not small enough to look real in scale. Finally, there are sections of black glue which worked well, seeming like tar. But where on the side of the hues i placed it, it looks un true so i will touch up on that when i get back. These are the four photos that i have chosen to be enlarged and are now in my studio space. I believe that they create a great deception to what was life sized but now, in reality, they have all been built within a small box. From the photos that i got of my storm box, i wanted to produce some drawings from it. I did the A1 drawing first where i looked at just drawing in the most prominent sections of the composition. I wanted to use as minimal lines as i could. Whilst i was doing this i found that i wanted to mix up both 3D and 2D elements into it. Some line have been kept flat and others have got shading which have been introduced into it. Again, i have a strong sense of intrigue into deception within my work. From the piece, i then wanted to look even more closely at the left hand side where the railing was falling off. Again i wanted to keep it mainly a line drawing with texture, so i added a paper overlay in sections to help with the effect. Drawing from my work helps me to cement ideas and thoughts of where to go and what to do next with my art.
I took the box down to the beach to take photos as the waves hit it. However, just like how unpredictable the waves are, it proved too powerful on the box. They crashed into the box too hard and started to drag the box away!! ...Also, the parts of the waves which were hitting the box were the foamy top layer. When looking at the photos i got from it, it looks more like it has been put in a soapy bath than the sea. Nevertheless, because of how hard the waves hit it, it actually proved to have a good effect on the box. The stones in it started to cave in and i managed to gain a more realistic look on what the sea did to the life-sized pier front. When a disaster happens, by social convention, you should not really stare/ watch. However, we as human beings are curious. We want to stare, we are fascinated. Also, often in these disastrous situations there is still something sweet about them. For example, in Botz murder rooms, there is freshly cooked food in the corner. I want to take this into my work - how there can be something saddening in the composition, yet there is something still rather sweet about it.
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April 2016
Kerry FosterThird Year Fine Art Student at Falmouth School of Art. Fellow artists: |